Synchronized: A review of Natural Is The Mystic by Micah Shemaiah

Earned. If you make a car, you want it to be functional and durable but you're also well aware that HOW IT LOOKS is the first thing someone will notice. Even if the buyer doesn't seem to particularly care and price isn't an issue; if your ride and that of another maker serves the same function and costs the same amount but theirs is more visually pleasing, they're more likely to make the sell. Comparatively speaking, I'd like to think that it is amongst the many goals of someone who sets out to make good Roots music that they, ultimately, want to make something that can be educational and informative while not limiting its entertainment value. I write these things and I attempt to get very in-depth and cover things as fine as I possibly can to the best of my ability but I have to admit: I've heard MANY songs that may've had a good direction and been lyrically stout but... just are not interesting to listen to. They seem as if though if you were to READ them and not actually have to endure hearing them, you might even get more satisfaction from it. On the other end of that, I've also come across records that may be just fine, musically, but offer very little/nothing in the way of substance when it comes to actually making points and saying things of note ["EXILE"]. Of course, this is a difficult road to trod because what is pleasing to one person may be trash to another (and that "one person" reserves the right to change their mind and to do so IMMEDIATELY if they want) but, in just speaking for myself, I LOOK for moments that are either equally gratifying to the mind and the soul or fairly close to it. I also look at how my personal tastes have changed throughout the years and how I, as I get older, have a different idea of what sounding good is. Once upon a time, I didn't count myself much of a fan of Vaughn Benjamin's because... I didn't think his music sounded very good. Even back then, I had the ability, to some degree, to appreciate what he was saying (and even if I didn't on a certain song, his commitment to his craft was POWERFULLY OBVIOUS and I could definitely give him his due for that) but he made music that required a level of effort that was more than I, in my early 20's, was willing to give. Nowadays, I regard that "level of effort" as part of the enjoyment and while there're others who make a brand of Roots that is more instantly charming (about to tell you about a few of them), Benjamin does it as well in his own special way. I'd point to others such as long favourites Mark Wonder and Queen Omega, Anthony B, Capleton... as individuals who're STILL making Roots Reggae that walks the common ground that the genre does and also just really makes their listeners feel something for what they're hearing.

You know someone else who pulls that off really well?? Chezidek. Because of THAT voice, Chezidek's music generally has an inherent quality to it that makes it interesting to hear but when that man is at/near his best, what results is downright magical ["INNA DEM EYEYEYEYE!"]. Let's take, for example... oh let's take a quick look at an album he did way back in 2010 called "Judgement Time". Armed with big, LOVELY tunes such as 'Ganja Tree' ["MARIJUANA TREEEEEEE!"], 'In My Heart', 'Uplift Yourself', the SUGARY 'Jah Love' and, of course, 'Walk With Jah', "Judgement Time" was definitely one of Chezidek's most immediately appealing albums to date (and it still is). Three years on from "Judgement Time" was its direct follow-up, "The Order Of Melchezedik". This was another gorgeous monster of a set which has also aged quite well (I don't recall what my favourite song was on "The Order Of Melchezedik", at first, and I don't feel like looking it up; but 'Praises To Jah' is absolutely DESTROYING me at this moment. Has been on repeat for nearly half an hour at this point). "Judgement Time" and "The Order Of Melchezedik" share origins as they were both created within "the highest region". 

2023

Our old friends as JahSolidRock helmed both sets and they've also worked with the likes of Earl Sixteen, Addis Pablo, Apple Gabriel, Kenny Smyth and others (remember Benaissa and Lloyd De Meza, back in da day?? ["Another burial weh dem ahgo get!"]) over the years, which has demonstrated a signature sound. JSR makes beautiful and HARDY Roots Reggae music. I initially wrote this and I used the word -- "malleable" -- but that isn't really what it is. Their sound is very much grounded in Roots music (and it is heavily so) but it is very open to the artist's interpretation and talent. What results is a sound that is very accessible to MELODY and distinction. A better word than "malleable" would be "FLUID": If you put a JSR riddim in Chezidek's hands, it's going to sound like Chezidek. If you put it in.... Micah Shemaiah's hands, it'll probably sound like Micah Shemaiah. As far as I can tell, the relationship between Shemaiah and JahSolidRock goes back quite a few years ago and they've worked extensively together (CLEARLY), so it should come to the surprise of absolutely no one that the Kingston native now links up with the Dutch label on an official, full collection of their work together, "Natural Is The Mystic" (they had a song, years ago, by the name of 'Zion's Gates' that I was familiar with but had no idea was a JSR production). When last we heard from Shemaiah, he was dealing the extremely well received "Jamaica Jamaica". That set came through Evidence Music and was done alongside Little Lion Sound back in 2023 and appeared on many Album of The Year lists for its time and deservingly so, in retrospect. Prior to that was "Still" and EP (it had eight songs and four dubs. I'm calling it an EP) for the venerable Zion I Kings (absolutely GLORIOUS record on that release, 'Wicked Babylon') (and its dub version) and Shemaiah's also worked with the esteemed likes of Irie Ites, the Green Lion Crew, Easy Star Records, Addis Records from out of Switzerland, Silly Walks and even Digital B. So the man's talents have LONG been recognized by some of the biggest names in production over the years and we have arrived at the point in his career where, when he does an album, it should be looked upon and respected as a legit big deal. That's a lot of accolades, however, and no one's perfect, so maybe "Natural Is The Mystic" doesn't turn out so well??

