Over again. It tends to be easier to remember certain things when there is a significant moment or occurrence tied to them. If I were to ask you what you remember about some random year that you lived through, perhaps you'd have something specific to say or perhaps not, but if I then reminded you that it was the same year that someone you knew died or that someone else was born, then maybe it might bring back waves and waves of specific instances that you could suddenly recall... because you now you have something in particular to give you a timeframe to attach them to. For example, do you remember 2002?? Musically speaking, in particular? No?? Okay. 2002 was the same year that Capleton and VP Records shipped "Still Blazin'" and had as all wondering if it were some kind of disrespectful to say the album was POSSIBLY as good as or even better than the album which preceded it, the all time great "More Fire" (over twenty years later, it wasn't disrespectful at all). Bring back any memories? No?? Okay, later that year Sizzla Kalonji would put to bed any rumours of his musical demise by giving us "Da Real Thing", providing a hint that the genius behind "Black Woman & Child" and "Praise Ye Jah" was alive and well and still burning. And just in case you needed anything more from the 2002, there was also an album released called "Dutty Rock", which would go to find its star, Sean Paul, and a few of his peers, taking over the entire world for a nice amount of time. There are periods like that which we live through and are fortunate for it but, even more interesting, there're also longer lasting stretches where.... things are just SO DAMN GOOD that it is important while you are in the moment to appreciate what it is that you have because you have enough life-experience to have lost things that you long for, that YOU KNOW are never coming back. Last year we reviewed an album which would go on to be one of the better of 2023 by the name of "Ah Mi Yard" by Achis Reggae favourite Perfect Giddimani. That set was excellent, although on the shorter side of things (had fourteen songs but really just seven with dubs for each one making the second seven) and, looking back to it now, it has aged quite well. A year on, there are two tunes in particular which stand out from "Ah Mi Yard", the title track (normally the case. Just like in the premise of this review, if I asked you what you recall about 'Ah Mi Yard", you're probably going to start singing 'Ah Mi Yard') and another one called 'Give Me My Flowers'. The latter of those two will likely always stick with me because I absolutely LOVE the sentiment behind it of giving someone their credit and their due WHILE THEY ARE AROUND TO APPRECIATE IT! That song and that album, and probably a dozen more or however many more and the one we're dealing with today have lead me to think that maybe it's time to give someone their flowers and not just for one sweet year that they gave us. It's been a really long time coming.
"Ah Mi Yard", like pretty much everything Perfect does these days, came partially via his own Giddimani Records label but this time it was in association with the actual producer of the set, I Grade Records and the Zion I Kings. I'm not going to attempt to run down the list (well I am, but I won't bother you by writing it out) (I'll do it in my head instead), but I have written SO MANY reviews, previews, re-reviews and other features on ZIK released material (and even about IGR prior to their linking with the Z and the K (more on them in a second) or at least prior to my knowing about it) (.... now that I think about it, I also wrote about the Z and the K before I knew about the collaboration as well) (you know what else came out in 2002??? "Culture Dem") over the years. Even with all the time we took off, between dealing with all of the various Akae Beka sets (still have one on my front page to finish, one of these days, for 'Mek A Menshun") and various other things, I don't know if there's anyone else on the planet who has written more about the ZIK than I have - especially given the way I usually write. I absolutely LOVE their work and it has been every bit as influential on what I write as the golden years of Xterminator which would birth the likes of Sizzla Kalonji which really got me interested in writing in the first place. CREDIT is due and I have no problem continuing to pay it.
In the midst of the Akae Beka albums and others from Perfect and a few other wonderful artists (some of whom we will be talking about today), the Zion I Kings have maintained a riddim album series which has been both plentiful and fruitful (both of those probably mean the same thing, I don't feel like looking it up to confirm, but what I'm trying to say is that the series has supplied both quantity and quality). With the very first installment arriving in the summer of 2013, eleven years later we're now at number ten! There have been some BEAUTIFUL drops along the way with that number one, the Songbird Riddim, being amongst the standouts. The Lifetime ["Put a fyah in deh!"], the Perfect Storm, the Mash Down, H.I.M. Teachings.... I could go on and there's ten (technically nine, because this is number ten), so I'd probably end up mentioning SOMETHING from them all and justly so. They have given us, fans of modern Roots Reggae plenty to be happy with in the series over the years. The most recent entrant of the series, the Mash Down from 2021 which I just told you about, came via the "Kings", Lustre Kings Productions, and they have been very successful in alternating the label behind the actual releases (which sounds like such a healthy way to do business between three different entities) and in 2024, next up is "Zion", Zion High Productions, who carries the bat for the brand new Full Bloom Riddim, volume ten of the Zion I Kings Riddim Series. I hadn't been aware that this set was even in the offering and it came as a very much welcomed surprise. Norris Man, Ras Shiloh, Etana, Ginjah and now the ZIK all do brand new albums within a week of one another (and I'm going to tell you about someone else, who appears on this one, also having a new studio album out on the very same day as the Full Bloom). This is a FINE time to be fan of modern Roots Reggae and it is only getting finer. Of course, as is the case with any compilation, one of the most interesting aspects of the Full Bloom Riddim is the artist selection. Here, we have a roster largely of artists who frequent the ZIK itinerary (probably a poor usage of that word, but I'm keeping it!) with one or two surprises along the way and some very unique blends of styles jumping from one name to another. They also, delightfully, cover the critique of mine which would have been - 'I wish they would have had this type of an artist'. They're all covered and what results is..... well, it's exactly what you expect. They've been doing this for a really long time. Let's get into it!
Just as important as the names voicing it is the riddim, itself. It's pretty damn difficult to have a good riddim album without a good riddim (you know I'm now going through my mind, trying to think of a riddim that I didn't particularly care for but, somehow, made for a good album) and that is not an issue here at all. The Full Bloom is typical, mellow and ultra easy brilliance from the Zion I Kings which makes for a more malleable and versatile backdrop for its vocalists to shine across (and we'll talk about that more, later). Surprisingly, I'm going to make the case that NO ONE shines brighter than Imeru Tafari, who opens matters on the Full Bloom riddim with the absolutely SHATTERING '1930'. TEARS! You may or may not know Tafari from his famous bloodline and he is living up to his heritage and more with a song like this. I use the phrase 'praising tune' to describe songs like this, generally and that is just what this is, but this is a PRAISE of the HIGHEST POSSIBLE CALIBER! Along with the historical facet it puts on brilliant display, '1930' also brings in present, modern-day application for what history has taught us and puts on a lyrical performance which is not to be missed!
