The Vault Reviews: I Am Rastafari by Harry Mo

Old friends. During our several year hiatus from writing about music, unfortunately I missed quite a bit of things that I would have, otherwise, definitely talked about normally. I've always prided myself on being someone who seeks out the experience and the challenge of covering things that either no one else [at all] does or that very few people were likely  to, in addition to the more obvious works that are more widely appreciated and examined. Because of that, one of the things I'm happiest with in regards to this blog can be found in the Labels section: Aima Moses, Ambush, Empress Cherisse, Fefe Typical, Jah Defender, Jah Turban, Jahmings Maccow, Nahyubi Joseph, Mischu Laikah, Revalation.... and I could really go on and on [Little Guerrier] as examples of names that, in no way, are of the 'household' variety but are well talented individuals who we've metioned [Sydney Salmon] at least once over the years. So sure, I missed writing for projects from the likes of Akae Beka, Jah9, Damian Marley and all of the other big names who released projects while we were away, it was even more the case with that next other group who may've produced BIG material and the internet hasn't done its best job of keeping track of such things. I don't have as much time as I once did (well I kind of do) and I'm old as hell, so writing these things isn't as easy as it once was but, somewhere in the back of my mind, I'm thinking that if I stick around for another year or two, I can at least somewhat make up for lost time, while managing to stay at least relatively current. I distinctly made it a point to write about an album called "Break The World", which was Fay-Ann Lyons first (and, subsequently, only) album for VP Records that I THINK I could recall waiting for while I was still active. I'm sure that album got a decent amount of attention (going to tell about the one she did last year, too, one of these days), for what it was, and I'm just as sure it went completely around the attentions of msot Reggae heads who're more likely to spend any time around here. I made a similar point for Lutan Fyah's "Music Never Dies", "Rebel With A Cause" from Pressure Busspipe and, over that same span of time, works from the likes of King Lorenzo, The Arkaingelle, Lloyd Brown and others which would have definitely gotten my excitement up as something being just a little off center and slightly out of the spotlight (with respect to Lloyd Brown, who probably doesn't belong in that group, but I'm including him anyway) and attention of most fans. Today, we not only take a look at someone who most certainly does fit into that group but is also, personally, a favourite of mine and someone who's always been very nice to us throughout the years. 

While your listening travels may not often take you to Dominica as a Reggae fan, when you do get there, you're likely to recall what you heard. Surely the biggest name to ever emerge from the Nature Island is the EXTREMELY well-regarded (and extremely well-retired) Nasio Fontaine. I never fully got on board there --though I will say that I appreciate his music more now than I ever have-- but, once upon a time, Nasio had some of THE most passionate and loyal fanbases in the entire genre. It wasn't quite there, but calling it "Benjamin-esque" wouldn't be terribly out of line, in my opinion. You also have the aforementioned Aima Moses, Nelly Stharre and, whether you realize it or not, the great NiyoRah was also born on Dominica. Still, when we talk about Dominica and Reggae music, it is IMPOSSIBLE for me to do so without mentioning a longtime and grizzled favourite of ours, the well esteemed Harry Mo.

The wonderful works of Harry Mo

Harry Mo is a very curious one. On one hand, you could definitely do him justice by saying that he makes Roots Reggae music - plain & simple. There's nothing wrong with that at all and I'm going to tell you about some of that in just a moment. Still, if you wanted to tell a more complete story, you'd also say that Mo, at his absolute best, embodies some of that colour and diversity that his homeland is most well known for (and if you don't know anything at all about Dominica, you should know that it is, EASILY, one of the most diverse places on the planet. If you are looking for a race of green people, I'd tell you to start on Dominica because, if they exist, SURELY at least one of them would be there). So his brand of Roots can come with a 'flare' or a 'drift' from what you will often see in the genre. I would compare his style, somewhat, to that of the great Tuff Lion and, again, Harry Mo goes on to add his own, special blend to things (as does Tuff Lion who is, of course, a genius with the guitar). While we were out, in 2020, Harry Mo would release his latest creation, "I Am Rastafari", which would follow excellent sets "Runaway Slave", "On My Way", Roots & Lovers" and "Back To Africa". Although all were/are of a certain qualiy level, 2008's "Back To Africa" ["Jah will help me find my way!"] reminds his opus in my opinion and Mo would also give us the VERY interesting "Thank You Jamaica" which I don't want to mention too much of because, I will hopefully getting around to dealing with it in a heavier level someday (I may actually just start writing that one with I'm done with this one and save it for later), a decade after "Back To Africa", also during our hiatus. I chose to focus on "I Am Rastafari", specifically, because of its fairly unique sound and this.... ultra-impressive sense of a humble-confidence that I heard in it. I'm making it sound complicated, I'm sure, but it really wasn't. The album seemed to often make its bread on the very basic thought that when one is doing the right thing and THINKING the right things that "one" has very little to worry about. That's where the confidence comes in and it was DELIGHTFUL to hear in this form. I'm probably not going to go through the process of ranking this one in direct comparison to what came prior to it from Harry Mo but I can tell you right now, "I Am Rastafari" was pretty much excellent.

I alluded to it, briefly, but we have actually had brief contacts with Harry Mo back in da day. I believe he once sent a message telling us of his new album (which may've been "On My Way" (could have been "Roots & Lovers" though) and I even remember giving him a critique on one of the albums (which actually may've been "Back To Africa") and he agreed with me (Zacheous Jackson did the same thing in regards to his most recent set, "Levite"). He's just a very nice person and he even thank us in the liners for "On My Way" if I recall correctly. I should probably return the favour and the thanks for "I Am Rastafari" which animates with its MAMMOTH title track. 'I Am Rastafari' is about as simple and basic as it could possibly be.... and it's also kind of brilliant.

"I am Rastafari

I chant for Jah Most High 

I man hail King Selassie I

All might King of Kings and Lord of Lords

Said I am Rastafari 

I & I work for Jah Most High

Defend what is true and right 

What is true and right in Jah Most High sight

With Jah love will our way

When Jah call, we must obey

The pain and joy, yeah, it's really worth a bag of love & righteousness

And we spreading through the earth

Got no time for the timid

Hotta fyah pon di wicked

We've got to clothe up the naked

Let the hungry be fed

The aged be protected"

If you've heard five or six Roots Reggae songs in your entire life [like, literally, EVER], there's a pretty solid chance that 'I Am Rastafari' isn't going to say anything with which you are unfamiliar at all. What differentiates this one from the thousands of others built on a similar foundation is how well it is situated. It reaches not only a personal level, with Harry Mo just talking about himself and his views but, in doing so, it also touches in a way which personifies (and BEHAVIOUR-IES) the teachings of Rastafari. Essentially saying, 'I am Rastafari... and this is what I do. This is what I stand for'. It is very subtle but it stood out clearly for me and it also is a fine example of what I was referring to when I talk about the "humble-confidence" of "I Am Rastafari" as a bona fide GEM gets it started. Things head in the direction of social commentaries with 'Trouble on Jah Earth' and does so, again, with a very attractive simplicity. Mo writes a lot of his work in a way that is very matter-of-factly. He says things that may be opinionated but they're very difficult to disagree with or to find fault in. When you do something like that, it makes your music very easy to identify with and also, DELIGHTFULLY, allows your to do more things musically when you know the core of the work is so solid. 'Trouble on Jah Earth' is a fine example of that (and it also SOUNDS REALLY GOOD!). Next is the first sign of flames, in the form of highly infectious 'We See Dem Coming'. I never expected what would become of this tune as, following the fairly terrestrial beginning, 'We See Dem Coming' ascends into this... almost Dancehall type of delivery which dazzles. 