--NO WAY IN HELL--

If you're going to talk about Micah Shemaiah's music, you have to at least spend a second or two discussing his VOICE. To me (and likely ONLY to me), he sounds like a more grounded version of someone like Duane Stephenson. Where Stephenson has this ultra-refined aspect to his tones (it's literally perfect), Shemaiah has a more earthly feel to him. To be honest (and not for the sake of comparison, like I said, Stephenson's voice is PERFECT), when you really get into Shemaiah's voice... it's kind of intoxicating. It's fantastic and when he's in a fine form, what he's capable of places him in very rare company; and he is in fine form throughout "Natural Is The Mystic". Check the first piece of evidence to this in the form of the album's title track and opener. By the ABSOLUTE TINIEST OF MARGINS (I mean, you can barely even hear it), 'Natural Is The Mystic' is the best tune on the album named after it (I'm  going to tell you right now: The entire second half of this album is downright MURDEROUS. All of its tracks are vicious in every possible way!). The song does kinda/sorta make itself an open supporter of nature but it also is more of a broad social commentary as well. It's also wrapped up in this damn near divine presentation (descending all the way from the cover, where we see this naturally, organically grown weapon!). Credits well go to the players of instruments as well as to the BACKING SINGER (credited as Monique Smith) really do loads in pushing this one to the heights it manages to reach. Next up is sublime previous single, 'When Yuh Right'. I gave a direct credit to a backing singer on 'Natural Is The Mystic' and I'm going to do the same for Hector Lewis on this one, for the infectious drumming he does throughout. Accompanying the single release was a lovely dub which is well worth checking out as well. As for the actual song, 'When Yuh Right' is  gorgeous. 

"In this life, when yuh right, yuh getting a fight

Now the world's gone soft, to the devil's delight"

What I would take from the concept of 'When Yuh Right' is the importance of doing positive things, regardless of the push-back you may get when you do them. Shemaiah doesn't directly go into it but I apply it to concepts like perseverance and unity as well (it's good to do good but its even GOODER when you have others doing good with you or you can inspire others to do good). Again, the instrumentation here is exquisite and, obviously, someone agrees with me on that because that dub version does exist. The old school-ish 'Play Me Some' took a couple of spins to make a fan out of me but it did eventually get there. This is a track giving honour and credit the music and some of the artist of an older era and THAT IS IT. You've ran into others like it, surely, and arguably the most important aspect of such selections is that they have to sound great. You can have all the interesting and different approaches to it that you want but if you want to talk about great music and great musicians -- at least in my opinion -- the greatest homage is in making something that they would enjoy hearing and I think "some Bob Marley - some Dennis Brown" would be delighted by 'Play Some More'. You wanna talk about something sounding nice and being delighting, you check both 'Mellow Mood' and 'Strickly Rubadub'. The former is probably going to give a lot of people toothaches in their ears with as much damn SUGAR is packed in on 'Mellow Mood'. I think I had some 'best case scenario' charted in my head for this song - it ended up being better than my best case scenario. 'Strickly Rubadub', on the other hand sounds almost NOTHING like I imagined it would ('Mellow Mood' actually sounds more like a song that would be called 'Strickly Rubadub'). It's more... somber than I would expect but it doesn't matter (and "somber" might be too harsh of a term, HEAVY might be a better one): The musicianship on 'Strickly Rubadub' is some of the finest on the whole of "Natural Is The Mystic". It is STERLING. This was also a previous release from a few years back but, MOST UNFORTUNATELY, unlike 'When Yuh Right', the single release of 'Strickly Rubadub' didn't include a dub version, however, we are given a nice capture of what may've been over the course of the song's final forty seconds or so and it is immaculate; one of the most attention-grabbing stretches on the entire album in my opinion.

As I alluded to earlier, the second half of "Natural Is The Mystic" is a serious problem (and I mean that in a great way) for listeners, as it presents us with some real killer songs. The first is the album's sole combination (one combination in ten songs is just fine), 'Glory' which taps LOOOOOOOOOONGTIME, grizzled veteran Telford Nelson (man has been singing Reggae music for, literally, half a century). When I originally set it, I mentioned that the "final four songs" on the album were of supreme quality but the more I listened to 'Glory'... it just had to be included in that lot. It almost perfectly exemplifies what I meant when I talked about making music that carries a significant message and has a pleasing, entertaining sound. 'Glory' is a praising song and it has such a powerful vibe to it as well with these downright ROYAL sounding horns and just a full, VIBRANT display to it. It sounds like someone very important is about to walk into the room as it plays and biggup Shemaiah and JSR (and whoever else's idea it may've been) for linking him together with someone like Telford Nelson ["OH WHAT A GLORY!"]. The album's most recent single (I THINK), 'Not For Sale', is in next and I LOVE this song and have from the very first time I heard it, last November. 