"Haile Selassie give mi di mission and di battlefield
And Empress Menen give mi di formulas and strategy
No lose yuh sanity cause His Imperial Majesty-
Will help you overcome yuh trials and di travesties
MY MISSION IN LIFE IS NOT ONLY TO SURVIVE
DISGUISE DI TRUTH DEM IN LIES
I WANT YOU OPEN YUH EYES
THE KING AND THE QUEEN DEM WAAN FI DIVIDE
HAILE SELASSIE A LIFE"
When I heard this tune, it gave me the core idea for this review. There have been SO MANY times like this where I listen to a tune from the ZIK and it just... it floors me! I can go through albums full of them for the sake of nostalgia and just spend hours and hours HAPPILY enjoy the trip back. '1930' has just been added to that itinerary going forth (think I used it right that time). We go from The King of Absolutely Everything to The King of Fire as Capleton blesses the Full Bloom with the outstanding 'Hold Your Head'. Nowhere near as active as he once was (and that's perfectly fine), these days I don't take appearances from King Shango for granted and he makes it very easy not to because he is as dependable as ever. I don't think this is 'officially' the first time Capleton has worked alongside the ZIK (he was actually on "Culture Dem" but that was probably before ["CYAH EVEN SI DEM, WHOLE A DEM AH HIDE!"]) but it just may be and, regardless, I would LOVE if he made it a more frequent stop of his, even these days. Capleton has long been one of those individuals who has something which, perhaps, overshadows his talent. The ENERGY that man has brought Reggae has been unrivaled but, anywhere even remotely near his best and he's one of the most lyrically gifted lights the music has ever produced. Things stay easy here (for the most part, he does give us a bit of spite, here and there) on a big inspirational vibe which worked excellently for me and it still is. Micah Shemaiah is certainly no stranger to the works of the Zion I Kings and he returns to also have a bit of the Full Bloom via the infectious 'Dis Ya Rockers', turning back the clock to a sweet era of the music and doing so on a very fitting platform. Along with paying homage to yesteryear, 'Dis Ya Rockers' also does a great job of something that can be very powerful: HE MAKES THE LISTENER FEEL GOOD! 'Dis Ya Rockers' is soul food. It's really pleasing for the senses and it isn't in this kind of vacant way, either. There is substance here as well and I ended up coming back to this one quite often (and I still do), for good reason. Very soothing.
The Full Bloom Riddim carries tunes from four of my favourite current lyricists today and neither of them disappoint and turn up with big winners. First in, appropriately, is GRAMMY AWARD WINNING Kabaka Pyramid, with 'Start My Day'. I didn't recognize this track my name but when I got the very first taste of it, I started singing along with parts of it ["Besides you is the warmest place"]. It may've been the first sample of the forthcoming Full Bloom that we received when it dropped earlier this year. With seemingly the easiest of efforts, the Pyramid spends stretches of 'Start My Day' positively DAZZLING the listener. I'd call this one a love song, it basically is, and it's relatable as can be: 'Start My Day' is a song about the realization that you have found your PERSON and all of the wonderful feelings that comes along with it. Whoever they are and wherever you are with them, that's the person you need to be with and Kabaka Pyramid made a great song about it. If you've spent any time at all hanging around these parts, chances are more than decent that you know that I have been a looooooongtime staunch supporter of the lyrical prowess of Lutan Fyah as well and he's given me decades now of ammunition to show why. Here, he teams up with veteran Little Roy to push the SMOOTH 'Jah Can Count On I'.
"Like thief in di night, when all at rest
Everything calm and no one expect
JAH CALL AND DEM NO READY SO DEM WASH WID COLD SWEAT
And when di heavens declare, The Most High mek a step"
There is a BEAUTIFUL blend of MOODS on 'Jah Can Count On I'. The chorus, arguably the most intoxicating on the entire riddim, is so easy and relaxed but then the Fyah does kick in occasionally, bringing in a nice amount passion, giving the tune such a strong dynamic. Easily one of the strongest selections here as Lutan Fyah & Little Roy prove to be a MAMMOTH pairing (and forgive me for a second for being a giant nerd, but the ZIK have a history of bringing together very interesting styles on tunes for combinations and this isn't the only time it happens on the Full Bloom Riddim). My expectations went straight through the roof when I got to track #10, 'Greatest Thing', as the name behind it is another longtime favourite of ours and someone who has shown herself capable of downright DOMINANT lyrically, VI wizard, Reemah. On this track, she's simply giving thanks for waking up another day and being able to enjoy life. The song is a very basic (not really) CELEBRATION OF BREATHING and the artist, once again, continues to fuel rumours that she is.... either from another planet or from another era where they have time machines because this shit is just not normal:
"When I wake up inna di morning time
I grateful that I si di sun shine
GIVE THANKS FOR EVERY BIRD, TREE AND VINE
Count up mi blessings and a di more I find
Know that life is a precious design!
Coulda never unda none di dollars and coins
STILL APPRECIATE EVERY HILL WEH I CLIMB!
AND LIFE IS A GIFT FROM DIVINE!
Life is di greatest gift weh I know
AND LOVE IT A DI SEED AND THAT'S WHAT I SOW
So watch it and grow bigger than silo
Yeah, mi spread it from di UK down to Cairo
You no si a life - dem ah waste it
And when it gone, wi could never replace it
STILL AH SMILE THROUGH DI STRUGGLES WEH MI FACED WITH
AND IF A LOVE, WITH OPEN ARMS WI EMBRACE IT!
