The Best Reggae Albums of 2024!

I don't feel like writing an intro! LET'S GET TO IT!

{Note: No Soca, EPs, multi-artist compilations or complete dubs/instrumentals}

{Note 2: Haven't done one of these in ages, it was kinda difficult}

#10."See It Deh"  by Ras Shiloh [Reggae Vibes Productions]

Had you told me at the end of 2023, that Ras Shiloh's name would be on a list for biggest albums of 2024, I would probably have been quite surprised. That shock wouldn't have come because I didn't think he could reach those levels in terms of quality but... I wouldn't have thought that there was much of a chance, AT ALL, that the year would bring an album from the decorated singer. Wonderfully, the project would come via JahMikes and the increasingly esteemed Reggae Vibes Productions (which has, QUIETLY, become one of the more dependable outfits in the entire genre in my opinion). Ras Shiloh & RVP should tell you pretty much everything you need to know about the actual quality of "See It Deh" and, with carrying a tune such as the downright GLORIOUS 'Hail The King', it did not disappoint.

#9."Levite" by Zacheous Jackson [Red Ground Jamaica]

"Levite", the twenty-four track monster set from the well gifted Zacheous Jackson, equally bludgeons and finesses its way onto this list through some truly beautiful vibes and the sheer size of the project. Perhaps the single greatest credit that can be paid to Jackson & "Levite" is to say that it doesn't contain an ounce of 'filler'. It was twenty-four good songs which were of all of a certain quality which made it one of the BIGGEST (literally) albums of 2024. Standouts were all over the place such as 'I Wish' and, NINETY MINUTES LATER, 'Look Within' and 'Unda Mi Medz'. I didn't end up hearing much about this one which is too bad but hopefully its shelf life is greater than its launch because, clearly, there is so much good to be heard on "Levite" and it'd be too bad if not too many people got to experience it. 

#8."Ganja Man" by Linval Thompson [Irie Ites]

Legendary vocalist meets CLASS outfit on "Ganja Man" as the esteemed Linval Thompson links with the brilliant Irie Ites. Together -- TO THE SURPRISE OF ABSOLUTELY NO ONE AT ALL -- the duo mined gold. "Ganja Man" was complete musical treat of an experience, uniting some of the most captivating vocals the genre has ever heard along with Irie Ites' typically extremely high level, classic sound. The best of it was the title track, 'What Time Is It' and the outstanding pair of Ligerians  (more on them later) scored tracks, 'Trod Along' & 'Get Ready' but the entirety of "Ganja Man", dubs and all, was an outstanding contribution to 2024. 

#7."Outrospection" by Twan Tee [Baco Records]

While 2024 didn't completely introduce me to French artist, Twan Tee, it did do so formally via his LOVELY album, "Outrospection". Produced by the one Oddy (who, apparently, produces all of Tee's work), "Outrospection" was a really good time, featuring work which ranged from straight forward Roots Reggae, to Dancehall music of varying eras, though it is clear that a large chunk of Tee's inspiration can be tracked to a more classic sound of the music which he has captured excellently here. Highlights included 'Bridges', which featured Warrior King, the outstanding opener, 'Put It Pon Replay', the HUGE 'Stamina', 'Undercontrol', 'General' with Niggle, 'Babylon Walls' alongside Omar Perry, 'Underwater' and others. Didn't see much about this one and were we more active, I would have definitely slapped a giant review on it and.... hell, I still might after I clear out a bit of space. "Outrospection" was sublime. 

#6."Apex" by Bugle [An9ted Ent/Evidence]

Despite the fact that he's already held in fairly high esteem, the case could be made that Bugle actually stepped it up a notch or two through his incredibly well done and well received 2024 release, the CHILLY titled "Apex" (you KNOW that title is cool as all hell). Bugle is a case of someone who has enjoyed an overall raise of profile over the course of the past few years or so and the work that comprised 'Apex" is a giant example of the reason why and also why more casual heads of the genre are beginning to pay more attention to the Kingston native who is fond of exercising everyday and not still being fit. "Apex" thrilled with Bugle on his own with tracks like 'Promise', the HEAVY 'Bad Dream', 'Heads Up' ["Before wi even play di game, yow wi win already"] and the downright scalding social commentary 'Upside Down' and then... oh, Capleton, Buju Banton & Jr. Gong, Maxi Priest, Barrington Levy, Tifa and personal LONGTIME favourite of mine, Military Man were also on board.... just hanging out! AND HAVE I MENTIONED JUST HOW DAMN COOL THAT TITLE IS??!