"This one for sale

That one for sale

So much for sale

Oh, for sale

She is for sale

He is for sale

They are for sale

Oh, for sale

I'M NOT FOR SALE"

'Not For Sale' is about authenticity and originality and it is beautifully DUSTY AND WORN, earthly sounding Roots Reggae music.... and I'm now seriously reconsidering my choice as the album's finest. I'm going to keep questioning things courtesy of a piece I was particularly curious about, given its title 'Artificially' (and I did skip ahead one but the song before it, which I'll tell you about in just a minute, is even better than 'Artificially'). This one kind of builds on the sentiments of the title track where Micah Shemaiah is trying to draw the focus of the masses back  to a more natural approach to life, while eschewing more, potentially disastrous, man-made facets ["There is a natural way and order to things. But the way we are living these days - only destruction it brings. Mostly for the future; now sure our youth dem will inherit the mayhem"]. I'm tempted to get into telling you about just how damn sweet the music is on 'Artificially' but... at this point, I think you understand; so let's move on! Moving backwards, check the MAMMOTH 'Be Brave'. Though he goes semi-direct with the thought here, I think Shemaiah is, essentially, saying that we all have things that we have to go through in life 'trials & tribulations' and we have to be prepared to face what is coming. There is a spot, right in the middle of 'Be Brave' which just levels things up entirely. It is when the first verse repeats and, by that time, the song has settled in and it's good and warmed up and it's subtly more intense than the first time around. THAT, for me, is such a powerful moment on this tune because, after that, things really pick up and when you combine the two halves... if you want to make an argument for 'Be Brave' as THE best song on this album, it'd be hard to put up a fight against when it sounds like this!

Finally is yet another candidate for album's finest riddim, unity anthem 'Together We Are Strong'. This tune contains a very clever lyrical effect when Shemaiah says:

"Beat that drum"

He says it, seemingly, in the way you say it to drum up (figuratively speaking) support for an idea but when he does say it, you actually hear someone beating a drum in the background! It made me smile when I realized it because it's obvious but it isn't the most glaring of sounds that you hear at the time. As for the rest of the song, the singer is saying that MAYBE it's a good idea for us all to look for things that bring us closer than differences that push us apart. It is lovely sentiment and, again, a lovely vibe to end things on.

Okay, here is the point where I would typically look at the album and say that there're only ten songs and I wish there were more and I'm going to say that here as well, HOWEVER; the ten songs that construct 'Natural Is The Mystic" take up forty-one minutes. The album's shortest song ('Artificially') is within twenty seconds of four minutes, while its joint longests ('Strickly Rubadub' and 'Not For Sale' are of basically the same length) are not five minutes. So they all kind of hover around four minutes, which is just fine. So while I would have definitely loved another couple of tracks (even if they were dubs/instrumentals and JSR has a history of doing such a thing: The aforementioned "Judgement Time" had several of them and "The Order Of Melchezedik" would have been very similar with ten songs and a couple of instrumentals or so), what actually is on "Natural Is The Mystic" is very HEALTHY and meal-like Reggae music. They don't bring us a plate of salt and pepper and forget that we.... actually need something to put it on. 

Overall, I'm not going to overdo it (outside of writing an entirely too long review but that's just what I do) but "Natural Is The Mystic" is EXCELLENT, MODERN ROOTS REGGAE MUSIC. It just is. While that may or may not appeal to someone who is completely new to the genre (I know there are some poor, malnourished souls out there who just cannot appreciate it), for virtually anyone else, with the way it is done, I am extremely confident that something here will appeal to you. Combining a continuously and consistently COLOURFUL sound, with solid writing and dexterous lyrics, in "Natural Is The Mystic", Micah Shemaiah & JahSolidRock come together and produce one of the first truly BIG Reggae albums of 2026. Excellent. 

Rated: 4.6/5

JahSolidRock

2026

New from Micah Shemaiah & JahSolidRock

 

Okay so, I was sitting here working on a Grammy post (which you should get in the next two or three days) and a Chronixx review (next week for that one) and I decided to go check up on some old emails and, luckily, I stumbled across a link from our old friends from the highest region, JahSolidRock, who let me know that they were in the kitchen, cooking and in the lab... labbing [?] and had a new album forthcoming from the criminally consistent Micah Shemaiah. In fact, they already had the project's first single up and running, 'Not For Sale' which is billed as, "An authentic, deep roots  tune composed and performed by real human beings and recorded in the legendary Tuff Gong studio in Kingston, Jamaica"; and, of course, I was interested (I was interested at "Jahsolidrock", they had my attention right there). When I actually took a listen to it, as expected, 'Not For Sale' was exceptional and I thought YOU wonderful human beings would enjoy taking a listen to it.... and I was right! 