More life and a dat wi embrace
Haffi mek a choice and wi cannot hesitate
MINDSET AND OUTLOOK, A DAT FI RENOVATE
But it begin from within, so that first fi elevate
Got to focus on di positive
Cause life is there to teach, no matta what it is
YEAH. AND WHEN I LAY DOWN ALL MI BAGGAGES-
I SEE LIFE IS JUST BEAUTY WRAPPED UP IN DIFFERENT PACKAGES
Wi know life is di greatest thing
And I am grateful for the joy it brings"
WHAT! PARDON! EXCUSE ME MA'AM! Again [!], give thanks that you live in a time where you're able to hear 'a person' (or whatever she is) who is capable of doing things like this. Off the top of my head... I can't recall the Zion I Kings doing a full album for a female artist (there was an EP by someone who we'll be talking about in just a minute), if/when that time was to come, surely Dezarie would have to factor into that, but so would Reemah. A sharper pen in any genre of music that I listen to simply does not exist. Unsurprisingly, also making an appearance on the Full Bloom Riddim (he and Lutan Fyah have been on each and every riddim in this series) is St. Thomas supernova, Pressure Busspipe, checking in with the towering 'Ever Need'. Wayyyy back on the aforementioned Songbird Riddim, now nearing eleven and a half years old, there was a tune by the name of 'I Know' by Danny I (biggup Danny I). The very first words spoken on that song, "WHEN I HEAR THE SONGBIRDS, I THINK OF YOU", for obvious reasons, provided that track with its SIGNATURE moment for me. When you speak of the Songbird Riddim (or even if I just hear the WORD "songbird", in some other capacity), I instantly go in my head and start singing 'I Know'. I bring that up here because I'm not surprised if, a dozen years from now, someone says "full bloom" and I'm thinking:
"Jah love is all I ever need"
In its complete simplicity, Pressure lands what may just be the single mightiest blow on the Full Bloom Riddim; and thankfully (and predictably), the line is surrounded by typical brilliance praising His Imperial Majesty.
"This moment, I've got to say-
Life is amazing, it's what you make it
Every morning I meditate, so doing some good, as much as I could
I'm grateful for everything
We thank you, Jah, for restoring life
His mercy endureth for i-ver and i-ver
In His name, I rejoice
Jah love is all I ever need
The war and crime bring misery
Jah love is all I wanna see
Inna Zion, there is no poverty!
Got to live a little
With the life Jah give you
HAVE ALL THE CASH AND, WHEN IT GONE, CAN'T TAKE IT WITH YOU
Do so everyday, freedom is the only way
The negative will get you caught in the middle
DO SOME POSITIVE AND THEN YUH BLESSINGS TRIPLE
LOVE AMONGST THE PEOPLE NEVER COST A NICKEL
Fi yuh owna happiness, yuh responsible"
The highlights continue to roll through the Full Bloom Riddim and from many different directions. Certainly one of the most (and maybe even THE most) curious comes in 'Too Dread', a giant combination bringing together a pair of ZIK vets, Arkaingelle (will always give a massive credit to Arkaingelle for dropping one the single greatest tunes I have EVER heard from anyone, 'Manifess Joy') and Jalifa, as Guyana meets Trinidad. Back in 2020, Arkaingelle would release "Nuh Watah Down", a beautiful album (which would make for a really nice Vault Review someday), courtesy of ZHP and two years on, Jalifa would do the same with her EP, "Incient Ras"; so neither being here comes as a shock at all but it doesn't seem like an obvious combination at all and whoever had the idea is showing a bit sagacious planning behind the scenes, themselves (same person was probably responsible for pairing Norris Man & Pressure back in 'da day ["WHEN YOUR TIME IS UP, DON'T CRY TO ME! YOU WERE WARNED ABOUT THIS!"]) because 'Too Dread' is as sublime as it is colourful. What I took from this one is the importance of standing up for what's right, no matter the circumstances and if it 'invites' negativity from some others, or if some take "offense" to it, then so be it. I'll refrain (as much as I don't want to) from transcribing anymore lyrics in this review, but Jalifa BLAZES throughout, especially during her final verse ["Don't call yourself a lion. You're a frog"], while the Arkaingelle keeps us grounded. I wouldn't expect it to happen again -- I didn't expect it to happen this time -- but if these two.... wanted to make another tune (or two or three), you wouldn't get a complaint out of me. Earlier this year, Peetah Morgan from the famed and GRAMMY AWARD WINNING Morgan Heritage made his transition, but he has left us with years and years of works to go through and enjoy and dissect and his latest creation, 'Who Run The World', is a golden social commentary on the Full Bloom Riddim. Questioning the genuine 'super powers' of the world, Peetah suggests that IT isn't necessarily he or she is loudest of most visible (or who "hold a glock") but is, instead, someone keener on keeping a lower profile while things play out on the forefront. Peetah has (not had, he HAS) a very interesting voice. It has a really large PRESENCE to it and his music, inherently, stirs up some type of emotions in his listeners and when you put it together with such a well written and structured composition as you have in 'Who Run The World', the results are damn impactful and biggup Peetah Morgan.
The album for the Full Bloom Riddim released officially on the 19th of July, 2024. On that exact same day, another album by the name of "Feeling Irie" also launched on LTK20 Rechordz (now why would you spell it like that???). Besides a genre, both share the talents of the great Glen Washington. Here, the ever present ZIK fixture ["The joy! That Jah blessing brings"] stands up for everyone, everywhere and gives us 'Rights For Everyone'. I loved the way this tune starts combined with where it ends up:
"Open your eyes and see what Reggae music is doing for me
People are out on the floor, saying 'pull it up' and 'play it some more' "
[Last time, I promise] The Clarendon native goes on to speak about several different topics but the one I think that brings them all together is the idea of speaking up and speaking out when things are not right. That's what Reggae music does. That's what you do to bring honour to His Majesty. You don't allow corruption to exist and not say a damn thing. You make songs like 'Rights For Everyone' and if you can't do that, then you play it for anyone who will listen... or you write giant reviews and suggest that others take a spin. If you missed out on Kabaka Pyramid's 'Start My Day', then maybe the first time you laid ears on the Full Bloom Riddim came courtesy of Jesse Royal on the absolutely GORGEOUS and quite clever 'Love That Don't Change'. Do you have someone in your life, WHOEVER IT MAY BE who you know that you can just depend on, regardless of the situation. If you need any type of help they're there for you without question. 'Love That Don't Change' isn't a song about honouring that type of person or thanking them (though you should do both of those things. Right now and every chance you get). It is about BEING that type of a person for others. Being dependable and caring about your loved ones and demonstrating it at every opportunity. 'Love That Don't Change' is also golden. Along with the sentiment, it just SOUNDS divine. 'African Pride' also sounds nice (the song and just in general) as its star, MediSun, delivers a very slow and easy BURN in the name of the African Diaspora. MediSun also appeared on the Mash Down Riddim (with the blistering 'Hands Off') and if you've been paying attention to his output in recent times, you've noticed that he has been enjoying a FINE form over the past couple of years or so (and it continues. He has a couple of other new tunes, 'Extra Heavy' and 'Mek A Sound' which are also top notch). Still, with that being said, 'African Pride' ranks healthily alongside his very best as MediSun continues to prove himself someone difficult to ignore. 'African Pride', as someone of African descent, just hit me in so many nice places and I spend the vast majority of my time listening to it with a smile on my face as my default position. A definite highlight on the riddim and were it not for the fact that I've already put entirely too many lyrics in this review, I'd have no problem including blips from 'African Pride' as well, but here's a paragraph break so you can actually hear the tune for yourself.
