When I started doing this series, I never expected to be doing this one. As I've said in the past, Signatures was created to sort of make my own personal 'greatest hits' style collectives of artists who didn't have such compilations already to their credit and, presumably, were not going to have one anytime soon. That most certainly does NOT apply to the great Cocoa Tea who has, at least, one in the form of an installment of VP's "Reggae Legends" (which, literally, brings together more than FIFTY of his most well known selections, spread across four discs). So, you really didn't need me to tell you about his most popular songs, you already know them, save for one or two twists I may take you on. Unfortunately, however, earlier in 2025 we lost Cocoa Tea in the physical as he made his transition and respects are in order.
The well revered Clarendon native born Calvin Scott made a brand of Roots Reggae & Dancehall which can best be described as SWEET! Gifted with a style, a vibe, a voice and a presentation which were made for the genre, Cocoa Tea's music left an impression on fans around the world and his contributions to this wonderful sound is not to be overlooked or forgotten. Today we celebrate the SWEETEST of them all. Signatures: Cocoa Tea.
1. 'Tek Weh Yuh Gal'
She can't take her eyes off me. More than twenty years ago, Cocoa Tea would pop up with what would prove to be one of the biggest -- and unlikeliest -- hits of his entire career, the downright hilarious self-produced 'Tek Weh Yuh Gal'. The song was almost charmingly basic. It was incredibly straight-forward and it did a serious level of damage in its day to the point where one could even go as far as to argue that 'Tek Weh Yuh Gal' is THE single most well known tune that Cocoa Tea did, EVER. He said what he said and he did what he did. It's time you came to terms with it. Your girl is gone. She's with Cocoa Tea now. It's time you moved on.
2. 'Tune In'
Keep rocking. It does not matter where you are, under which rock you may rest in any remote corner of the world; if your ears are functional, you are not outside of the reach of Reggae music. You can be caught. You can be infected. You can be DOMESTICATED (it will literally tame you). That was the [illuminated version of the-] sentiment behind another sizable hit of Cocoa Tea's, 'Tune In'. This song is within the absolute core of tunes that make up the foundation of who Cocoa Tea is as an artist. It is amongst the quintessential building blocks of his magic.
3. 'Pirate's Anthem' featuring Shabba Ranks & Home T
Play what the people want. A legit, 100% signature track, 'Pirate's Anthem' is another tune in the discussion for being THE single most well known of Cocoa Tea's entire catalogue. Linking together with the legendary Shabba Ranking (would rank very highly for him as well) and Home T (EASILY the most popular they've ever done), the Gussie Clarke produced song has aged incredibly well and is one of "those" (you know these songs! You rarely hear them but they give you a very good feeling of nostalgia when you do) that just give you all kinds of good vibes as the artists came together in the name of making the music available to everyone who wants to hear it.
4. 'Spin The Song Ya'
Jam jam. Sure. I get it. You could make the case that this rather random record from a rather random, nearly two decade old album wasn't the best written. It wasn't. HOWEVER, what 'Spin The Song Ya' did have going in its favour was VIBES! You listen to this song and tell me it doesn't do something for your nerves! It makes you feel good, doesn't it?! Carried by the Xterminator helmed "Save Us Oh Jah" way back in 2006 (I own this album, have been looking for it, off and on, for years. It's around here somewhere and I will find it!) (dammit!), 'Spin The Song Ya' found our star seeking supremacy for his sound and Cocoa Tea would not leave without the victory!
5. 'Feel The Power'
It must be The Most High. I don't know the 'official' name of the riddim but it's the same one best known for underpinning Sizzla's massive 'Taking Over' (so I'm going to call it the Taking Over Riddim) but whatever you want to call it (the Taking Over Riddim), Cocoa Tea took his turn on the track as well and the results were gorgeous with 'Feel The Power'. The song would title his 2001 Xterminator steered album for VP Records and was a downright PILLARING praising tune. All these years later what most stands out about 'Feel The Power' is its chorus. It sounds like he's smiling. Cocoa Tea CLEARLY had a great time singing this song and it came through not only in his performance of it but in its overall quality as well. This song was fantastic.
6. 'Rikers Island'
Him gone. On what is, easily, one of his most recognizable and downright popular selections ever, Cocoa Tea relayed a very unfortunate story of wayward youth who'd lost his way in life and ended up in the infamous New York prison, 'Rikers Island'. Such a thing, unfortunately, has certainly happened dozens (thousands) of times throughout the years but.... it probably shouldn't sound this good. Rikers Island is kinda beautiful. It is melodic as all hell and will have you moving in the name of something so damn tragic. Not to be overlooked, yes, there was a message here but I would argue that the presentation of this song was just as important to its creators while they were making it.