Earl Sixteen sets Roots Foundation with JahSolidRock

"Roots Foundation" by Earl Sixteen [JahSolidRock Music]

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

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

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

'Brave Enough' & 'Brave Enough Dub'

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

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

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

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

"Dread a General

Dread a General 

Rastaman a di original"

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

'No Love'

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

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

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

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

'Ghetto College' & 'Ghetto College Dub'

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

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

'Amazing'

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

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

Chezidek & JahSolidRock are Spiritual People

Okay so, I'm behind. I have quite a few new things I want to take a look at (and a review I need to finish... and maybe another I want to start even though I already know I do not like that album. Think it'll be fun to write about), but today we're jumping yet another new tune to the head of the line because it's bringing together not only a pair of our favourites but a pair who's already proven their stock in working alongside one another over and over again as the great Chezidek returns to the highest region and links, once again, with JahSolidRock. Anytime either artist or label have anything going - I'm interested. When you put them together, it pretty much gets all of my musical attention and this time around, the gorgeous 'Spiritual People' is doing precisely that. 

"Say we all are the same spiritual people

Fighting against the same common evil"

Chezidek does his best (and does an amazing job at it) to bring together positive people from every single background and belief system to a point where, at its core, 'Spiritual People' is a unity song. It's about how people who walk such different paths in life (and maybe even those who take no path at all) can find some semblance of common ground between them. At the tune's peak for me Chezidek lift up various books of faith and, again, no matter which one is for you, he mentions how they all speak the truth and how power and guidance can be found within them all. That's RARE from a lyrical standpoint as though you've heard dozens of hundreds of Roots tunes about unity and will hear many more, you don't hear that side, in particular, very often at all. 

And though you know what I'm thinking now (...a third???), I'll hold off on that (although such a thing would SWEETEN 2024 to a cavity inducing degree), instead I'll just recommend that you lay a pair of ears on a big new tune, courtesy of a pair of increasingly towering entities. BOOM! 

 

A Vibe! Powerful Dread by Kenny Smyth

"Powerful Dread" by Kenny Smyth [JahSolidRock]

Okay so, if you hadn't noticed we kinda/sorta took a little break from writing consistently to kind of refresh things. I always have things that I'm working on (it's therapeutic for me after all of these years, even if we don't post them), but I was really looking for something that hit me to the point where I simply needed to tell all you wonderful people about what I was listening to. What I really needed was a VIBE. Do you know what a VIBE is? I mean REALLY??? A vibe, in this context, is motivation. It's a spark! It's something that not only creates an idea in your head but it also sees that idea to fruition (which you are currently looking at now); and to find this particular vibe, we would have to head to the highest region.

A few years ago I heard a SWEET tune by the name of 'Vibe' from an impressive younger singer by the name of Kenny Smyth, the 'Breadbasket Singer'. It was just a really fun and BRIGHT song and one which well registered and stayed with me and though I had come across Smyth's work prior to that, 'Vibe' was the track that established a bit of 'property' for the vocalist in my memory and I was delighted when we received a message from our friends at JahSolidRock (really, really nice people who I probably first linked with well over a decade ago now) saying that they had worked out a full project with Smyth and thought that I might be interested in it, "Powerful Dread"... they were correct. When I first laid ears on this set I heard just a touch of something truly special within a pair of selections in particular, but throughout the entire release, Kenny Smyth shows himself to familiars and new fans alike that his is a talent of immense consideration; powerful indeed. The way "Powerful Dread" is constructed is that there are six original tunes with each one being followed by its dubbed out counterpart. So, I thought that I'd give it the ole quick track-by-track rundown and, clearly, you have nothing better to do with yourself, so let's take a listen! 

'Stronger' featuring Earl Sixteen & 'Stronger Dub'

Kenny Smyth taps a legend and a frequent name around JSR circles to get things going as 'Stronger' features the venerable Earl Sixteen and the results, as you might expect, border on the spectacular. Though it has a very concentrated and focused type of vibes, there is also something quite OPEN about 'Stronger' (more on that in just a second) in its sound to my ears. 'Stronger', at least for me, is about self-improvement and self-esteem and how important it is to establish and maintain both, despite how difficult doing so may be made by outside forces ["Don't let them tell you seh you losing when you're winning"]. There's also a high attention to detail and CLASS paid to this one... but you knew that already when you saw "featuring Earl Sixteen"... and we could have done with a bit more of the immortal singer as well. As for the dub, it lays a significant claim to being THE single finest on the whole of "Powerful Dread". As I alluded to, though you'll never mistake its core sound for exactly what it is -- straight up Roots Reggae music -- the vibes on this one effortlessly lead it in so many different directions with a delightful electricity that bubbles throughout.

'Pagan Land' & 'Pagan Land Dub'

'Pagan Land' was the initial single from "Powerful Dread" and though my heart may favour another selection here, in every registerable and semi-measurable category, 'Pagan Land' is THE signature moment from this release and it is no surprise that it was chosen as a the first featured tune. How good is it? There is a feeling you get which is very hard to describe (if you've hung out around these parts for any length of time then you routinely have seen me say "BOOM". That's the word I generally use for it.... less is more) when you're listening to a tune that has the 'air' of being special and whatever that feeling is and whatever descriptor you choose to give to it they are CLEARLY applicable to 'Pagan Land'. The song comes through as a more broad call for change and social action (as well as ACCOUNTABILITY) and the message is wrapped up in this absolutely GOLDEN package. The sound on the track pretty much ends where it began without veering away from that point very much, if at all; but I guarantee you, you will not find a damn thing worth complaining about within that limited route.