"Like di lions in foreign cages-
Dem send di missionaries out to miseducate us
500 YEARS OF DI WHIP COULDN'T BREAK US
NOT EVEN DI ATROCITIES WI SUFFERED ON PLANTATIONS"
[I couldn't help myself] Swiss chanter and another returner from the Mash Down Riddim, Ras Teo, stops by the Full Bloom Riddim as well to teach us about 'King Lalibela' with a song that should have probably come with a warning of sorts. Teo's music, at least in my opinion, has an extremely straight-forward charm to it. For the most part, he seems to keep it relatively simple and when you have actual talent (and he does) and you make a sound like that, I think that it provides your music with a very OPEN dimension to the point where if you were to ask me which tunes on this riddim I would recommend for more casual listeners of Reggae, 'King Lalibela' would definitely be in that lot. The warning it would come with would be at the chorus. It is so simple and so nice but it will GLUE itself to your brain and it will not remove itself. It just won't. When you dig into the actual verses, you'll come to notice that much of the rest of the song (pretty much all of it) is also just as hard to shake as 'King Lalibela' is just one SWEET sound and it also has depth to it as a lovely. Speaking of lovely, also included here is 'Full Bloom Dub' and I'm not going to insult your intelligence by explaining what that is directly, but I will say that I always enjoy clean versions of tracks on riddim albums, particularly ones from the ZIK. I lack the musical education to explain exactly what I hear but I will say seems to be a staple of theirs is the amount of detail that goes into their work. I know that sounds ridiculous but what I mean is that when you listen to a clean track from the Zion I Kings as opposed to it with vocals (although sometimes you'll hear it there as well), the thing just BLOSSOMS. IT BLOOMS! It develops and reveals itself to be something more than you noticed originally. In this case, what always stands out is this lovely horn which is ever present but not domineering and when you take it in sans vocals, I'm now fixated what I presume is a drum (meaning it most certainly is not a drum) which almost sounds like a heavy-handed clap to my ears. You knew it was in there -- it's Roots Reggae music, it's always in there -- but DAMN does that thing grab you when you remove the vocalist as does the guitar work. I don't have credits for this one but biggup all of the producers and players of instruments who also do excellent work. I also want to mention that, when you do add the vocals, there seems to be a BOUNCE And I think here is a nice spot to give credit to the artiste as well. The cover art here so nicely fits the material. The Full Bloom blooms EVERYWHERE! It blooms on the countryside and it blooms in the ghetto!
Overall, unless I'm REALLY forgetting something (and there have been some very good ones in there) (.... like pretty much all of them, but some of them have been smaller) the Full Bloom Riddim is now my favourite installment of the Zion I Kings Riddim Series. From beginning to end, literally EVERYONE, performs wonderfully. There are some MIGHTY performances to be found here and I think this set does what a great riddim album (and just a great compilation, in general) should do, in my opinion: It makes you want more. It gives you an impetus to begin looking up some of the artists you may be un/under familiar with and, when you see the "Vol. 10" on the cover, you're probably going to want to see what was up with the first nine. The first nine were all superb but #10 is something a little more. The Full Bloom Riddim is exquisite, they always are, but its album is downright immaculate and it is so good that it lead me down a road to thinking of all of the wonderful times we've had in covering the music of the Zion I Kings. They have spent the entire time of their existence making a level of music that has very little in the way of actual peers. The Full Bloom Riddim album is the best compilation of Roots Reggae music I've heard in a long time and MAYBE the best the ZIK has done since "Joyful Noise". AMAZING!
Generations. This is the portion of the review where I would normally latch onto some random, ridiculous and mi-nute aspect of the artist, label or album that I am about to review and spend the entire overly long and rambling paragraph grinding that point and spreading it out to other (fairly useless) examples and tangents. It's my style. It's just what I do and I'm not sorry. HOWEVER, today doing such a thing just felt kind of pointless (if you do love the rambling, it will certainly return on the next review (biggup Anthony B).... or you can just click on any of the six hundred others and get your fix) because I have been waiting for this one for such a long time and the artist and the project in question today came fully-equipped with an arsenal of delicious points of discussion. If I were to compile a list of my absolute favourite artists of all time, somewhere near the top of it, you would definitely find one Queen Omega and it's been that way for quite some time now. While these days I cannot actually recall how or when I had the grand fortune of stumbling across her wonderful work, what I can do is to point you to an album which reached way back in 2001 (...I am so old) by the Green House Family, called Queen Omega. That set, with its very simple, unassuming and blue-tinted cover, was the full introduction to one Jeniele Osbourne, from out of Trinidad. We've covered the delightful Reggae exports from the home of Soca thoroughly throughout the years (doing it right now, technically) but for me, the backbone of that stream of talent (talking about some truly gifted people like Marlon Asher, I-Sasha and many more) became Queen Omega and it still is today, more than two decades on. She's also, in my opinion, THE single most gifted female Reggae music has EVER produced and, again, if I were to make that list of favourites and her name was as high as #2, I would not be surprised at all. Why?? What I heard on her debut album, first and foremost, was a SERIOUS talent and one which, though it may've lacked refinement at the time, more than made up for any shortcomings with such a NATURAL sound. Osbourne may be talented at a variety of different things. I would not be surprised at all, but if ever a human being were put on this planet to make music, IT WOULD BE SHE! in terms of modern Roots Reggae where we have artists of all types - be it singers, chanters and those at various stages in between (biggup Norris Man), Queen Omega is all of those. She can do them all and do so on a level where, as a fan, I find myself equally as excited if she takes on a tune in a lighter vibe where she's going to showcase her vocals or if she chooses to absolutely WRECK some poor producer's riddim and put it to the sword as a chanter ["The voice of Queen Omega makes the world tune in. With versatility, sometimes mi deejay and sing. ONCE MY MIND IS MADE UP, I CAN DO ANYTHING. Nothing is impossible with The King Of Kings. Mi just hold a vibes and sit down pon riddim"]. In glimpses and in large enough flashes, such a devastating talent was on full display to me on her debut album (I actually own that album on disc, which is definitely one of the coolest pieces in my collection).