#5."Shelter From The Storm" by Nadia McAnuff & The Ligerians [SoulNurse Records]

Had I done one of these lists last year, my #1 would have been "Freedom Legacy" by Queen Omega and THE Queen of 2023 passed the mic to the queen of 2024, Nadia McAnuff who, along with the aforementioned Ligerians, delivered what may just have been the single greatest sonic experience in all of Reggae for the year, "Shelter From The Storm". This album was IMMACULATE from beginning to and end and contain some downright halting material. At its pick, 'Waiting Room' laid claim to being amongst my absolute favourite tunes from the entire year ["Stop looking out of yourself, my son. Never stop fighting for repatriation"] and what it headed, fully, was nearly as strong. 'Shelter' (year's best album best-song-chaser), 'So Jah Seh', 'Yes We', 'Holy' and the FUNKY 'Freedom of Peace' also stunned but the album only had ten songs altogether (its only flaw)... so pretty much all of them. 

#4."Free Man" by Norris Man [Tad's Records]

These days, Norris Man HAS ME. He just does. He cannot do much wrong and that was the case before 2024 began and the chanter would do nothing in the way of diminishing my support of his work throughout the year. In July, he would drop the looooong awaited "Free Man" (the album was literally announced in late 2023, if I recall correctly) and that album, for me, has grown and GROwn and GROWN. "Free Man" is gorgeous and EASILY one of the best albums that Norris Man has released to date. Despite only carrying eleven tunes it was stocked with big ones: 'Fighting For My Rights', 'Jah Is The Almighty', 'To Jah I Pray', the freeflowing 'Ahead A Dem', 'Going Out On You', the popular 'Burn Babylon' ["Mi bun dem more than a trillion times"].... and MORE! "Free Man" has still found a regular place on my players and, were we to revisit this list in a few years or so, I wouldn't be surprised if it ranked even higher AT ALL.

#3."The Gentle Man" by Romain Virgo [VP Records]

It never even occurred to me to actually review "The Gentle Man" by Romain Virgo because it got to the point where I believed that everything that was to be said had already been (or was being) said. I may be overlooking something but, off the top of my head, I can't think of another album from 2024 that was as widely critically acclaimed (not saying it was the run away regarded BEST but, given how popular it was, the sheer amount of praise that it has been given may be #1). All of that stuff (ALL OF IT) was warranted. Romain Virgo broke stuff and ripped it to shreds on "Gentle Man" in did so in several different ways. Sometimes it was more aggressive ['Been There Before' and 'You Must Pay'], while others required a more careful hand ['Good Woman' and the MASSIVE 'Driver'] and, brought altogether, what we ended up with was not only one of the best albums of the year but, in all likelihood, the single best album of Virgo's entire career... but I think he can do even better someday. Masicka, Jesse Royal and even Capleton featured. 

#2."Deep Medz" by Eesah [King I-Vier Music/Loud City]

In terms of debut albums (ALLLLBUMMMMS, not big EPs), no one did finer in 2024 than Eesah who impressed in a major way (and BROKE STUFF) with "Deep Medz". Eesah's talent is an EASY one. It is effortless. The man could probably give you studio quality renditions of some of these tunes fresh out of his bed because what he does appears to come SO naturally to him. You could hear it saturating tunes like the all-conquering opener, 'Behold The Conquering Lion', 'Jah Give Me Strength', 'Uprise', 'Red Alert', the overlooked 'Push On', 'Irie' and 'Empress Menen'. That was one story behind "Deep Medz", the other was the ridiculous supporting cast of artists who joined Eesah like Capleton & Lutan Fyah [on the same damn song], Perfect Giddimani & Pressure Busspipe [on the same damn song], Kabaka Pyramid, Million Stylez and even Sizzla Kalonji leant their names, collectively, to HOPEFULLY attract attention to a project that deserved some of the brightest shine that the genre had to offer in all of 2024. 