"So now you know wi nah go par wid dem

Wi nah go sit down, nah go reason, nah go blar wid dem

Wi nah go ride inna no van, inna no car wid dem

WI NAH GO CLOSE, WI NAH GO NEAR, WI NAH GO FAR WID DEM!

Wi nah go eat, wi nah go drink, wi nah go bar wid dem

No tek wi chalice, nor a spliff, wi nah waan draw wid dem

Inna no dance, inna no show, wi nah waan star wid dem

And if it was another day, wi woulda war wid dem!"

Call it a bit of SPICE while we're still warming up on "I Am Rastafari" but you don't see 'We See Dem Coming' coming (yep, that's what I'm sticking with) and it sneaks up on you in a FANTASTIC way. You have to bookend it, so also check out, fittingly, 'Deh See We Coming', which puts the listener on the opposite side of 'We See Dem Coming' which forecasts the coming of negativity. 'Deh See We Coming' sees POSITIVITY and RIGHTEOUSNESS in the offering and, unfortunately, some don't like that. 'Deh See We Coming' gets the language flip as well with Mo colourfully showing off something distinctly Dominican to fine display. Sandwiched in between the two Comings is, EASILY, one of the best songs on the entire album, 'Son of a Brave'. This fine creation takes several courses with, perhaps, the most prominent being the pride route. Harry Mo is directly and indirectly proud of his heritage ("indirectly" being even the perception of his ancestry. He's proud of how they are viewed) and it becomes crystal-clear here. The song also provides "I Am Rastafari" with one of its many signature lyrical punchlines to my ear:

"I am just the son of a runaway slave

Freedom songs in my head"

I took something GRAND from that. I don't know Harry Mo's story. I don't know his family. I don't know if he's the first musician or anything. That statement, to me, says that his work is, essentially, putting instrumentation and form to songs and ideas that have been in his bloodline for generation. THAT IS GORGEOUS and a powerful aspect to one of the most beautiful songs he has ever made that I've come across. 

In order to not end things on a low-point, I'll mention what I do NOT enjoy about "I Am Rastafari" here as it is, wholly, centered around just a couple of tracks, 'Running From Love' and 'Caught up in a Blight'. The former is... tough. I can hear a decent song in there but it's hard to overlook that it isn't the greatest delivery and there almost seems to be a disconnect between the vocals and the riddim (which is quite nice, actually). It just isn't very comfortable and such a trait is imperative when it comes to a love song, in my opinion. For its part, 'Caught up in a Blight' is much simpler - it just isn't very good. It's kind of a Hip Hoppish type of tune, featuring a rapper, Mundo (who I know nothing about), and it's really just not for me at all. I do appreciate people, on albums, making songs that change up the vibes and not always doing the same thing and this is definitely one of those instances, but they do not always work well. If you want something to steer you back in a nice course, definitely head in the direction of 'Push on Thru'. The riddim on this song...... it is a DIVINITY! It is a gift straight from the Most High! Sounding like he's singing right in front of a live band in recording this one, Harry Mo absolutely dazzles with a delivery on 'Push on Thru' which registers somewhere between singing and almost Spoken Word at times. What results is definitely one of the finest offerings that you will find on this album, altogether. And have I mentioned how nice that riddim is??! The very next selection following 'Push on Thru', 'Singing Songs for Jah', keeps the music here exquisite and adds to it a message that, once again, shines for its simplicity. 

"Who protect I for the night, wake me up this morning to see the light of a new day?

A Jah

Who bless I with love, strength and light - same one who always hear me when I pray?

Jah Jah

And who is gonna guide my steps, clear my way, trodding through this wicked babylon today?

Jah Jah

And who do I turn to when the wicked set their devices and traps and ah run dutty play?

A Jah

That's why I sing a song, I sing a song for Jah

I'm always singing songs and singing songs for Jah

Rastaman sing a song, come sing a song for Jah

We're always singing songs, we're singing songs for Jah

Who bless I with the most loving friends, bredrens and sistrens, blessed children?

Jah Jah

AND WHO SHOWER I WITH BLESSINGS SO BOUNTIFUL BADMIND COULDA NEVER COMPREHEND?

Jah Jah

And who expose the folly, show me the true friend from the frenemy dem?

Jah Jah 

NOT TODAY OR YESTERDAY, WE PRAISING JAH JAH FROM WAY BACK WHEN!"

'Singing Songs for Jah' is pure 'message music'. It is a vehicle to deliver a point and even with Roots music, as plain as that may sound, it isn't always the case and it can be refreshing, as it is here, when you come across it in its most 'primitive' form (and I mean that in a good way). I wasn't crazy about 'Running the Track' the first few times that I heard it (and I still wouldn't say that I LOVE it, even now) but it has grown on me somewhat, LARGELY due to the riddim. As is the case with several of the songs that we've discussed from "I Am Rastafari", the musicianship on 'Running The Track' is soaring. This one, in particular ( at least to me) has an almost... 1980's sound to it?? There's something very old-school 'flashy' to its delivery but that riddim behind is TIMELESS and Harry Mo uses it for a solid moment but one which might require more effort on the part of the listener full absorb. The vocals on 'Burning Bridges' aren't the greatest (not in terms of how they're sung but as far as how they're recorded) but that is my sole complaint about that tune. This song has a very fascinating aspect to it because, on one hand, it has an element of being exactly what you think it is from its title -- don't burn your bridges; be careful how you treat people, because you may need them in the future -- but on the other it MOST CERTAINLY DOES NOT.

"What if it's gonna take you to a place named Malice, near the Vampire Palace?

I say let it burn to the ground..."

Some bridges are not only useless but their existence is a negative thing. In a more applicable/tangible setting (presuming there is no bridge from your neighbourhood to the Vampire Palace) (if there is then you can just ignore this part here) - if there is someone in your life who you have some type of connection to but they're negative people and they bring no good to your life, let it go! If you're working a job that you hate and it's draining your happiness, you find a new job! Things like that, I think, are examples of burning bridges in a good way and I think that's the very powerful sentiment behind this very interesting take on 'Burning Bridges'. There's the downright hypnotic 'Work to Do', which finds the singer lacing up his boots, rolling up his sleeves and getting down to business. It also comes with this excellent.... almost rapping style just to change things up, but it's also very melodic and very pleasing to hear. On top of that, Mo's form of work to be done is a general one, from doing a better job in raising children, to helping those who're down on their luck and struggling and doing better in spreading the word of Rastafari, Harry Mo is ready for it all and, hopefully, we are as well after hearing 'Work to Do'. Finally, unsurprisingly the album ends with the nyah drum heavy CHANT 'Do Good' (this used to be a fairly active practice on albums, if I recall correctly). 'Do Good' is not only LOVELY and expected, for what it is, it is a fantastic way to end an album like (and titled) "I Am Rastafari", sending the listener out with a very special and upful feeling going forward. 

Okay, something I really would like to mention in regard to this album because I find myself being more and more critical of it in regards to other projects we review: "I Am Rastafari" is very FULL. It's very satisfying. With its thirteen tunes topping out at nearly fifty-eight minutes (by my surely incorrect math), that puts an average song as nearly four and a half minutes long which is LOVELY! Part of the reason, in practice, why this is the case is because Mo and company definitely give their MUSIC an opportunity to shine and they should. They often give these nice stretches of instrumental or extended choruses to really add to the complete experience of enjoying the album and that is a wonderful touch and one which, again, stresses and highlights a legitimate strength of the release.