2001
Fortunately I wasn't the only one who thought so. From there, the 'Ganja Baby' (and I have it on good authority that sometimes her friends - they call her 'Ganja Lady') would check back in 2003 with "Pure Love" for Jet Star and again with the same label the following year for "Away From Babylon". The latter being one of the greatest albums I have ever heard. It's been proclaimed a modern classic on these pages and it is a nearly perfect display of one of the most skilled artists I have EVER laid ears on. 'Burdened' with following "Away From Babylon" was 2005's "Destiny", which was also excellent, for Special Delivery (remember Special Delivery???) and then, in 2008, the venerable Mad Professor gave us "Servant Of Jah Army" ["Inna Jah army, nobody can harm mi. Sweet like honey, watch di man dem ah swarm mi"]. NOW [!] had you told me in 2008 that, though we'd get a steady stream of RIDICULOUSLY impressive singles and two or three EP's from her (most recently 2001's "Stars Align"), it would be FIFTEEN FUCKING YEARS before we'd get another full album from her.... well.... I mean..... yeah.... probably would have cried.
Well I can guess I can dry my eyes now. It was a few weeks ago, at the end of January, that we got the news OFFICIALLY that, after a very specific stream of singles, Queen Omega was set to deliver her brand new and first album in a decade and a half, "Freedom Legacy". The album would come via the same France based (Paris to be exact, I believe) Lions Flow Productions imprint (in association with Baco Records) (and, specifically, one Florentin Coquelin and Christoph Grossniklaus produce every song on this album and they get help from Julien Reichen on a couple of them as well) that has been responsible for much of the Queen's recent output (though she has continued to work with a healthy mixture of producers in the last couple of years as well) and FINALLY common sense has prevailed and the world is a much better place because there is a new Queen Omega album in it! Thinking back now, I cannot actually even think of a relatively substantial rumour saying that the Queen had a forthcoming set at any time (despite the fact, as I said, that she did have EP's), which is pretty odd, but we're going to forget about all of that right now: IT IS MARCH, 2023 AND QUEEN OMEGA HAS A NEW ALBUM and we get to talk about it [WHAT!]! While I do not have a great deal of knowledge of LFP, looking through their catalogue - they have been fairly active within the past half decade or so. Most notably there 'was' a pair of riddims in the Switzerland and Zion I Matic, respectively. The former was a GORGEOUS composition which featured some very gifted vocal talents such as Ras Attitude, Fyahstone and two others who we'll tell you about in just a second (Austin James also had a really beautiful tune on that riddim called 'Colour of A Man's Skin'). As for the Zion I Matic Riddim it 'was'.... it actually doesn't 'WAS', it IS -- because it shares the same 24th of March release date as "Freedom Legacy" (WHAT!) (they've been busy!) -- it also carries some tremendous vocalists including two of personal favourites of mine, the majestic Mark Wonder and [Prince] Theo Nyeemiya (BOOM!), as well as that same duo that I just alluded to being on the Switzerland (and, speaking of favourites, they also worked with Jah Marnyah on an older tune called 'Life Mission'). Both riddims are lovely and when you combine that with the actual work that they've done with Queen Omega and while Lions Flow wouldn't have been the first label to come to mind as doing the work on whatever the next Queen Omega album was, they have WELL demonstrated themselves more than capable of potentially delivering a magical release with the artistic piece of dynamite they have responsible for the vocal and lyrical duties, on paper and functionally. For her rather giant part, the Queen has remained in a fantastic form (..... throughout her entire career) and though I would have literally hoped for like FIVE or so albums in the past decade and a half, she also figures to be primed to deliver one of the finest albums of her career. So with such a setting, certainly "Freedom Legacy" lives up to expectations and proves to be an EXCELLENT set. Right??
Yep. Of course it does. Wonderfully, "Freedom Legacy" is built on the strength of combining previously released material with some which will be brand new to listeners. Now I'm a nerd (and probably a rare case) but, when I got a look at the official tracklist for this one, I got SO damn excited and curious in both going in my head and singing the pieces that I had already known and then looking at the new selections (and guests they brought in, in some cases) and trying to imagine what type of song that might be! Like I said, I know I'm not in the majority, but even more than musically, I was already well enjoying the 'process' of "Freedom Legacy" before I actually dug my claws into it. Well, it's here now, so I do not have to wonder anymore and neither do you because I'm going to flat out tell you that Queen Omega's very first full album release in a decade and a half (I turned twenty-seven the year "Servant Of Jah Army" reached, I will be FORTY-TWO this year) (DAMN!), "Freedom Legacy", gets going with four of its five previously heard selections, the very first of which, 'See You Down' is absolutely staggering and the single finest offering on the entire album in my opinion. Despite its direction (or maybe BECAUSE of its direction, at least in part), the one word that comes to mind when I hear 'See You Down' is POWER. It is a POWERFUL tune from its message of being sure to not only present yourself as an upful and positive person, but to actual BE such an individual; all the way to the way it is displayed. The Queen pushes her disruptively beautiful vocals near their peak at times and the results are thunderous! With this piece she REALLY goes into the idea of finding things and PEOPLE who bring you joy and doing your very best to involve them in your life. It not only soars on this album but, to my opinion, it's one of the best tunes Queen Omega has ever done and I wasn't at all surprised that it was chosen as the first chapter of "Freedom Legacy". Not too far behind at all, however, is 'Fittest', which almost seems to indirectly build upon the core sentiments of the opener. Where 'See You Down' is about not showing your weaknesses and doing what you can to limit them, 'Fittest' is all about completely ridding yourself of them as best as you can because it is NECESSARY. There is such a presence to 'Fittest' and it is EDGY and... grimy! There is something appreciably dramatic and profound behind it and it gets into an area where you consider the importance of something in the music beyond sound and lyrics. Whatever THAT quality is - 'Fittest' BATHES in it.
'Micro Chip' may be the most familiar track on "Freedom Legacy", as it originally appeared a few years back (never when I first heard it would I have imagined that it was leading up to something I'd been looking forward to for.... over a dozen years or so at that point). When you really dig into it, though you will hear songs like it, 'Microchip' is one of the finest dealing with the topic of not getting lost or ran over in the digital age.
"Babylon dem trick mi!
Dem waan microchip wi!
YOU NO SI DEM CRAZY, DI WHOLE A DEM GONE INSANE!
Though di road is slippery-
Yah children have the victory!