#1."Living Testament" by Akae Beka [Trinity Farm Music/Go A Chant Productions]

Noted as the final album recorded by the legendary Vaughn Benjamin, "Living Testament" would, in my opinion, send the legendary chanter on his way taking the biggest prize of the year. I did not hear its equal in 2024. I've come to a place as a listener of Akae Beka's music where I'm able to decipher, relatively quickly, how I feel about what I'm listening to. The work that comes afterward (the "journey to comprehension" as I've come to call it) notwithstanding (that adds to the overall experience but I can't assess how fun that is at the time with new material), I'm USUALLY able to catch on when Benjamin is a particularly effective form - such as was the case ALL OVER "Living Testament". Credit goes to the grounded Trinity Farm Music -- who would later release a dub version of the album -- for providing a captivating background for Benjamin, which has not been/is not always the case, making for one of the more digestible albums in his catalogue in my opinion. You could probably have a fairly good time digging into "Living Testament" as a casual listener. It doesn't require ALL of your attention in order to be pleasing.

HOWEVER, should you have chosen to give it your 100% (and you should, you have no reason not to), what awaited fans in 2024 was 'intoxication of a certain kind' (biggup Gentleman). Tunes like the giant opener, 'Stone Of The Corner', 'All Around Man Yard' and 'Cream Of Joy' hit on a VERY HIGH level but they were topped by 'Rebellion Running', 'Who Is The Rejector Who Is The Reductor', (I'm listening to 'Rebellion Running' right now. With these horns... tune song is PROBLEMS! ) ["Let hearts be fertile to receive goodness. Let soul be receptive to rationale and reason"], infectious single 'Who Wil Go For Us' and the all-conquering 'Holding The Amen Key', RIDICULOUSLY, skyscraped (YES! I just turned SKYSCRAPER INTO A VERB! WHUT!) the quality of "Living Testament" and it soared not only to being one of the best Akae Beka albums but also THE BEST REGGAE ALBUM OF 2024.... among the ministers of The King's High Court.

What I'm Listening To: LATELY

'Never See Us Fall' by Marlon Asher & Sizzla Kalonji [VAS Productions]

First up this month is a tune which brings together two [THREE] very big names as Marlon Asher links up with the great Sizzla Kalonji.... on a Don Corleon produced track [!] for a big new tune, 'Never See Us Fall'. At the risk of becoming a 'prisoner of the moment' (what I care), I'm going to go ahead and say that 'Never See Us Fall' is the single best tune I've heard from either artist in a minute. On paper, such a combination is truly ridiculous and when you put a wizard at the helm what you expect becomes giant.... 'Never See Us Fall' is giant. 

{Note: Wouldn't be surprised at all if Asher had an album forthcoming this year}

'No Competition' by Daman & Sara Lugo [Soulbeats]

Now look at this one and skip ahead one really quick and then come back.... after seeing who we started with (a combination featuring my favourite artist EVER... produced by, arguably, the greatest producer EVER) and you'll notice that music has been very good to me recently. The great Sara Lugo returns, herself on a combination, this time with an artist I have never come across by the name of Daman (who also produces), for the expectedly delightful 'No Competition'. For me, I took this one as a bit of a 'de-stresser' for life. The thought being that you're not living in a way where you're constantly pitted against someone or something else... EVERYTHING ISN'T OBSTACLE. A beautiful sentiment and one built atop a sweet riddim which has just a hint of old school Dancehall. A fantastic tune.

'Big Fraud' by Reemah [Feel Line Records]

I TOLD YOU! Also on my radars, as it has been for a bit now, is the latest (give me a second, let me confirm that.... yep, it's the latest) from the incomparable, the brilliant Reemah from out of St. Croix, 'Big Fraud'. The song comes via the same Feel Line Records with whom the chanter has been aligned with virtually the entire time since she's risen to prominence and it is of the same MAMMOTH levels that she's displayed.... virtually the entire time she's risen to prominence.

"Wi come to mash and trample every old scheme

Latest on di news is just another smokescreen

PUPPET ON A STRING A WEH DI PEOPLE VOTE IN

Push di dirt unda di table just to keep yuh nose clean

Meanwhile di things you do is contradicting

Di way you play two-sides, oh it sickening!

TO KEEP DI SHEEP POWERLESS, YOU KEEP INSISTING-

A REAL LION HEART WILL NEVA BE NO VICTIM"

The woman is simply on another level from the rest of us. She is evidence of something MORE.