Overall, "I Am Rastafari", for the most part, is just a simple and excellent display of what Harry Mo does best as an artist, in my opinion. While it isn't the most challenging of listens, it also isn't one that I think is going to leap out at the newer fans but at the same time it won't be totally tucked away from them as well (the music here would be appreciated by absolutely anyone in my opinion). "I Am Rastafari" well follows into the line of quality set by its at least solid predecessors  and is precisely what I, as a longtime fan, hoped it would be. Harry Mo is someone who I consider myself lucky for having stumbled upon when I did (whenever that was, exactly). His music has found a home in my rotations and DID NOT CHANGE AT ALL during our time away. 

Rated: 4.25/5

Yellow Moon Records

2020

What I'm Listening To: November

"Back To Africa" by Harry Mo [Yellow Hill Music - 2008]

Definitely first up this week is one of a couple of albums which I've well gone back to take another listen to following the most recent release from the delightful Achis Reggae favourite, Harry Mo, "Roots & Lovers" (in stores now). One of those was his third piece, "On My Way", but just ahead of that was a bona fide classic around here and THE record which made a fan out of me, "Back To Africa". I had not heard it in awhile and such an album is always nice to dig up and go through and, immediately when I heard it again, one thing went through my mind: 

"I feel a breeze!

Cause I've got Jah - in my life"

That song, 'Jah In My Life' was placed alongside a whole heap of other terrific efforts such as the title track, 'Raging Storm’ [BOOM!], 'Mystic Man', 'Ithiopia' [BOOM AGAIN!] [WHAT!], 'St. Croix Rock', 'My Pride'… really I could mention every tune on the album. "Back To Africa" was golden and one of the best albums I've ever heard and six years have done absolutely nothing but highlighted this fact. Mandatory. 

CD + Digital

"Ten Strings" by Tuff Lion [I Grade Records - 2008]

The second (with another to come) modern classic which has also recently popped back up on my radars, largely due to the same album, I've wonderfully been back on the "Ten Strings" set which was and remains the opus of the most incomparable Tuff Lion, via I Grade Records. Every time I hear this album one major thing that goes through my mind is that how it is now more than six years old and both the Lion and IGR have continued to make amazing music since… wouldn't it be SO nice to have sequel to this one. I do love when Tuff Lion sings but his guitar is one of the strongest Reggae music has ever seen and IGR, particularly alongside The Zion I Kings these days have continued to turn out amazing tracks which I'd love to hear him take on. They did give us a SWEET taste of it just last year with the Songbird Riddim and more would be a lovely thing. Until then, however, there is "Ten Strings" to enjoy and enjoy and enjoy. These days it is a trio of selections which have grabbed most of my attention. 'Love Is All' is one I will always love because I always hear it and begin to sing NiyoRah's song on the same riddim in my head. And there's also 'Fly Away' - TEARS! TEARS! TEARS! And 'Coming Home' which does all types of things to my emotions and I love them all. "Ten Strings" was fully divine from beginning to end and, again, a true classic. 

CD + Digital

"Journey To Jah" by Gentleman [Four Music Productions - 2002]

And speaking of true classics - it was another one, "Confidence", along with a new live set (which I should really think about reviewing), which has drawn me back in the direction of another landmark set, "Journey To Jah" from German Reggae supernova, Gentleman. This album was in a class of its own and has definitely gone on to become one of the most crucial European Reggae sets in… forever! An album which has continued to grow through the years (and I talk so much about forgotten albums, this would be the exact opposite of one of those), "Journey To Jah" remains one of the most popular from the downright inescapable Gentleman and with great reason: It was fantastic! Songs like 'Dem Gone', 'Leave Us Alone' ["everything we build up, dem waan trample down"], 'See Dem Coming' 'Jah Ina Yuh Life' and, of course, 'Runaway' still stand out brightly as does the fact that the album featured contributions from the likes of Capleton, Bounty Killer, Junior Kelly, Luciano & Mikey General and Morgan Heritage - just to name a few. DAMN! 

CD + Digital

"Jah" by Iwan [Gideon Music - 2014]

I'm also definitely paying a whole heap of attention to the recently released third album from Ghanaian veteran, Iwan, the simply titled "Jah". Iwan is someone who has certainly done some big, big works in the past and although I admit that I haven't given the biggest notice to his work, "Jah", as a project, is the finest material that I've heard from him to date. And, obviously, it's a piece I'm still working on. There're some really heavy songs on "Jah" and I've paid particularly close attention to tracks such as 'Rastafari Rising', the stirring 'Gideon Boot', 'Food Is Medicine' (which rides a cut of the old Liberation Riddim (which you know as having backed Capleton's classic 'Jah Jah City'), 'Face of Jah', 'Chant A Psalm' and others. It's really turning out to be a very solid project and one you should definitely have a listen to if you favour modern Roots Reggae music… and you wouldn't be reading this if you didn't, so pick it up. 

CD + Digital

"Zion Awake" by Luciano [JamStyle Records - 2014]

Finally is yet another new album this year from the legendary 'Messenjah', Luciano (three albums for Iwan altogether, three in about half a year for Luciano) who has quietly had a pretty good 2014. His latest release, "Zion Awake" is kind of a 'blast from the past' as, at least as far as I can tell, it is a compilation of older tunes, some of which may even date back to the nineties. The set is put  together by JamStyle Records and who is the executive producer??? Homer Harris. While this may not be Luciano's best album (it isn't), it's still a pretty nice piece and it's of an age where you can hear like subtle differences in certain sounds (including Luciano's voice at times) which, curiously, kind of gives it a very fresh type of vibes and you know that Luciano at 75% is considerably better than most of his peers at 100%. A very decent album and an interesting listen. Check it out today.

CD + Digital

'In Special Places': A review of "Roots & Lovers" by Harry Mo

Keep it coming. Whether you realize it and appreciate it or not, a very large part about being a [good] music fan is being able to make emotional attachments. Those links are what make looking forward to something -- be it an album, a new song or a performance -- nearly indescribably exciting at times. They are also what make lifelong fans out of people and, in many cases, you end up growing up from a child into an adult and are still just as passionately following the music of particular individuals who you may have never met at all but they exist as a relatively large part of your life. Certain songs and even certain sounds and voices remind you of a particular stage of your life and help to add 'colour' to moments as well. Personally, of course, I make these attachments as well and today we're dealing with one who, indirectly, tends to remind me of just how much I've changed as I've gotten older. Other people do this as well, with the most noted figures likely (and coincidentally) being Ras Batch and Midnite. The former makes a brand of Roots Reggae which I maintain is simply ahead of its time and though I was a fan when I was a younger person, these days, Batch is probably somewhere in my top five musicians going today and is never too far from such a list. In the case of Midnite, it hasn't been as firm -- 'they' have thousands of fans more passionate than I am -- but as I have gotten older, I've 'inherited' the experience to be able to appreciate the journey to comprehension of their music which has, obviously (I think I've probably written more about Midnite than anyone else), brought a whole heap of satisfaction. In both of those cases, just becoming more of an educated person as well as someone who has more familiarity in dealing with life (I hesitate to use the word 'maturity' because I know that I still have a very far way to go) has helped me in a major way to hear, with a 'new' ear, some of the best music I have ever heard. I also equate others such as Mark Wonder, Glen Washington, Tuff Lion (more on him later) and Yami Bolo (via GIANT album, "Rebelution") with that moment I had just noticed that my tastes as a fan were developing. The Dominica born, St. Croix based Harry Mo is someone else who has really helped me realize the change and though I consider myself the world's oldest thirty-three year old (sometimes I feel like I'm in my late nineties), I am fortunate that I ran into his work when I did. 