I know The Almighty Father's works never go in vain
Nobody pon di streetside ah walk
Quarantine: Caan leave ya house after dark
Social-distancing tearing us apart
No greeting with a hug, everybody wearing masks
Conspiracies and lies - it break di people heart
Countless dead, but look at di aftermath
The universe is saddened
The Father, Him ah wrath
Economy - it's broken, wi haffi restart
Replan, rethink, take time to reflect
Each one, teach one - there's no time to neglect
Put di differences aside, spiritually connect
To di source of life, to di one who blow breath
Under His wings wi abide and rest
No one no bigger than Yah, Vatican no ready yet!
The world is changing, we're looking for the best!"
Queen Omega also sounds absolutely amazing during 'Micro Chip'. It is one of the strongest vocal demonstrations you will hear on this album and, again, it too ranks alongside the very best that "Freedom Legacy" has to offer. 'Wise Queens' is the very first (of four) combinations that you will encounter here and, for what it is, you almost have to call it LANDMARK. 'Wise Queens' features a pair of extremely gifted female artists in Jalifa and Kushite (who I alluded to previously as being present on LFP's previous riddims), who are also from out of Trinidad. The background setting here is tremendous and all colours of fascinating and materializes from those circumstances is PRECISELY of the quality one might expect. The mixture of the styles is so interesting with the battering ram that is Jalifa on one end and the softer and more malleable Kushite on the other ["And is yah fyah no normal. A CONFUSING FYAH, LEFT DEM LOOKING FOR GRAVEL"], with the Queen bringing them both together from somewhere in between ["Jalifa, Kushite, Queen Omega - fyah caan extinguish. Three empresses, so divine and distinguished. If you no royal in yuh heart, you caan sing this! Lava pon di wicked government, dem cannot win this.Satta massagana that is I & I English! Truths and rights, I ah live and ah speak this"]. They also made a video for it bringing together dozens of upful and wonderfully displayed Trinidadian women, befitting of what a powerfully DIVERSE land it is. 'Wise Queens' is MOMENT music. You do not forget things like this coming together in such a nice way (and I'm thinking that somewhere in Trinidad there're a whole heap of younger women who are coming up and hearing this song who, in a few years' time, I will be sitting right here writing about as well, having been inspired by a track like 'Wise Queens'). 'Lioness' is the most recent featured drop from "Freedom Legacy" and it is another offering built on the idea of importance of uplifting and RESPECTING women in society. What I really enjoy from 'Lioness' is how it isn't the kind of stereotypical 'mama song'. It does have those elements to it, particularly early on, but what it subsequently develops into is.... something so fully encapsulating of qualities shared by great women and not just focusing exclusively on their biology (meaning their ability to give birth). 'Lioness' goes much deeper [coincidentally, Queen Omega has another recent tune by the name of 'Real Lioness' with Massive Dub Corporation which, at least as far as I can tell, is unrelated to this one, but is also DEFINITELY worth checking out because it is also beautiful].
Sticking with that line of thinking, there're two new offerings on "Freedom Legacy" which well come to mind. The first is the album's closer, 'Win', which I was SO much looking forward to. This piece is interesting because its central theme isn't about empowering women (although it does do that a bit), but what it does do actually, is to link up Queen Omega with another of the most curiously gifted female artists that Reggae has ever seen. If you've never heard Soom T before, I'd struggle to describe her and would, instead, likely just tell you to go and have a listen (my personal favourite is probably a song she did years ago called 'Na Na Na', for Necessary Mayhem) and figure it out for yourself. Specializing often in a more old school form of Dancehall, the Scotland based Soom T has a very youthful delivery so what will happen is you will inevitably find yourself wondering exactly whose daughter is..... absolutely SHREDDING some riddim. She delivers words in streams and torrents generally only seen amongst the true masters of the spoken word (I'm sitting here working on this review with a Bunji Garlin video playing in the background. Bunji Garlin would be a fan of Soom T, if he isn't already). 'Win' is a blast! It is so much fun to listen to with these two going on what appears to be a LOVELY take on the Bam Bam Riddim to my ears. The song, itself, is just about overcoming obstacles and gaining successes, big and small, in life. It also demonstrates the true versatility of the Queen as though she does not completely match Soom T, she delivers in a style which both shows her ability to do that (or something like it. Unless your name is Soom T, you're probably not doing EXACTLY what that woman is doing. DAMN!) but also makes use of the natural resonance of her voice. BOOM! The other song that 'Lioness' brought to my mind here is 'Love Your Way', because though it also strikes on an ultra-familiar topic, it does so in a very 'fresh' way. 'Love Your Way' is track that you've heard from many a male artist singing about women and a few women singing about themselves, but I haven't heard many women singing such material about men (the one that does come to mind is 'Avocado', from the walking institution of higher learning that is Jah9) (and I'm sure that I'm forgetting some, but my point is that it isn't a type that you hear very often. I wouldn't even call it a love song, it's more of a 'song of admiration' in my opinion). The word that Queen Omega says here that really sticks out to my ears is "hygiene". Again, you'll hear so many songs about women taking care of themselves and the importance of being clean, but she throws it back to the men. EVERYONE needs to be clean and healthy and then, of course, she goes onto other things such as setting a proper example for (and being present for) the youths. These are things that she clearly is not only attracted to but also admires in people, in general.
"Male child, bout you mi haffi sing
From yuh to yuh feet, I just love everything
Yuh physically fit, yuh working out in di gym
Yuh take care of yuhself, man yuh win, win, win
Can't forget to give di ratings to yuh Empress
Cuz mi know she have an input on how yuh look best
Yes, Queen, you must biggup yuh chest
You a di perfect match
Yuh blessed!
Confidence level right up to di sky
Great success inna anyting yuh try
Highly intellect, book smart and streetwise
No competition, cause you win di prize
Big man ting, yuh stay cast for dat, you a true born king!
Self respect, self elating and disciplined
Full up a wisdom and understanding!"