You also won't have any problem with its dub as 'Pagan Land Dub' also doesn't detour from the course, but there is a section when this thing has warmed up at.... about a minute and a half in where these beautiful vocal echoes begin to shine that 'Pagan Land Dub' hits a level SO high that it threatens to even surpass the original vocalized version as far as demonstrating a purely PLEASING sound. YEP!

'Roots Girl' & 'Roots Girl Dub'

"I wanna know what you did to my mind"

You've been there (and if you haven't, I'm sorry for you). No matter if it's a brand new one or a relationship whose exact beginnings have begun to fade from your memory (whether you want to admit it or not), you hit a point when you're around someone who you TRULY are infatuated that literally leaves you in awe of that person. It doesn't have to be a big moment like when you're marrying them or when one of you is giving birth, but it could be something as simple as the visuals brought out by by the lovely 'Roots Girl' where Smyth talks sitting in the kitchen watching his woman COOK [!] when her favourite song comes on the radio. This woman has his complete attention and it sounds as if the singer wouldn't have it any other way if he could on a tune which is probably quite a bit stronger than I was expecting, honestly.

The dub here also comes as somewhat of a surprise as well as its sound is quite versatile. The riddim on 'Roots Girl' is quite big, actually and I was thinking that the dub would go onto to draw out that vibe especially and while it does, it doesn't remain there very long. Instead, 'Roots Girl Dub' seemingly comes through in an attempt to highlight every single one of the tune's finest details and, by its end, it does precisely that. 

'Feel It' & 'Feel It Dub'

When I heard the direction 'Feel It' took it made me so eager to hear its dub because it fits so wonderfully into the way "Powerful Dread" is built. They give you the tune and, at least from my (perhaps [SURELY]) overthinking perspective, they go on to CELEBRATE the music with the dub and what's even better than that is a dub celebrating a song that is.... celebrating music already! 

"Mi seh di message gonna turn up nicer than di pastry that you eat up with the gluten

Reggae reach up inna Russia Mr. Putin"

The horns also stood out prominently and I was, again, damn interested to hear what became of them on the dub. What is found on 'Feel It Dub' is fairly close to what I expected to find with this oft-downright TRIUMPHANT sound. Not only are we treated to a hefty dosage of horns, but the drums SOAR as well,  dominating portions of the instrumental. I'm probably going to call 'Feel It Dub' the album's finest dub altogether and even if you disagree, I'm sure you'll find it close to whatever you do feel is the best. This thing is gorgeous.... entirely too short, but gorgeous. 

'Roots' & 'Roots Dub'

Though not a musical celebration (at least not directly the very jovial 'Roots' is very much within the same spectrum as the tune it chases here and you could very well make the case that it is a celebration of sorts. This one, at least for me, is a observance of FEELING GOOD and confidence and motivation! Though done in a more specific manner (as you would expect), what I hear from 'Roots' can apply to anyone!

"But I don't wanna be nobody else

I'm comfortable being myself 

Seh I don't, I don't see you for your wealth

I'M COMFORTABLE WITH MYSELF"

Going into the dub, I think about how, right near its middle, 'Roots' seems to take a hypnotic step ahead in its pace (it literally sounds FASTER at one point and if, like me, you're a giant nerd, you will find yourself listening to that part over and over again) and I hear not the same thing but an equivalent in the dub (check how things change between eighty and one hundred seconds in) which is just as attention-grabbing.... and now, if you'll excuse me, I have to reconsider my choice of favourite dub on "Powerful Dread".

'Can't Say I Didn't Tell You' & 'Can't Say I Didn't Tell You Dub'

Smyth and JSR save one of their mightiest turns for the closer as 'Can't Say I Didn't Tell You' is MAMMOTH! It comes through with a fully ROYAL sound which tones down throughout the tune, but never actually relents even slightly. The song may just be the finest lyrical effort on the whole of "Powerful Dread" as well and words & sound combine to produce THUNDER! I was actually thinking that 'Can't Say I Didn't Tell You Dub' would be more vocal-heavy than it  turns out to be, but what they did come up with is nearly spectacular (and does include the better part of a verse). There's a slight touch of an organ here (at least that's what I think it is) that catches my attention and though I wish there were more of it, the fact that they don't overdo it probably helps the vibe altogether. You will not find a more powerful pair on "Powerful Dread" as a whole than these two which link to send us out in a dazzling way.

"Powerful Dread" is probably best recommended for more familiar fans of Roots Reggae but I can't close it off entirely. If you are a new fan, I think you're also likely to appreciate the pure sonic appeal of the set as well because the musicianship is of very high quality and if you've paid any attention to the work of JahSolidRock throughout the years, that should come as no surprise to you at all. So let's fix that! IF YOU LIKE.... IF YOU LIKE GOOD MUSIC, then I suggest you check out "Powerful Dread" by Kenny Smyth; just thought I'd let you know. 