"Back To Africa" [2008]

Why is that? It was years ago that I picked up a copy of what I Harry Mo's debut album, "Runaway Slave" and though it would not resonate with me in a way in which his later work would, it would DEFINITELY set the stage for what was to come. "What was to come", exactly, was simply one of the strongest albums that I have ever heard from anyone at any time, Mo's 2008 opus, "Back To Africa". This would arrive at a point where the changing of my tastes was in its nascence and it made a fan out of me! That album was a straight-forward and absolutely BEAUTIFUL piece. And it was really a blessing because, again, had it come any earlier, it may not have resonated with me as much and because Harry Mo is not a name you see attached to every riddim. Instead, he loads and stocks up for his album releases and had "Back To Africa" reached any earlier, in my youth I would have almost surely missed out on the true power of not only one of the best albums I've heard but also one which has personally helped me through a lot of bad times.

"On My Way" [2012]

And it did not stop at "Runaway Slave" and "Back To Africa". Just a couple of years back now, Harry Mo would bring forth his sensational third album, "On My Way". That album was, in retrospect, my first opportunity to 'try out' being a fan of Harry Mo's and while, if I recall correctly, it didn't have much of a build-up (by the time we knew about it, it had already been released), it was an album which was wholly what I had hoped for and, as you can see, I'm still a fan! "On My Way" was crucial and listening to it today for the first time in a minute, I'm still stuck on songs such as the title track, 'Selassie I Name', 'Creator' alongside Army and so many more. So, with as strong as 2014 has been for Reggae albums… why not have another new one from Harry Mo. Even within the scope of Virgin Islands Reggae, we've already had a pair of VERY strong releases from Pressure Busspipe and Midnite (two from both!), it has been outstanding and it's looking even brighter as Harry Mo brings forth his FOURTH album to date, "Roots & Lovers". This was another situation where we had no idea that Harry Mo was hard at work on a new project but in a week where we also get new sets from the likes of Norris Man (who, obviously, CANNOT stop making albums) and Lady Saw, "Roots & Lovers" comes as a wonderful surprised and I'm not complaining about it at all. If you are not familiar with the work of Harry Mo, what I will say that is that his music is very mature and very straightforward. And I have to explain that just a bit - it is a colourful and vibrant brand of Roots Reggae. If you do enjoy the genre, I'm going to have a very difficult time listening to an argument about how you don't like the music of Harry Mo. By comparison, in many ways he does remind me of someone else who I always look forward to hearing from, the great Ossie Dellimore from out of St. Vincent (would love a new album from him as well) as both make music in a very intelligent and clear-cut manner and when at their best, which is almost every time, they SHINE! And as his past would portend, "Roots & Lovers" is another sterling release from someone who I don't know if he could disappoint, even if he tried to. Let's talk about it. 

Two things really stood out in regards to this album even prior to listening to it. First of all, just like its predecessors, the new release comes via Harry Mo's own Yellow Hill Music. I don't know the label from doing anything else besides his music but, in listening to his work, I can't help but to hope that at some point in the future they begin to take some of these amazing tracks and invite more vocalists on them because in four albums now, they've made some STUNNING backdrops. In addition to that, handling production duties alongside Harry Mo here is the esteemed Dion Hopkins from Midnite fame and what you hear here, unsurprisingly, is an exceptionally produced and arranged set. Also, as I said, Harry Mo's music is "straightforward" and "clear-cut" and with the record being named what it is, you know PRECISELY what to expect. Harry Mo's new and fourth album, "Roots & Lovers" is a mixture of… modern Roots tracks and love songs. And while I hesitate to throw out a phrase such as 'concept album', I suppose that is what this set is. It's also fantastic and that becomes apparent from the very first song on the album, the gorgeous 'His Majesty's Palace'. This song and a few others carried here features the handiwork of the aforementioned and most incomparable Tuff Lion and, as expected, both he and Harry Mo shine. This song, for me, struck me really nicely as what it kind of comes through in a doubled style. On one hand, it is about a trip Harry Mo took to Ethiopia and everything that he saw and how much joy it gave him. Also, however, it could be considered autobiographical in terms of really being about someone's journey to realizing that Rastafari was the path of life for them! You can hear a smile on his face as he sings this piece and he talks about how it made him feel and how he wanted to tell everyone he could just how powerful it was. An amazing start and one which also put a smile on my face (it's a new Harry Mo album!) [WHAT!] [BOOM!]. Things get really nice and serene as the second tune, 'What You Gonna Do' rolls in. This one is a social commentary aimed at the powers that be asking what they are going to do to improve the condition of life in the world ["What is your aimed, we're feeing the pain"] and it is backed by one of the nicest riddims on the whole of this album. It is a standout for me here and I'm sure that I won't be the only one of that opinion. The next two selections from "Roots & Lovers" go towards the lovers side of things and the first of them, 'Baby Don't Go' is golden.

"Baby don't go, when are you coming home?

For it's the fifth time now this year, I'm going to be alone"

Harry Mo deals with, what I imagine, is a very real problem for the nomadic life of a musician, having to leave their love ones with not a whole heap of prior knowledge and, in the process, turns the situation into one sweet tune. The other offering, 'Don't Want To Love Again', also has a golden composition around it (with the work of the Tuff Lion) and it is one of a pair of combinations from "Roots & Lovers", this one featuring Harry Mo alongside the lovely (and very easy-to-look-at) Cherise King. The two perform a fully Reggae-fied duet style of a tune which is definitely not to be missed and biggup King who, when she forces it, demonstrates one of the more underrated voices in the entire genre.

Though the "Roots" of "Roots & Lovers" dominates, Harry Mo does give us three more top-notch love song throughout the remainder of the album. The first of them, EASILY, is amongst my very favourite songs on this album, 'Keep It Coming'. This song is one really just celebrating a nice relationship and, at least for me (as an over-thinker), it is a composition about appreciating the good times and noticing when you are loved and have it well before trying to change or reorganize something. Later on we get the most wonderfully familiar 'Love You Bad'. When I heard this song for the first time, I knew I had heard something about it previously and that was ultimately traced back to the "On My Way" album which ended on a piece called 'Mama Dominica'. I loved the vibes on that song as it had a particularly different sound than most of the other work on that album and the same could be said in this case. And right after that is another 'love song’, this one of a different type and featuring Dutch artist, Kenny Weed, 'Bring Back Love' . This one is about spreading love throughout the world and though, certainly, such a song is generally given more to the Roots spectrum, the way this one is set, in my opinion, it's a little bit of both. It's also DAMN NICE to your ears and Kenny Weed turns in a very nice effort as well. 

"Love has run out of this world

RIGHT HERE, IN THE HILLS OF ST. CROIX, WE'RE GOING TO LAUNCH ATTACK!

Remember when we used to love it up?