The Wild Crocz Riddim [Swick B]

Probably the nicest piece of new Soca I've come across lately has been the Wild Crocz Riddim which [I THINK] was built by one Swick B from out of St. Vincy. The Wild Crocz is a BOUNCE. It's just all kinds of fun and to maximize the moments some truly big names are brought it. Skinny Fabulous teams up with Jab King, RIDICULOUSLY Problem Child & Lavaman vibe together for 'Doh Bother Me', constant duo Lil Natty & Thunda are joined by the always exciting Muddy ["If you think I ignorant then you hit the nail on the head"], while Keith Currency, Lyrikal and even Patrice Roberts go solo. Every single tune here is at least pretty good and, like I said, the Wild Crocz is VIBES! 

 

"Ganja Man" by Linval Thompson [Irie Ites]

And finally this month, in the place of what is typically some random old set that has gotten my attention as of late is a vintage artist who may just hit vintage levels with his brand new body of work. The legendary Linval Thompson brings forth "Ganja Man" and does so with a pair of some of the most comfortable hands in the entire genre, those of Irie Ites which (presuming this goes up when it's supposed to) (nope! It was a day late) has just been released TODAY and has been dominating a large chunk of my busy morning. Just about anyone releasing an album with II is a really big deal but that becomes magnified several times over because it's literally Linval Thompson, more than half a century into his . Early impressions are good with 'What Time Is It' probably leading the way, but solid contenders come in the form of the title track, 'Marcus Garvey Says', 'Ghetto Youth' and one or two others. Thoroughly enjoying what I'm hearing at the moment and... I may just slap a review on this one in the next couple of weeks or so. Let's see. Eek-A-Mouse and Trinity feature. 

Nuh Retire: A Review of Ghetto Living by Linval Thompson

Unlike in most genres of music, I find that in Reggae music, we as fans tend to be, thankfully, more and more accepting of our artists when they are truly talented. While I do often fret and am disgusted by the fact that so many of our elder artists often have to leave the island completely in terms of recording (or even LIVING in many cases) simply in order to continue to enjoy the status which they previously enjoyed. And while, of course, time changes things and the elders have to make room for the youths, it is just so distressing that so many of our once SUPERSTAR names have to go and find their fan bases a foreign or risk ending up in Jamaica still, but terribly impoverished. BUT. The wonderful part of that, if there is such a thing is that these places do exist for some of the artist to STILL find people who enjoy their music, beyond the classics and often DEMAND new material, keeping them in the limelight constantly; exactly where they belong. For example, take the case of the recently deceased legendary Alton Ellis. Ellis spent the latter portions of his life living in Europe where he apparently enjoyed a very large status, which he deserved of course (now, in his death, his status as one of the greats is eternally secure). The thing about that, however, is that in Alton Ellis’ case in particular, he was one of the few who could have gone virtually ANYWHERE there were fans of Reggae music because his music is just that timeless and even later in his life (THANKFULLY) he retained the ability to sing his classics sounding nearly just like the youth he was on the day he recorded most of them. Another and more current nice example would be that of Prezident Brown. I don’t rightly know where Prezident Brown lays his head these days, but I find it simultaneously so unusual, yet comforting that nearly EVERY TIME I get a promo of a new tune of his, or even a full blown album, it is almost an official accounting of his worldly travels of sorts (like a blog!) because they’ll come literally from ANYWHERE on the planet. From the UK to the US and everywhere in between (there’s actually nothing in between. . . Bermuda) and that is just LOVELY as the Reggae family extended keeps he who is purely one of the most talented Reggae artists to ever walk the planet in our thoughts. If you have proven, certifiable and unquestionable talent like Brown, like Ellis and so many others there will always be a door open for you in Reggae music.