A Place Of His Own: A review of Melodies From The House Of Levi by Addis Pablo

Construction. I look around at these pages and, the older they get, I find myself very hopeful that someday, someone besides me can find wealth in them. I already use them as a form of research for myself in terms of seeing maybe how my opinions have developed and changed over the years or what I thought at a particular time and, if I'm successful, for as long as they're up, others potentially will have the ability to find some research material here on the critical side (meaning, something other than just looking at track lists and such things which you can find anywhere). That's just me: Teeny, tiny insignificant me - attempting (and hoping) to do my part. Were I an actual musician, I'd like to think that my attitude would be the same. I'd be hoping to have made my contribution and done something for someone at the end of my career. All of that goes into the idea of how artists can begin to build a legacy for themselves and how/why they will ultimately be remembered long after their days are over/ Of course, without the perspective of time, it is a question currently unanswerable in any case (you could have someone put together an excellent career and then have some controversy emerge which will go to on trump anything they may've done musically) (I believe there's a fellow by the name of Alcock who would be a good example of that), but in some cases we can begin to see in which direction things are trending. I'm going to intentionally bring up the example (normally I just write these things with what I'm feeling at the time, when I'm pulling up comparisons) of the Marleys. Anyone named 'Marley' making music of any kind is sure to draw attention on the value of their name alone. This is magnified to an almost infinite degree when the genre of music is Reggae. The progeny of the legendary Bob Marley have made an undeniable mark on the music, regardless of their name and its origins but, first and foremost, they will ALWAYS be the descendants of Bob Marley. You can run down the line of names which includes Ziggy, who has won EIGHT Grammy Awards (including seven for best Reggae album) (and is, REALLY, won of the most successful artists Reggae has ever produced), the brilliant Stephen, Ky-Mani and personal favourite, Damian who has, so wonderfully, brought his music into a wholly modernized style. It doesn't. All of them will always be the offspring of Bob Marley and it is situation they have obviously embraced (if they didn't, they probably would have found something else to do than pursue an artform for which your father is the face of). If you look at similar situations, however, it isn't necessarily the same case. For example, if the Marleys are the 'first family' of Reggae music (they are), the Morgans may very well be its second. When you hear "Morgan" in regards to Reggae music, you immediately go to Morgan Heritage and then draw the line back to their father, Denroy Morgan (biggup Denroy Morgan and congratulations on a life well lived) and you're likely to do similar things with a few others such as Tarrus Riley and Queen Ifrica, so it definitely works both ways.

2014

I bring those examples up because (that's just what I do) what they show are situations where offspring of former greats have not only walked the same road as their elders, but have also embraced the journey. They knew, for better or for worse, that they would immediately be compared to their parent and, in many cases, it would be a situation of spending an entire career in the shadow of someone else. To do that and still manage to build some type of a legacy of your own is truly remarkable. It is one thing to maybe remake some of your parent's old songs or maybe do them in performance (or maybe even a full album), but we've seen certain individuals take it even a step further. Such is the case of one Addis Pablo. Addis Pablo's father is an undisputed, unchallenged king in a very specific area of Reggae music. The legendary Augustus Pablo popularized (within the capacity of actually making music, professionally) a relatively obscure instrument in the melodica which was, perhaps, best known as a child's toy prior to his work. The elder Pablo would clearly not only fall in love with the melodica but instead of doing what you might imagine he would have and held it as something of a hobby, he played it straight into immortality.

And his son has followed in his footsteps. As I think about it more and more, Addis Pablo's situation is even more interesting because if he does it just 'right' (and so far, so good) he stands a pretty good chance of DIRECTLY inheriting his father's kingdom. Because of the scarcity of the melodica, were someone to come around and, like Augustus, basically lay claim to the instrument, that would still go a very long way in establishing a lasting reputation for that individual. That might even be more the case because it isn't as if there has been a BOOM in the emergence of melodica players. I'm not exactly an expert on (anything. Anything at all. Not even an expert on myself) players of instruments, but despite the fact that it is more prevalent (thanks to Augustus Pablo), the melodica isn't the most 'active' of sounds that you're going to hear in Reggae music. If that isn't the case for you and you do pay that much attention then chances are excellent that you're a very big fan of Addis Pablo's work. When we last took a look at his output, it was way back in 2014 for his excellent debut album release, "In My Father's House" (and if that doesn't tell you all you need to know about his feelings about what he's up to, nothing will) (clearly he FULLY welcomes it). Wonderfully, "In My Father's House" would come through one of our very favourite labels around that time and one we haven't had the pleasure of running into since ending our hiatus, JahSolidRock Music. Along with their work with Pablo, the Dutch based imprint also gained our full appreciation largely through working with Chezidek as they produced a MAMMOTH pair of albums with the singer - 2010's "Judgement Time" and "The Order Of Melchezedik" from three years on. That was more than enough to get and keep my attention (the former is one of the single best albums that we've covered on these pages and if it isn't a modern classic, it should be... I don't feel like looking it up right now!) (....okay it is!) (thought so!) but the label has also done material with the likes of Brinsley Forde, Lloyd De Meza (there's a name you haven't heard in awhile) and others. So, it would only make good sense that, when there is a new album from Addis Pablo -- and there is -- that it should also come via 'the highest region' and he and JahSolidRock now deliver "Melodies From The House Of Levi". Between projects, Pablo remained well active. Though this is probably going to officially his second album, there have been quite a few singles and more than a couple of EP style sets as well. Most notably, perhaps, would be "Bright Star", a LOVELY eight-tracked EP from Evidence Music which arrived just a couple of months ago actually and last year he also linked with the Green Lion Crew for "Green Lion Crew Meets Addis Pablo & Friends Uptown", which featured contributions from Mr. Williamz, Jah Bami and more. So he's been busy and definitely been impressing and as I can well say that, eight years later, the name Addis Pablo, as his own musician, carries more weight than it did as an up and comer back in 2014 (when he was still dropping big tunes like the syrupy sweet 'Road To Addis'). That's what he's been up to, however, the question is how is the present looking for Addis Pablo and JahSolidRock??