Should you be on the look out for a more ("more", not entirely) stereotypical but GORGEOUS love song, Queen Omega also has you covered in a couple of different ways. 'Agape Love' which features an impressive vocalist from out of New Caledonia, Marcus Gad. It isn't completely a 'oh baby I love you' type of an effort and it is HEAVY! The riddim tracking 'Agape Love' has to be one of the, if not THE, finest on the whole of "Freedom Love" and the duo make the most of it by delivering one SWEET vibe centering around love. This "love" is, at least at times, one that can be given to a partner or a FRIEND who just does nice things for you. The Queen talks about things like him teaching her how to fix her car if it breaks down and her teaching him how to cook. You don't have to be married or madly in love with someone for that to happen, so I definitely appreciate the more broad approach here. THAT type of love song does come later on but even it roams a bit from the center. Someone dropped a BOMB on Queen Omega, she LOVED it and she's going to tell you all about it on 'Dynamite'. Given what she says, it almost comes off as more of a young love ["... and like a little girl, you make this big woman blush"] (where that person that you're interested in can literally do no wrong. They can literally pick their nose, you even think that is kinda cute); she's infatuated, she knows it and she enjoys it. The sound on 'Dynamite' also kind of matches that tone. It's a free vibe and relatively simple, but the FORCE she puts on it takes it somewhere else. This one probably took three or four listens, but I came to REALLY enjoy it and it is one of my favourites on this set and I'm thinking I rarely say that about love songs anymore. Where 'Agape Love' and 'Dynamite' deal with an outward love of others, the SOARING 'Extraordinary' is more about the inward affection you have for yourself. This song is about self-confidence and esteem and APPRECIATING YOURSELF. There's probably a very thin line somewhere between confidence and conceit, but there is not a damn thing wrong for giving yourself credit and treating yourself well for doing good things and being a good person (if you think about it, you do it for others virtually all the time. When your dog does what you want it to, what do you say to it???) (there's nothing wrong with doing that for yourself). 'Extraordinary' also comes with a bit of a hidden feature in being the album's longest composition by seventeen seconds, so its final moments give the listener a delightful moment to appreciate the beautiful riddim behind it. I love songs like this because they can hit you both in a broad way -- don't be so damn hard on yourself -- or specifically -- you did good today, go have some fun -- and it will likely hit so many people in so many different enlighteningly impactful ways. Continuing with that theme, in a way, is 'Natural Melody' which is a love song of a certain kind (biggup Gentleman) - this time Queen Omega espouses on the smaller things in life which can bring joy and don't necessarily put you back much, if at all ["Appreciating the rainfall, the shelter under the trees. Ain't nothing better than the natural melodies"]. She also branches out on things like having a good attitude and, again, being confident in yourself. 'Natural Melody' almost has an R&B-ish sound to it which, for the 'nature' of what it is, works quite well. I wouldn't be surprised if Queen Omega wrote the song and sang it and a riddim was made to back her, as it works so well; and you simply cannot miss rapping (not deejaying, RAPPING) near the end of one SWEET selection.
'Oneness' may just be the biggest standout on "Freedom Legacy" on paper; as it features Queen Omega alongside French veteran Yaniss Odua (originally from out of Madinina) and Bob's son, Julian Marley (who releases an EP, 'Colors Of Royal", on the same day as "Freedom Legacy"). If you've followed Queen Omega's career, you know that, including those appearing here, she's worked alongside some of the genre's biggest names such as Sizzla, Capleton (both of them on the same tune, 'Warning', on her debut album), Anthony B, Mark Wonder (both of those were also on that same album although, oddly, Wonder was credited as 'Archie Wonder') (biggup one of my readers who told me that years ago), Buju Banton, the aforementioned Gentleman and even Ninja Man [WHAT!], but I saw the lineup on this one and I just thought it to be such an interesting trio and wondered where 'Oneness' might go. Where it does head, ultimately, isn't very unexpected - 'Oneness' is about unity. It's about bringing together people and ideas in the name of positivity and good causes. The sound here is VERY straight-forward and I mean that in a good way and the musical common ground that all three find, when at its best, can be downright intoxicating (particularly in its latter stages). Check the monstrous 'Goodness'.
Do you hear that? I mean REALLY, DO YOU HEAR THAT? What a great song! I came across this one and I had to seriously reconsider my choice for the finest moment on "Freedom Legacy" - it is THAT good. 'Goodness' is another heaping serving of positivity and affirmation and... damn does it sound so nice! What happens musically here with a vibe which seems to consistently develop throughout its duration is downright intoxicating to the point where, Queen Omega says she wants some , "sweetness, sugar and spice", and you will find it in this song - like A LOT of it! Finally is 'Ask', another title that had me very curious about its course when I originally saw the tracklist.
"When you ask, you shall receive
Knock and the door will be open
If you seek, you shall find
When you ask, you shall receive
Knock and the door will be open
If you seek, you shall find
Sweeten yourself with some positive vibes
You've gotta hold the faith if you want to survive
In this baggawire, inna di giddeon time
Only di strongest and di fittest will survive
THE LION HAFFI WALK WITH THE PRIDE
Love for humanity, love for mankind
Respect one another, peaceful inclined
Look at tomorrow, di future is bright
Lay your burdens by di river side!
You have nothing to lose, you decide!"
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Sometimes in life (many times, actually) you will find yourself needing a helping hand and that is the notion behind 'Ask', which is also a motivational type of song just in case you've gone a bit stagnant. Again, something here that is inescapable is the dynamic vibes around it. 'Ask' is going to definitely feed your brain and your spirit, but it's also going to make you move a little bit! You know what, looking back on it, I could very well say the same thing for a significant percentage of the songs on "Freedom Legacy": They will nourish you in many different ways.
Overall, I'm partial as hell, I'll admit. I absolutely love Queen Omega (once upon a time, she even sang a jingle for my blog!) and had I not enjoyed "Freedom Legacy" as much as I did, it would have been a MASSIVE disappointment, but there were absolutely no concerns with the quality of this release based on the previously released works. They were outstanding and what I hadn't heard quickly showed itself to be on the same very high level. In retrospect, the build-up to the album was perfect. We can now look back and see the fruits of what turned out to be about two or three YEARS worth of work with Lions Flow Productions and while I have no idea at what point the idea went from just making some songs to making a full collection (or if that was the intent in the first place), seeing the progression into something that I HAVE BEEN WAITING ON FOR FIFTEEN YEARS, is a joy. Hopefully I will not have to wait until my mid fifties for a follow-up but for what it is, "Freedom Legacy" is another check of greatness for one of the greatest to ever do it. RIGHT NOW! QUEEN OMEGA IS ONE OF THE BEST OF ALL TIME! Flawless.
Okay so, it is time to, once again, check on the goings of one of our absolute favourite artists of... of ever, the incomparable Queen Omega who, over the course of the past couple of years or so (and pretty much every other year in her career before that) has been in the process of dropping some very impressive material and I have to say that he latest creation may just be one of her best as the dynamo from out Trinidad links with Lion's Flow Productions from out of France to send out the HEAVY 'See You Down'.