Sit down and cool and just ah bun it up

Under the moon the pot ah bubble up

Now pure gunshot come mash it up"

"Roots & Lovers" dazzles even more on its Roots side as, along with its first two selections, it provides the listeners with some giant moments on that side as well. One of them should well be considered 'Go Far Away'. This is an excellent record about spreading the music and the message of His Majesty to any and every corner of the world where the people want to hear it. This was another song that really put a smile on my face and you REALLY need to tune it in, especially in its latter stages, to hear the Tuff Lion do what he does best on that legendary guitar (… though he's also a very nice singer). BOOM! 'Feeling High' is the ganja song from "Roots & Lovers" and it has somewhat of unusual sound to it. This is kind of a Spoken Word type of selection. Harry Mo does his traditional vocals at times but it really seems as if the riddim played and, spontaneously, 'Feeling High' is what emerged. 'Easy Yout Man', the album's longest track, has a very subtle but golden old-school type of vibes coming from it with an almost Peter Tosh-esque intro as well. This one is, as its title suggests, is about calming down the mentality of certain youths (and older people as well) with the hot temper who don't stop and think about their actions before acting. Mo provides an alternative, Rastafari, to be considered on another song which very much has a kind of a loose style around it. This one, to my opinion, is very strong and it is still growing on me. 'In Jah Time' is also experiencing a similar growth on my affections as well (though it's starting out on a higher level). This is a powerful tune about PATIENCE! Essentially Harry Mo says that whatever is coming to you, good or bad, is coming when it is coming! You cannot choose when it arrives, it reaches in Jah time (and biggup Cherise King once again, who glows as a backup vocalist on this song). 

"You see, a year is like a day in the sight of Jah

So when you think it's far away, to Jah it's not so far"

The final two offerings on "Roots & Lovers", along with its opener, really represent the class of this album and help to outline what I think is its lasting signature. The first of them 'Jah Alone', is about asking for forgiveness when you've done wrong and I also think that the point that Harry Mo was ultimately attempting to make was in letting things go, in general. So many people (including myself) have accrued regrets and complaints which can weigh us down at times and I think Harry Mo was, directly, speaking to those moments when you find yourself wholly confounded and HALTED in life by something that happened like a decade ago or something like that. It is a very relatable set of circumstances and I'm happy he dealt with in a song like this which only gets better every time you hear it. Finally (this review will probably end up north of 2800 words but it was so easy to write), is my favourite song on "Roots & Lovers" and one which IMMEDIATELY became one of the best songs that I have ever heard from Harry Mo. TEARS! 'Rastafari Chant'… made me cry. That's the best way that I can put it. I heard a clip of the tune and it pulled at emotions and when I heard the full piece, it YANKED them! But it was a great cry (crying for being happy is something you need in your life at least once or twice every week in my opinion) and one which I'm sure I'll be repeating years and years from now after listening through a song like this one. It is exactly what its title says that it is and it is one of the best songs I've ever heard from Harry Mo as he puts a beautiful bow around his fourth album. 

Overall, when you actually open the rest of that package, you'll love what you find. As I said, I don't know how you, as a fan of Roots Reggae (newer fans as well but particularly more experienced ones), could find something about this album, or any of the three that Harry Mo has done to date, which you do not like. You may not LOVE every song (and that's fine) but he makes music of an ilk which is such a wonderful display of the genre and it is very positive and uplifting and I can tell you from nothing but experience, if you continue to listen to his music, the next time Harry Mo releases an album, you will make that connection to quality and it’ll be a GIANT deal for you. So while I may lament getting older in many aspects (I recently discovered that I had a back, never knew that before), one which brings me no problems at all is being able to fully appreciate an album like "Roots & Lovers" and all of the beautiful others from someone whose name I always look forward to seeing, Harry Mo. Very well done.

Rated: 4.25/5

Yellow Hill Music

2014

CD + Digital

Review #532

Completely Random on 2012!

Congratulations! We've all made it to 2013! Today we say goodbye to the madness that was last year in a typically ridiculous style. Hopefully 2013 proves to be even stronger.... and for you it really can only get better than today. Look at what you're spending your time reading! Rubbish! A random and surely awful and inaccurate look back at one of the best musical years in recent memory - 2012. 

The Artists

Reggae/Dancehall Artist of The Year

I-Octane 

Female Reggae/Dancehall Artist of The Year

Spice

Comeback Artist of The Year

Bambú Station

Surprise Artist of The Year

Anthony Que

Singer of The Year

Romain Virgo 

Elder Artist of The Year

Jimmy Cliff

New Artist of The Year

Tommy Lee

Underrated Artist of The Year Male

Aidonia

Underrated Artist of The Year Female

Irie Love

European Artist of The Year

Ziggi Recado 

VI Reggae Artist of The Year

Ras Batch

Afrikan Reggae Artist of The Year

The Nazarenes

FWI/French Artist of The Year

Admiral T

Lyricist of The Year

Busy Signal [pictured]

Soca Artist of The Year

Machel Montano

Female Soca Artist of The Year

Destra Garcia

Underrated Soca Artist of The Year

Fya Empress

Zouk Artist of The Year

Lindsey Lin's

Commercial Artist of The Year

Sean Paul

Most Controversial Artist of The Year

Tommy Lee

About To Be Great Male

Kabaka Pyramid

About To Be Great Female

Reemah

Make More Songs in 2013! Male

Ras Shiloh

Make More Songs in 2013! Female

Sistah Joyce

Most Consistent Artist of The Year

Vaughn Benjamin

Duo of The Year

Sara Lugo & Kabaka Pyramid

The Producers & Labels

Producer of The Year

Stephen McGregor [pictured]

Riddim of The Year

The Moving Riddim [Di Genius Records]

Label of The Year

Di Genius Records

European Label of The Year

Oneness Records

US Label of The Year

I Dwell Records & Dynasty Records

Surprise Label of The Year

ReggaeLand Productions

Active Label of The Year

ReggaeLand Productions

New Label of The Year

Flash Hit Records

About to Be Great

Jah Light Records

The Albums

Reggae/Dancehall Album of The Year

coming soon

Reggae/Dancehall Compilation Album of The Year

"Jah Golden Throne" [Zion High Productions]

Riddim Album of The Year

The ReggaeVille Riddim [Oneness Records]

Soca Album of The Year

"iSpaniard" by Bunji Garlin

Zouk Album of The Year

"Dé Not Kréyol" by Lindsey Lin's

Reggae EP of The Year

"Liberation 2.0" by Ziggi Recado

Album Title of The Year

"In Awe" by Midnite

Album Concept of The Year

"Sweet Jamaica" by Mr. Vegas

Worst Promoted Good Album

"Truly" by Lutan Fyah

Album Cover of The Year

"30" by Lloyd Brown [pictured]

'Cool' Album of The Year

"Mecoustic" by Tarrus Riley

Most Fun Reggae/Dancehall Album of The Year

"The Laboratory" by Da Professor

Random!

Best Song of The Year

'Dem Vex' by Jah Marnyah

Most Beautiful

Stevy Mahy [pictured]

Looking Good

Leylani

Best Video of 2012

'Gangsta' by Admiral T

Reggae WebSite[s] of The Year

ReggaeVille.com & UnitedReggae.com

Nicest Artist [to us] of The Year

Harry Mo

Who apparently thanks us [!] in the liners for his new album "On My Way" [in stores now]

Verse of The Year

Verse #2 from 'Fire Ball' by Busy Signal

"Trace dem a trace cah chatty mouth dem

Time dem ah waste, wi no matta bout dem

Coulda neva keep none badmind friend, weh ah pree my money, every dollar mi spend

God nah sleep

HIM ah peep pon dem

All wicked deed dem, mi ah fyah bun dem

Nuff a dem ah discriminate Black

End up inna roadblock

Detour gone inna dem end

Well nuff nah go deh deh when Jah Jah role call

Like Gibraltar Rock, so mi standing tall

Dem ah bawl

Dem ah fall

Dem ah crawl

Nuff no memba Jah til dem back ‘gainst the wall

No burn bridges behind you, you will stall

So mi bun badmind and bun dutty heart and slew dem all!"

The Vaughn Benjamin Award of Multiple Releases

Norris Man

Grrrr!