Especially when is you who helped to build the frame on which the door swings. Unfortunately, what is often the case of albums with foundation artists which are new is that they’ll come out for some very random and obscure type of label and, at least to my eyes, I’m SO used to identifying such albums as merely greatest hits or other type of compilations, whether the picture on the album cover is new or not. That’s just the way it is. However, late 2008 and here in early 2009 two releases in particular have caught my eye as not being like that and actually being well done and well presented. The first is Horace Andy who is out with the album Inspiration Information 2 alongside UK based musician/producer/engineer, Ashley Beedle. II is being promoted VERY well and despite the fact that I don’t like it (AT ALL), it is so nice to see Andy getting that type of spin. And, of course, there is the equally legendary Linval Thompson who is coming through with the SPARKLING Ghetto Living! Thompson’s name is one which arguably holds as much weight as anyone’s in the Reggae business (arguably) EVER. Thompson comes from the school/class of artists which included the likes of Freddie McGregor, Cornell Campbell and, of course, the Crown Prince of Reggae himself, Dennis Brown. Thompson’s place amongst these legendary figures is SO secure and even a bit different than most as he has a long career as a producer during which he has produced all three of the aforementioned names, pennacling with the CLASSIC Big Ship for McGregor; both the song and the subsequent album of the same title, both of which are regarded as staples not only for McGregor and Thompson but the entire genre of Reggae music, as a whole. Recently, Linval Thompson’s hasn’t been a name which has been resonating very much in terms of actually doing work, he has, to my knowledge spent what time he has contributed to the music on the road, for the most part throughout Europe and in the States as well. Thus, even the possibility of a new full length studio album (of which the promotion boasts is his “first new studio album in fifteen years”) is very appetizing for hardcore Reggae heads worldwide (especially Europeans because they are currently receiving a tour from the legendary singer apparently). Simply put, Linval Thompson’s Ghetto Living is SERIOUS business! It is a more than welcome return to the scene of one of the genres greatest practitioners ever and it is currently receiving quite a buzz all over the place and I’m really appreciating that fact (again, particularly from the Europeans). Ghetto Living is released through Thompson’s own longtime label, Thompson Sounds and is distributed (digitally only as far as I know) through Zojak (which is the best and biggest named digital distributor of Reggae music, having recently worked with the likes of Anthony B, Cocoa Tea and Anthony Red Rose (apparently not getting to Amazon yet, although the website describes that as “pending”) for the masses. Ghetto Living as expected, features production from Thompson himself AND, unexpectedly, from one of my favourite producers of all time, Philip ‘Fattis’ Burrell from the legendary Xterminator label (who I figured was retired from the business, but hopefully Ghetto Living marks a full on return from Thompson and Burrell alike). It also, perhaps even more importantly, features quite a bit of input from Thompson’s own twelve year old son (the next Genius!). So how would a foundation artist remake himself in this modern day and age to score a winner? Maybe he wouldn’t remake himself at all and score even bigger because of it.

Ghetto Living as a whole virtually transports the listener back to the 1970’s as he RARELY makes a concession to any aspect of time, WONDERFULLY. And I’ll also mention, going in, that if this is the first time you’ve heard Linval Thompson’s music, you’ll first probably notice that CLASSIC earthly tone to his voice which on Ghetto Living sounds nearly as good as ever. My ears literally jumped on the first tune that rings in the album, the downright blessed Natty Africa. This is a sweet sweet vibes about repatriation and HOME and love in general and really one so crucial and yet so simple that it is, to my ears, pretty essential and easily one of the finest efforts on the album altogether. There is better material on the album, but I doubt any of it would have sounded better starting things off. The title track rolls in quite early on in the second spot and although, to my ears, it trails Natty Africa a bit, given the nature of the album which follows it and its strength as well, its quite evident why it was chosen as the title track. If you’ve ever been a person living in the ghetto then there is definitely some aspect to this tune (and by extension, the album as a whole) which you’ll more than be able to relate to (and as someone who was raised in the country, I can even relate a bit to it from my side, country ghetto we used to call it). The tune does develop quite a bit and, although it remains quite simple throughout, what you need to focus on is in the lyrics, anyway. Big tune. Hustler completes the all around stellar opening for Linval Thompson’s Ghetto Living and its actually somewhat similar to the title track which precedes it. Hustler is a tune which is just about what the title indicates but in the positive sense; doing whatever one has to do to help one’s family. Having definitely been in that position myself (but not anymore, thankfully) the tune hit me especially and for me ranks amongst the class of the album.