The track finds the Queen speaking on the importance of keeping a good 'poker face' and being careful not to show when things, perhaps, are not going your way. We all experience various difficult things in life and, of course, we're all EXTREMELY flawed, but certain things are for your own knowledge and no one else's as they may very well try to exploit and misuse you in your time of need ["Mankind is so quick to judge and condemn). The vehicle Queen Omega uses to express that sentiment is an exquisite one. 'See You Down' is gorgeous. The song absolutely thrills, particularly when she pushes the vibes to the brink in its dazzling middle stages! The new tune isn't the first link between the multi-talented and accomplished vocalist (who NEEDS to give us a new full Reggae album. She simply has to. It's getting ridiculous)... even of 2022. Back in September, Queen Omega teamed with fellow Trini artists Kushite and the well impressive Jalifa on 'Wise Queens' and, over the summer, there was the pillaring 'Fittest' as well (which I do not think we ever mentioned).
You damn sure know what I'm thinking at this point (I mean... since you're making all of this music with her anyway...), but we will wait and see how 2023 plays out as, CLEARLY, Queen Omega continues her brilliance well into what has been one of the most distinguished reigns in recent Reggae history. BOOM!
The name Jalifa is not entirely new to me. I'd heard a few tunes of hers in the past and one or two of them definitely did make an impact on me. The one that comes to mind most immediately is from just a year or two, 'Ganja Banquet', which was a combination that she did alongside Lutan Fyah. She's also had one or two others over the years, such as the militant 'Born Ready', 'Ibration', the booming 'When I Chant' and 'What A War', that have also well caught my attentions. Unfortunately, the Trinidad native's rise to prominence came largely during our absence, so we haven't gotten the opportunity to take any type of look at her work, but Jalifa went ahead and remedied that situation and did so with the helping hand of a most familiar partner.
By this point, our readers are well familiar with the work of Zion High Productions and the Zion I Kings as they have supplied this blog with some of its greatest and most interesting and compeling releases throughout the years and they have continued the work with "Incient Ras", the debut EP release from Jalifa. The release contains four full selections with their dubbed out instrumentals and features the work of the likes of usual suspects Jah David, Tippy I and Moon with other esteemed players of instruments such as the late Andrew Stoch and even Addis Pablo. "Incient Ras" is outstanding. It is the best EP that I've heard in 2022 this year and I wouldn't at all be surprised if I'm saying the same thing come December. So, I thought that we'd take a brief look at all of the vocal tracks on the release and just give a taste of one extremely impressive up and comer - and someone who figures to join the likes of Reemah and Jah9 as EXTREMELY powerful female Reggae soldiers emerging over the past decade or so.
'Hear Ye'
See now I just mentioned Jah9 and, in a way, 'Hear Ye' reminds me of Jah9 because it captures every bit of the moment that her unforgettable arrival 'New Name' did, nearly a decade ago. It is downright chilling! Jalifa does not that have that ultra-polished and refined way about her that Jah9 does (no one does, really) (that woman was a seed planted into the ground. Grown to perfection to make Reggae music), but what she does have is this kind of pointed roughness to her, which can be every bit as effective. At the height of her powers, Jalifa can be this SOLID whirlwind of thought provoking ideas. 'Hear Ye' is near her heights and she dazzles in masterful praise of His Imperial Majesty.
'Whereas'
"The road that we trod is so rugged and rough
But we're rugged and rough"
'Whereas' is a tune saturated in CONFIDENCE. We find Jalifa full of pride, assurance and in a mood to burn out corruption any and everywhere it exists. Of course, doing such things are propelled by the might of His Majesty and Jalifa goes forth with that knowledge. The results are genius and, at times, a Haile conscious lyrical tirade which is simply not to be missed.
"The Mighty Power of The Trinity is over us
So anything that rise can't conquer us
Inna higher vortex, Jah Jah take us up
Some too far just to make a stop
SO betta look inna yuhself, yuh betta wisen up
Because di fyah haffi bun, a nuh no time fi stop"
'Reggaelize It'
I remember first hearing the wonderful horns on 'Reggaelize It' (biggup Stoch) and thinking that the track would likely make for a wonderful dubbed out version (and I was right, it does. We actually get a pretty nice taste of it during the tune's final eighty seconds or so), but before we got there, Jalifa would have her say. What she does say, although quite [TOO] brief, is an homage to the greatest sound on earth.
"Reggae music speak a language, yes
Di world dem waan fi know"
'Direction'
Finally is 'Direction', a tune which is absolutely EXQUISITE in every way, bordering on perfect, and my single favourite selection from "Incient Ras". From the golden riddim behind it (wonderfully highlighted with melodica contributions from the great Addis Pablo) to the brilliance Jalifa sits atop it, 'Direction' is special. The tune deals with those who have lost their way in the world and, whether they realize it or not, are involved in negative things. Taking it a step further, the artist also deals with things such as mental illness ["Real lioness, mi not a liger. So mi nah tek bribe from di briber. Don't mek dem screw you like a driver and lose yuh sanity and be a miser"] and apathy, and it does so on both spiritual and tangible footings. 'Direction' is one of those tunes that you don't need to believe in.... really anything besides what you can sense to have an appreciation for. It is for anyone, from any background and any walk of life. A MIGHTY song.
I do want to mention something about the dubs on "Incient Ras" because they're all very good but a pair of them, in particular, are fantastic. The bookends, 'Hear Ye Dub' and 'Direction Dub' REALLY stand out to my opinion. As I've said in the past, I've never been the biggest Dub head, but tracks such as these (and, really, much of the Dub work done by the ZIK in general) are making me think it may be time to take a deeper dive one of these days.
{Note: If you write about Reggae and focus on Dub to any degree, you have my respect. It is not easy!}
Overall, I also want to mention something that stands out for me in terms of Jalifa's music. She sounds a bit like Queen Ifrica to me and that is a great thing. I do not know how much, if any, direct influence the Mobay star has had on her work, but they have similar deliveries and writing styles as well. If she hasn't heard it, I'm sure Ifrica would be thrilled by what she'd hear on "Incient Ras". I'm also sure you'd feel the same way, so go and prove me correct and take a listen to what is sure to be one of the finest Reggae EP's of 2022, "Incient Ras" by Jalifa.