'Born 2 Mash-Up' by Superman HD & Mr. Killa

Happy to See You In 2012

Cocoa Tea

Worst Idea of The Year

Sizzla .vs. Khago and its 900 terrible songs

Best Idea We Had 2012

"Discography"

Most Ridiculous Post of The Year

"Discography: Riddim Driven"

The Minister of Defense

Sara Lugo

The Foreman of The Cannabis Factory

Jah Marnyah

Cannot Stop Listening!

'My Chronic' by Perfect Giddimani

Reader of The Year

Nat

Blog Reader of The Year

Cassruby

Last Song I Listened To

'Bun Up' by Chuck Fenda

Last Album I Listened To

"Meditation Time" by Anthony Que

Athlete of The Year

Nicholas Walters

Person of The Year

Bredz

Happy New Year!

Rewind!: "On My Way" by Harry Mo

"On My Way" by Harry Mo [Yellow Hill Music - 2012]

Today we continue our look back at what was such a wonderful 2012 in terms of Reggae album releases by going in the direction of someone who I can fully say is one of my absolute most favourite artists going to day, the always impressive Harry Mo. Mo is always such an interesting 'stop' along our journey and for many different reasons. One of the biggest is, and although this is changing as I see him becoming more and more popular - I always wonder if other people who are hearing his often amazing music is receiving it the same way I am. To my opinion, although he isn't amongst the most active of names, when he does bring new material, the Dominica born outstanding vocalist has as much to offer fans of Roots Reggae as almost anyone in the genre. For me, he fits very, very well alongside the likes of Mark Wonder, Mikey General and Yami Bolo whose, respective, straight-forward brands of Roots music I also love so much. To me, his music is divine and I so look forward to his offerings. In 2012, he didn't disappoint with is third studio album to date and his very first from 2008's Modern Classic set, "Back To Africa". The album didn't get the recognition that I felt it deserved, which was not surprising (his first two haven't either), but as you can see, we're still listening to it and if you have yet to pick it up, here is another reason why you should as we REWIND! "On My Way" by Harry Mo.

#1. 'Freedom City'

Straight-forward Roots Reggae music. Unapologetic. Unwavering. Completely set and confident. All of those terms well apply, in general, to the huge majority of the music of Harry Mo, but that's particularly true in the case of the opener of "On My Way", 'Freedom City'. About six months on now and what stands out here is just how wonderfully and cleverly this tune was arranged. What Mo seems to do, basically, is to warn the masses to avoid the nasty and dirty and unrighteous aspects life and the system we live in, because they can lead to a loss of one's freedom - but on top of that he also wants us to prosper in our freedom as well. Freedom is a great thing, but it is even greater when you actually do something with it. I love this song and it was and remains one of the signature moments from this album.

#2. 'On My Way'

Speaking of signature moments. The album's title track remains on a short list of songs which are amongst the very best that I've heard from anyone this year. I remember the first time I heard this album and this tune, it was HARD [!] continuing on. I instantly loved the track and it became a very healthy amount of time before track #3 popped up on my radars. Nowadays, out of the many things and routes I've taken this repatriation piece in, one thing so sublimely stands out to my ears.

"Waan be close to His Majesty's throne!"

Out of all of the brilliant and poignant moments in this song, that's the one which sticks out. Going beyond, I relate it, nearly entirely, to the aforementioned "Back To Africa" album. When I really dug into that project, what I came away with was that Mo's idea of "Africa" was both a physical and mental place. He was speaking of taking oneself, one's body, to a new location and he was also speaking of making sure one's mind was going as well and I won't go to that level of detail for "On My Way" (because this is something different), but this one line steered me in that direction because the throne of His Imperial Majesty, of course, is a tangible thing, but it is also a spiritual destination as well and in being "close" to it, obviously that gives one such a profound state of being again - physically and mentally. This song is magic and it's grown to become my new favourite on the album named after it. Excellence.

#3. 'Sunny Day'

'Sunny Day' is definitely a fun song and when I first reviewed it, I mentioned as much, but I'd like to cover just a bit of what I think its intentions were. First of all, it clearly was meant to make you feel good and, as I always say, there is a sure quality in that. If you can make a song which makes me happy… I don't even care what you say in it really, but thankfully here the message is big as well. What I take from the idea here is having big expectations in life. I would also say that Mo is saying to "aim high" and really just be humble, but confident in yourself as well. The song, by its nature, is somewhat light, but for everyone who was fortunate enough to hear and enjoy it, I really do hope you don't neglect what is being said.

"Sunny day!

What have you got for me today?

Sunny day!

Somethings good coming my way"

#4. 'Selassie I Name'

Next is one of the best and truly most POWERFUL selections "On My Way", 'Selassie I Name', which is just 'message-music' in its purest sense. Here, Harry Mo takes a look at all of those who, seemingly randomly call out Rastafari, but whose actions call out something of a far different origin. Doing so, they've brought dishonour and "shame" to the image (and ONLY the image) of Rastafari. It isn't a topic which has gone completely unexamined, but I don't know if I've heard a song specifically on this subject which was so well created. Oh and it sounds fantastic as well. It is a very sonically pleasing modern Roots Reggae song.

#5. 'Silence The Violence'

The direction of 'Silence The Violence' is pretty much comprehended from the title alone (at least I HOPE that it is), so I don't feel that I have to go there in this instance, but what I will say is how impressed I am about how well this song is 'performed' and 'displayed'. Too many times I hear artists sing about something that, at least presumably would bring out some type of emotion --whichever it is-- and it comes through like they're basically talking or singing or doing what they normally do. That's not what happens here. From the presence of the song as well as his delivery, you KNOW that violence deeply affects Harry Mo and he's well tired of it now. Listen to this one and take into account everything you hear to fully appreciate it.

#6. ‘Shine Your Light'

'Shine Your Light' is another tune which I feel doesn't require a great deal of interpretation (although I'm going to do it just a bit, anyway), but it too has a very large presence around it as well. The notion of 'shine your light', at least in my opinion, is Mo's way of telling us to make a contribution to the world. What that "contribution" is, exactly, varies from person to person and I think this song is one big celebration of that. Your "LIGHT", ultimately, is what you do well. Whatever that is, if you sing songs, if you write ridiculously long reviews and articles or if you play a sport, DO IT! Make your contribution and at least make an attempt to "make a difference in life".

#7. 'Creator' featuring Army

Until recently when I so much fell into the title track of "On My Way", the massive praising tune, 'Creator', was my single favourite song on this album. On paper, the initial attention to this song comes as it is actually a combination featuring Harry Mo alongside the most venerable Ras Army (I'm going to require a new Army album in 2013) (thank you), which is definitely a major occurrence. When you actually get to the song, however, that attention shifts to the fact that is just an amazing song!

"Jah mek the sun fi rule by day

And still the moon fi rule by night

All you've got to do, is show your brothers love"

The song is about how much His Imperial Majesty has done for us and how little HE asks in return. And when it pinnacles, it becomes this magnificent journey of a song which… is just WRONG to miss out on. I love  this song.

#8. 'One Race World'

"As we celebrate HUMANITY

And show love and everyone that Jah create

Jah seh:

I am the vine and you are the branches

Abide in me and I'll abide in you

Yet still we heed all those evil voices of hatred and greed and envy too

We live our lives, we take the chances

We've all got our burdens to bear

But mind your words and activities and remember who brought you here!" 

A "celebration of humanity" is a perfect way to describe this one. 'One Race World' is a highlight here and it is one with a flare and one which I would think would have a serious amount of 'hit-potential', if it ever got the opportunity.