Good. It's looking really, really good. Surely such a project isn't the work of one man alone and joining Addis Pablo throughout the new album is a very diverse and decorated set of musicians with the likes of Dean Fraser, Dalton Browne and Dwight Richards all lending their considerable talents to thiis release under the helm of Ras Denco with Marc Baronner. The majority of JahSolidRock's work (pretty much all of it, if I recall correctly) came with a distinct sound quality. Regardless of whether you liked the actual tunes (and you did), the actual quality of their work was pretty much not even a matter of opinion. It was always stellar and their latest work continues that. Like its predecessor, Addis Pablo's new album, "Melodies From The House Of Levi" features Pablo alongside a variety of artists handling the vocal duties, with this time a very clear line being drawn in the situating of the album: What you will get first is an instrumental version of the track featuring Pablo and then the effort from the vocalist. I really like this method, directly, and a credit goes to whoever came up with the idea because it almost comes off as like a compilation of sorts and is a streamlined form of what was present on "In My Father's House" (and that also definitely worked). It remains very fresh throughout. Getting this started is what I believe is the most recent single from "Melodies", 'Black Liberation Day'. Despite its title, this composition isn't one that I'm necessarily going to refer to as "joyous". This isn't a celebration to my ears. What it is, is WORK. This is not a congratulations for a completed effort, instead it comes off more as a call to join in for the preparations that must be made for the day. There is a bit of subtle urgency here as well (particularly during its building middle portions) that I feel, with the main sentiment, in my opinion, being that there is much work to be done. Most interestingly, handling the vocal duties for the first track is man of the moment, Spanish singer George Palmer. The Horace Andy-esque vocalist has an album, "Working Man", forthcoming on Irie Ites Records in about a month or so as of this writing, so you're probably going to be hearing quite a bit for him forthcoming. Until then, set your ears on his effort here, 'No More War Dub'. As its title would suggest, this one is PURELY for the Dub heads who should devour it! If you've enjoyed hearing Horace Andy at some point in Dub, you should feel the same way about Palmer's work and definitely looking forward to the album. Pablo returns with another single from "Melodies" (this one from a couple of years ago now), 'Narrow Road'. 'Narrow Road' is EXQUISITE. Were it not for one chunk of brilliance than comes later on, it would be my pick as the best composition on the whole of this album. It has such a FULL vibe to it and how it manages to progress throughout is damn impressive. I don't possess the vocabulary (I do actually have the vocabulary, what I lack is the knowledge of exactly what I'm hearing) to describe it, but about a minute in or so, 'Narrow Road' WIDENS. It begins to bloom and though I won't call it dynamic, it is just... COMPLETE. There is not a thing missing on this one. Pablo hands it off to a pair of greats in Earl Sixteen (who was also on "In My Father's House") and Mutabaruka who link up for 'Every Nubian Is A Star'.

"So wi haffi tek control of wi destiny

Remember our glorious history

Shine bright, see the light

With your melanin skin, find your Nubian truth within

Our armageddeon past long, long time

Don't let dem twist and turn your mind

WI GAVE THE WORLD CIVILIZATION

DON'T LET DEM INDOCTRINATE YOU AND CALL IT 'EDUCATION'

Light the torch and shine it bright

Remember our glorious history 

With your melanin skin, find your Nubian truth within"

The two deliver EXACTLY what you would expect from such an esteemed union on a MAMMOTH shot about instilling confidence and PRIDE in the children of Africa throughout the world. 'Every Nubian Is A Star' ranks as my favourite vocals on "Melodies From The House Of Levi" and it's definitely one which I think will find a very big audience if given the chance.