Its unique that, as I mentioned, Thompson hardly ever makes any concession to the age having passed in terms of the vibes here, however, when he does makes a most obvious concession, he does so in GRAND fashion. The first single from Ghetto Living, Bad Boys, features Thompson alongside criminally underrated modern chanter Warriour King and it is a wonderful thing! Certain to be the one tune having the most spins I love the combination between the two and hope to see Thompson take on more such projects in the future (do we see Linval Thompson - Etana???!!!). That being said, to my ears, Ghetto Living’s greatest musical success comes with Thompson riding all alone when the MAMMOTH Jah Jah Is My Father rolls in! The tune literally brought tears to my big grown man eyes! It comes in on the breath of “Jah Jah is my Father. Jah Jah is the Creator!” INDEED Mr. Thompson. The vibes remain that high throughout and seriously, this tune is as best as the legendary singer has EVER done, period. For all old school Linval Thompson fans, anytime you can get him anywhere near an herbalist type of tune you’re potentially working with magic like what he gave us with I Love Marijuana so many years back and he gives it quite a nice run on the album with Free Marijuana and if you loved that old tune (and I did) this one just may hit you on similar levels. Free Marijuana is a rather clever (if you are a HARDCORE STRANGELY DEEP Linval Thompson fan then you’ll notice some very ‘familiar’ vibes in that one which I won’t spoil for you here). Roots Princess also has a very familiar vibes in it and is just a SWEET lover’s piece for the ladies and, as is typical for Thompson’s vibes, its so UNDERSTATED, its barely even there, easily overlooked, but should you dive into the tune, the reward is well present, trust. Natural Beauty is a similarly vibed tune (this one even more of a pure lover’s) which has a more updated riddim backing it (probably one of the Xterminator blends, even though I don’t recognize it) although I do still favour Roots Princess. And just to complete that thought check the tune Empress which features loud and slightly agitated Empress Thunderous (who I have heard of before) on the tune. To my knowledge, Thunderous was the last find of Xterminator and she was (awkwardly) afforded some of the labels vaulted riddims a few years back where she sounded better (at her core she is kind of a Dancehall voiced roots DJ), but she sounds quite awkward here indeed. As Ghetto Living winds down, it still saves space for some VERY impressive material. Speaking of material, check the WICKED All Is Vanity which may be a good choice for a single should they choose to do another. Even stronger, however, is Love Brother, Love which. . . Is somewhere in Reggae stratosphere. If you like dub (more on that in a minute) then check the nearly forty second long intro on the tune which brings in a vibes circa 1972 and when Thompson begins his singing, the guitar jumps in and several other pieces to bring in easily the best backing track on ANY song on Ghetto Living. The tune itself is a reminder to just ease back a bit and let go of the violence and pick up some love instead. One the album’s best, easily. And ending things is the very familiarly vibed Halla Dem A Bawl. The tune comes in across a relick of the same riddim which supports Cocoa Tea’s well powerful Criminality tune (and it may be a remake from some other source as well) and it’s pretty much on that level (if not better) and a truly excellent way to take things out.

Now, briefly I’ll mention the presence of two dubs from Free Marijuana (Marijuana Dub) and Roots Princess (Roots Princess Dub). Besides having worked with artists like Dennis Brown, Freddie McGregor etc. Brown has also worked alongside Dub legends such as Lee ‘Scratch’ Perry, King Tubby and even the Scientist (who dubbed out some of Thompson’s riddims on his own). This was a very nice touch and I’m sure the old hats will appreciate it and this younger hat does as well. To my ears, Marijuana Dub is more solid but Roots Princess definitely holds its own (especially when the saxophone kicks in). WOULD HAVE LOVED TO SEE ONE FOR Natty Africa and Love Brother, Love as well. All in all: Very well done Mr. Thompson.

Overall, not too long ago, earlier this year, Daweh Congo released a next project by the name of Ghetto Skyline. Both that album and Linval Thompson’s Ghetto Living are closely related in terms of vibes and the sounds on the albums, respectively. Therefore, I’m also instinctively compelled to compare the two together. Ghetto Living is a better album. As it was officially released two or three weeks shy of the end of the year, it will be more closely associated with 2009 and thus is an early favourite for album of the year! Its that good. What Thompson and company have done here is prove that, like I said, good talent is always to be appreciated in Reggae music. I don’t know if this marks a full fledged return to the scene for the legendary singer (I don’t think Thompson even knows himself) but another effort like Ghetto Living and we may have to stop thinking of him as a and old time foundation artist; and start thinking of him as one of the best of today. AMAZING! GO GET IT!

Rated 5/5stars

Thompson Sounds/Zojak Worldwide

2008