#9. 'Pray For Love'

There's just something very attention-grabbing about 'Pray For Love' and if you've ever heard it, I don't think I'd have to explain why. Here is a song which is VERY simple in its approach (and probably its sound as well, although that sound is very large) - Harry Mo just wants everyone here (on the planet) to do better. To live up to higher standards which isn't a difficult thing at all. I hesitate to call the song a 'changeup', although it is in some aspects and it also offers one of the most memorable SOUNDS on the album.

#10. 'No Love For Us'

The jovial and bouncing social commentary 'No Love For Us' is also likely to grab your interest because of its sound as well.

"See those misleaders, they're misleading us

Deleting our resources and they're causing us to fuss

They don't know dem type the Rasta do not trust

Smile in your face and then will push you under bus

Sell dem soul to secret society

And then come tell wi that they care bout wi

We're gonna say it cause its what we see:

They got no love for the people"

As you can (hopefully) see, however, it's also very crucial lyrically as well. Don't miss this one.

#11. 'Get Up'

'Get Up', by its own admission, is the 'dance song' "On My Way" and that's fine. The most interesting feature of this tune, as I said in the review, is that while it is a song which says to dance and enjoy yourself doing it, it's also a song which says to do so BECAUSE you've already taken care of your responsibilities. If you have hungry babies, don't dance yet. Feed them and then:

"Get up, get up, get up

Get up and dance"

#12. 'Rebel Music'

Harry Mo stirs it up next with 'Rebel Music' which isn't a 'dance song' like its predecessor, but is directly related to it in my opinion. This selection is one exists to celebrate Reggae music and, again, what Mo seems to say is that after you've done what you are supposed to do - have fun! Listen to Reggae music. Sing it!. Dance. Do whatever you like and get some inspiration for the rest of your life in the process. A sweet, sweet song!

"You si wi de yah Rocky Mountain High, rocking to sweet rebel music

Our feel is good and our mood is right, nice vibes we dot want to lose it

Hit me hard inna one-drop style

Dubwise and my Dancehall gone clear

That lyric droppin inna cultural style, like the vibes from the one Burning Spear"

#13. 'Mama Dominica'

And finally was 'Mama Dominica' which was a musical tribute from Harry Mo to Dominica. Looking back, the nature of this tune wasn't so dramatically musically diverse (although it was very unique), but Mo crafted a special blend of lyrics for the tune which would feature him switching between English and Kreyol, which is an excellent fitting feature on a song for Dominica.

I'm thinking of drawing a comparison from Harry Mo to another artist who has had such a fine year in 2012 - Ras Batch. While I won't go so far as to proclaim Mo "ahead of his time" as I have Batch in the past (and he is), I am picturing a time in the future (hopefully not too distant) when this man's music becomes so greatly appreciated amongst such a large portion of fans of the genre. I think it's on its way and I'm looking forward to being around to see it, as well as being able to appreciate what he brings in the future as well. Until then, you'll still find me shouting the praises of such a strong and constantly impressive artist in Harry Mo who continued his fine ways this year with a new GIANT album. So, if you haven't already, you still have time before random people begin making fun of you for not doing so - go and pick up the latest project from the great Harry Mo, "On My Way".

See Original Review

'Not Going Alone': A review of "On My Way" by Harry Mo

I'll be waiting for you! Have you ever had a strong emotional reaction to something and wondered if everyone or even anyone else shared your experience? Listening to as much music as I do, this is almost a daily occurrence for me. Either I'll REALLY like something or just as strongly dislike it and I'm wondering if anyone else is going to agree with me or if I've just LOST IT! Although there are surely times when the latter situation seems more likely, the former has been the case more often than not and because of that, it's allowed me to so much enjoy a great deal of this wonderful music. I can remember from back just a couple of years ago now in the case of Toussaint with his stunningly beautiful album, "Black Gold". The more and more I listened to that project (and still listen to it these days), the more I became convinced that we were dealing with something special and, as it turns out, we were. Today, Toussaint is easily one of my favourite artists. His is an unusual example, ultimately, because his music has a 'built-in' fascination in it - being a Soul singer singing Roots Reggae - but what I find is even more interesting than that is when I get such a heavy feeling for an artist or an album (or both in this case) who/which is COMPLETELY within the spectrum of the music. Over the past few years we've seen several instances of this, but definitely one which stands out so brightly is a little album released about four years ago now by the name of "Back To Africa" by a singer originally from out of Dominica, but now based in St. Croix, Harry Mo. Before I even get to why that album was, and still is, so crucial, I can remember just seeing the cover for it and seeing the title of the album and reading the tracklist and just getting a feeling that it was going to be an amazing record and despite such lofty expectations, it still managed to impress when I finally got my hands on it. This came after a first album from the vocalist, "Runaway Slave", which while wholly solid and just a very well done set, didn't get my mind to thinking that HERE was someone who, in just a few years' time, would manage to drop one of the single finest albums that I'd ever heard from anyone. 

Now if you do something like that, you've got my passion and you've got my loyalty and I don't really even care if anyone else agrees with me. (although I do still wonder). So what was so special about "Back To Africa"??? Looking back on it, and really just enjoying that I have such a wonderful reason to go back and listen now, what I'm left thinking about the project and of Harry Mo is that both just exhibited such a great FEEL of Reggae music. Also, when we went back and declare it a Modern Classic, and had the opportunity to break it down in a great detail, I was also really proud of just how well the album stood up to that type of scrutiny and I can fully say that these days, four years after its release, I hold "Back To Africa" in just as high esteem as I ever have. 

"Runaway Slave" [2003] & "Back To Africa" [2008]

Surely anyone who heard that album and appreciated the genre of music would agree that it was at least solid, but I don't know if too many people took it to the level that I did (certainly not in writing a 2500+ word review, although if you want to do that, I'd LOVE to read it). That was just such a POWERFUL moment for me and one which stayed mighty enough to do something else today. Like what? Like reintroduce to Mr. Harry Mo who now returns to the masses with his sterling brand new and third LP to date, "On My Way".  I had not the slightest of indications that this album was even on its way (did you see that?) or anything and it did come as such a grand surprise when my Brother-In-Law (biggup Bredz) tells me that Harry Mo is back with a big new album! I don't know much about this album's foundation, although it does come on the same Yellow Hill Music imprint as its two elder siblings and, just like its most immediate, I was really expecting something big here, but with the change being based on merit this time around not just a great hint I had. Previously, Harry Mo has worked with fine musicians such as the I Grade Records camp and while obviously I can't verify that in this instance, I wouldn't be surprised if that's the case here as well and I also know that he's played with the Black Star Band previously (and doing work in Europe apparently), has Mo. What I can say, however, is that the music here, regardless who helped to construct it, is top notch through the thirteen tracks to be found on "On My Way". I also did notice a bit more lively shift from the previous album, one which is quite prevalent throughout, so it appears to be a conscious move on the part of Mo, which is a good thing. Some of the response I got from "Back To Africa", in the way of criticism, was that some fans thought it was just too straight-forward and it was also something I believe I brought up in discussing the album (although I didn't think it was a fault necessarily), but that's not at all a point of concern here as this album features quite few different things in the way of its full sound. What has remained, on the other hand, is the large musical presence of Harry Mo. Again, this may just be one of those things that I'm left to wonder if anyone else is really taking a mental note of. There is just something about the way this man makes a song that WORKS for me. He has a way of placing things together so nicely for one purpose, whatever that is at one particular moment, that just makes so much sense to my ears and strikes a chord in me as a listener and a FAN! A fan is what I am when it comes to Harry Mo and I'm damn confident that if you pick up "On My Way", you'll share my passion. Here're a few reasons why I say that - I like to call them "songs". 