Later on, we see Addis Pablo joined by two very impressive up and coming vocalists in Kenny Smyth and Var, who provide "Melodies" with two of its heaviest hitters in 'Pagan Land' and 'Poor and Needy', respectively. The latter was a tune that appeared on JSR's Poorman Riddim from a few years back, which was released as an EP that also included Addis Pablo's golden cut, 'Blessed Are The Poor'. For his part, you may've heard a lot of good things about Var and his potential and, if you haven't, this is a nice place to start in making up your own mind. 'Poor and Needy' is an excellent social commentary with a spiritual root ["Jah Jah bless the poor and needy, because dem system designed to keep the rich man greedy. Every time the poor man feel it, dem seh poverty no real, cah dem neva yet hungry"] and, again, if you haven't paid much attention to Var previously, it is a fine place to become acquainted. 'Blessed Are The Poor' doesn't require much of a developing period. It latches onto the listener almost immediately, producing one of the most infectious and intoxicating moments on the album. Smyth also shines on the, arguably, even stronger 'Pagan Land'. Kenny Smyth comes equipped with a POWERFUL kind of dusty sound to his voice (probably not the best way to describe it, but I'm sticking with it), immediately giving virtually anything he does at least some level of appeal to my ears and 'Pagan Land' is going to be one of the best songs that I've heard from him to date (also check an older tune by the name of 'Jah Mi Gi De Glory', if you're curious about what else he's done on that level). Pablo comes through on that same riddim with 'Nineve', a highlight coming from his end as well. This one does have to grow for about a minute or so before emerging in total, but when it does - DAMN! 'Nineve' is almost stunning at times but in a very laid-back and chilled sort of way (there is a spell from about 1:44 to 1:58-ish, which just HAD me. It is so beautiful), making it very easy to take it all in. BOOM!

The final time we hear from Addis Pablo on "Melodies From The House Of Levi" is my favourite track from him here, the GOLDEN 'Jah Kingdom Come'. This one is EVERYTHING! It's laid back and dynamic. It simple and complex and it is BEAUTITFUL from beginning to end. I do so find myself loving horns on instrumental and while they are present on 'Jah Kingdom Come', they do not dominate the vibes, they only serve to accentuate them. What results is something that I had a thought of my Wife actually said it before I did: It sounds like Pablo is telling a story. He isn't playing music just for the sake of playing it, there is something on his mind and just like a great lyricist, he's enlightening us all through 'Jah Kingdom Come'. It is Jah Exile who (was also on the first album) comes in with 'Psalm 20'. As its title would suggest, Exile's tune is a pretty straight forward, biblically inspired piece. It almost sounds as if he got the idea to do this on the spot because there isn't much else going on here, the real attraction being listening to Exile, blissfully, lost in the moment.... probably not even caring who can or who is going to hear him. Pablo also gets very high marks for his penultimate offering on "Melodies", the outstanding 'Words of Solomon', as does the increasingly popular Ras Teo who supplies the riddim with vocals via 'Sabbath Day'. Somewhat similar to 'Jah Kingdom Come' in terms of the feel of it, 'Words of Solomon', again, sounds like Pablo is giving us information through his vibes. As an overthinker and someone who finds supreme joy in attempting to decipher the words of the genres most gifted lyricists, I'm tempted to do it here as well, but I think that, if my assumption is true, that such things are best left, COMPLETELY, to the individual listener; and even if I am totally wrong (and I almost surely am), who cares?? 'Words of Solomon is a JOY to listen to, even in just what it is on the surface. The Swedish born Teo, who has enjoyed a powerful last couple of years or so, was in fine form on this contribution.

It is just a really well-done piece and, if you have not looked in on what Ras Teo has been up to lately, you're really missing out on something quite special, so take care of that right now (and I have to mention how much I LOVE that, pretty much, the final twenty-five seconds or so of 'Sabbath Day' is more SWEET instrumentals). 

Overall, to the surprise of absolutely no one at all, "Melodies From The House Of Levi" is EXCELLENT. It continues much in the fashion of its predecessor (as will its eventual follow-up, I'm sure) which is just fine, so if you did enjoy the "In My Father's House" album --and if you've read this far into a review, you did -- it is a LOCK that "Melodies" will also make you happy (I've developed the habit of listening to something other than what I'm reviewing when I get to the conclusion and this time I've gone back into "In My Father's House".... that thing was SO NICE! What a nice album!). Though I do so wish that Chezidek had been involved, I do really like the selection of the vocalists as well and, like I said, the presentation of the project. In one or two of these instances, hearing the clean instrumental before the vocals kind of made me more sensitive to hearing the riddim behind the artist because I was tuned in at that point and expecting to hear certain things (particularly true with 'Psalm 20'). That put light on things that I don't know that I generally pay attention to in that exact way when I listen to music. I'm also going to give a credit to one Abba Yahudah, the artiste who created the album covers for both "In My Father's House" and "Melodies". That man is a genius. His artwork, here, just as before, sits atop a body of work befitting to such a beautiful display as, on "Melodies From The House Of Levi", Addis Pablo and JahSolidRock once again soar and demonstrate a level of quality comparable to even the most revered of legacies. I ended the review of "In My Father's House" saying:

"The album serves as a mighty debut for Addis Pablo who not only picks up where his legendary father left off, but he also shows himself to potentially be capable of building a legend of his own. GOLDEN."

The foundation was laid. Eight years on, on top of it is a palace. 

Rated: 4.35/5

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2022

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