As a writer, Harry Mo has this endearing quality which remains present on his third album and makes his music even more appealing to my opinion - he writes songs about . . . Things. I know that sounds weird, but it's basically just a pretty bad way of saying that he 'sticks to a topic'. In Roots Reggae where there're just a plethora of not only 'accepted' ideologies and subjectry, but ways in which those things are discussed and just flat out clichés, Harry Mo eschews those things for the most part and is really one incredible writer of lyrics. Evidence of that is to be found on the very first track on "On My Way", the stirringly vibrant 'Freedom City'. This tune could be taken in a few different directions to my ears (another impressive facet of Mo's writing - despite being generally quite specific, it also opens itself up to listener interpretation as well), but what I'm left with primarily is this tune being about UNITY. Sure, the idea is to 'be free', but the singer takes every opportunity to make sure you know that his idea of freedom exists BEST (and maybe only) when it brings people together such as on the tune's wicked second verse. 

“You see - dem neva like when we congregate

Siddung and ah cool and ah reason and ah conversate

Neva love it when wi, assimilate

Come together, hold a vibes and a meditate

Dem neva waan fi si wi, cooperate

You set up business, get it straight, outta di ghetto state 

Babylon waan to si - wi kill and live in hate

Dem have to fill dem prison gates” 

Next in is the captivating title track which I just COULD NOT stop listening to after the first spin. It was right along with the type of vibes present on "Back To Africa" as Mo sets up this PLACE (that he is on his way to), but it may or may not be an actual physical place which he had in mind and is instead a most vivid state of mind! That's a powerful bit of imagery and, again, very relative to the last album, where "Africa" became not the continent, but more of a way of thinking and carrying oneself. HUGE TUNE! Things stay up and well for the last tune of the opening batch quadrant with a tune the Uprising Roots Band would surely be in approval of, 'Sunny Day'. This is a very feel-good type of track, but it also comes in with a big message, so you'll have to sift through its high sonic appeal to get to it - but it's well worth the trip. 

"On My Way" is just full of highlights and, as I alluded to, highlights which figure very likely to be able to catch the ears of some of the more casual fans. Along with the aforementioned 'Sunny Day', I also look at tune such as 'Get Up', which so wonderfully exhibits this. From the chorus on that track ["Get up, get up, get up. Get up and dance"], you kind of know what you're dealing with, but I like how, even in that, Harry Mo manages to make a point and make it one appropriate to the song - by essentially saying that after you do what you're supposed to do and handle your business, then definitely make some time to enjoy yourself. You'll also check the LARGE and electrically charged 'Shine Your Light' which I probably listened to half a dozen times, head rocking, before I REALLY tuned into it. It's just another song which is going to make you smile and I think that Mo's idea of 'shine your light', is basically just to do the absolute best that you can do in any given situation. The superb 'One Race World' is another 'colourful' effort with a sterling message as well. Mo, himself, designates the song as a celebration of humanity and that's exactly what follows. What does follows that entire song is another attention-demanding selection in 'Pray For Love'. 

“I vision the children

What the future will be

And if we don’t get it right, they won’t like the things they see

And how about their livity?

Will they be free?

Or will they be subjects of that same old ignorancy?”

The vibes of this tune really just seem to LEAP off the track (particularly at the chorus) and throw themselves at you and, here, that's a good thing - you should be paying a proper attention. And you're also likely to like what you hear when 'No Love For Us' takes its place "On My Way". Here, I don't know that the sonic side of this piece, which are really upful and kind of Ska-ish, match the PURE social commentary nature of the lyrics. It's a very old-school approach to making a record and, again, it works in this case as this song is an undeniable winner. 

Unsurprisingly, most of my personal favourite moments on the album come during its more Reggae-centric moments, which are really some of the best I've heard from anyone in 2012 also. For an example of this I'll direct you to the final track on the album which is partially straight forward Reggae music, but partially a 'twist' as well. 'Mama Dominica' is Mo's ode his land of birth. The "Runaway Slave" album ended on a similar note with the gorgeous 'Dominique' and this tune also reminds me quite a bit of a song on the second album, 'Ithiopia'. That mix make for a big moment and Mo also switches things up - interjecting just a touch of Kreyol in his lyrics (and he does that several times throughout the album as well). The penultimate moment of "On My Way", the Marley-esque 'Rebel Music' is also a standout for me as Mo gives full credit to the music that he sings.

“You see wi deh yah Rocky Mountain High, rocking to sweet Reggae music 

My feelings cool and my mood is right

Nice vibes, I don’t want to lose it

That riddim’s ringing in my head

I even hear how that bassline flow

A tingling feeling inna my feet

Can’t hide, got to let it show

Rebel music

I love it and I just can’t deny

Rebel music

Takes me on a natural high

Rebel music

Healing for the heart and the soul

Rebel music 

Feel it, as it takes control

I’ve got my worries and I’ve got my fears

My burdens and cross I must carry 

But oh no no, they won’t conquer I

Jah Lion is there right beside me 

Sometimes it’s hard, many times it’s rough

Jah won’t give me a load I can’t carry

So when I’m down and I’m feeling weak , I lick the music of Rebel Bob Marley” 

BOOM! 

Earlier on you also get the excellent antiviolence "appeal to the world", 'Silence the Violence' which, although it's very much straight ahead Roots Reggae music, it also has a large 'presence' to it and really gives the album energy when it drops in and also uses that vigour to add urgency to Harry Mo's message. The two remaining track featured "On My Way" (Mada Nile also had an album a few years back with that title) (biggup Mada Nile), 'Selassie I Name' and 'Creator' are the two best in my opinion and they both did a MAJOR bit of releasing of my senses when I heard them. The former is a full-on journey of a song and it well took me a lot of time working on it (and I still am) to get what I had to get from it. Where I am right now with it is that I see Harry Mo as calling out so many people who take Rastafari and put the distinction on themselves in one way or another, but only do so on a superficial level and they continue to live really ruining and destructive types of existences. Therefore, many people come up with such an awful view of Rastafari and it's for the work and actions of someone who never REALLY got things properly ["A whole lot of them run come call out Selassie I name. Behaviour is ashamed - making the Empress and dem feel shame"]. 'Creator' is just a . . . musical bar of gold! Immediately interesting here is that the song is the only combination on this record and it features none other than someone who recently dealt with on his older "Rasta Awake" album, Army. This composition is just HUMBLING as the two big artists give praise to His Majesty on a scale rarely reached and the two make a powerful pair in doing that. If you asked me RIGHT NOW, which of the two songs I preferred, I'd probably say the latter, but it doesn't matter, both are MASSIVE songs and huge additions to "On My Way".  

Harry Mo

Overall, I hope someone else is as excited about this album as I am and I hope they buy it and realize that it's everything they hoped that it would be. I'm also hoping that newer fans will, for one reason or another, listen to clips of this set and think that it's something that they'd enjoy and pick it up also. Because now really, two albums into making THIS level of music (and the first album was very good also), it's about to start becoming downright WEIRD why he doesn't receive a proper amount of attention for making what is, in my opinion, some of the finest modern Roots Reggae in the world. "Back To Africa" was a nearly perfect set and "On My Way" is a nearly perfect followup to that album. Now YOU star regularly listening to the music of Harry Mo, so I can stop wondering so damn much. Album four will be just as good. Excellent. 

Rated: 4.5/5

Yellow Hill Music

2012

CD + Digital

Review #371