7. 'She Loves Me Now'
Glory, glory. Another gem produced by the Cocoa Tea + Xterminator relationship, 'She Loves Me Now' always struck me for having a bit of 'moodiness' to it. No one will ever confuse the singer for being the most fiery of vocalists but have ever listened to this song? I MEAN REALLY?! If you have dug a little deeper into this one, perhaps you've noticed what a fine vocal performance it is. Cocoa Tea does charge up things slightly (which makes you think/hope that he was having a really good day when he voiced it) on a song that, though it was well respected for what is was (and still is, today), probably doesn't get the full credit that it deserves based just on how beautiful it was.
8. 'Israel's King'
Hail to The King! Fatis supplied his cut of Mr. Marley's One Drop Riddim for Cocoa Tea and, to him, the singer returned an undeniable classic praise in the form of 'Israel's King'. Maybe it's just me but this song as the almost unerring ability to MAKE ME SMILE (it literally does it EVERY single time) and with that signature easy Cocoa Tea style. That being said, however, 'Israel's King' wasn't just a vibe an bereft of substance. In fact, one could well make the case that it stands as one of the more detailed of its kind from his entire catalogue.
9. 'Love Me Truly'
Until eternity. This classic drop would ultimately get a remixed version featuring the aforementioned Shabba Ranks but it was the solo version, at least in my opinion, which soared highest. 'Love Me Truly' finds its groove relatively early on and it then GLUES itself right there and it does not move! For all of its EPIC simplicity, 'Love Me Truly' represents one of the sweetest love songs not only of Cocoa Tea's entire career (which is saying A LOT) but one of the best Lover's Rock tunes of its time, altogether.
10. 'Sweet Life'
Special place. If you've never at all heard of 'Sweet Life' and have NO CLUE who sings it and I were to tell you that it's by a guy named "COCOA TEA", you wouldn't be the least bit surprised. Whatever you played this song through -- WHATEVER MEDIUM OF YOUR CHOICE -- it was in jeopardy. The SWEETNESS would clog it up and you may never get to use it again as the sweetest to ever do it was in a particularly sugary form, painting a gorgeous picture on this personal favourite of mine.
11. 'Rocking Dolly'
No electric boogie. The Junjo Lawes licked 'Rocking Dolly' is another member of the quintessential Cocoa Tea songs which would render such a list obsolete were they absent. 'Rocking Dolly' is just VIBES. In a genre so known for producing dances, this one would lead to a track which, legitimately, stakes its claim as being THE sweetest of its kind - EVER.
12. 'Bust Outta Hell'
Time will tell. It's time to turn your back on your old, negative ways and do better for yourself and others. That's the sentiment backing the very upful 'Bust Outta Hell', another one of Cocoa Tea's most well known tracks. This tune had so much going on with it. Produced by the legendary Junjo Lawes, 'Bust Outta Hell' was chaotic at times and brilliantly so. It was also a song that demonstrated how sharp the singer could be, lyrically. As I'm sure I've said in here somewhere before, Cocoa Tea was never known as some fantastic songwriter, but you listen to this one and you'll see that you do not get as far as he did on voice and style alone.
13. 'Hot Sweet Cocoa Tea'
Make it warm. Lastly, I don't think it is legal in any country on the planet to make such a list without including Cocoa Tea's LITERAL signature, 'Hot Sweet Cocoa Tea'. Just in case you forget with whom you are dealing, Cocoa Tea made it crystal clear all through this classic set.
"Seh nuff a dem did check seh dat di Cocoa did gone
But know a Cocoa Tea, him neva exit di lawn"
He's not gone, he'll never be gone and as long as our species exists, someone, SOMEWHERE will be singing a Cocoa Tea song.
On foot. I guess, in some way, the case could be made that I am sitting writing and you are sitting
there reading, sorta/kinda because of Bob Marley? I would like to think that the word would have gotten out at some other point but... it didn't and a giant portion of the credit for opening the door to the general popularity of the music is still given to Bob and deservedly so. That will likely always be the case and that's just fine. We would not be as RICH as we are without the work he did. Furthermore (and far more interesting than You (and most certainly) I) who knows who we would be listening to if Marley did not kick that door open and who knows how it would sound. If making this music wasn't something that could support someone to a certain level, despite the fact that I know that we have an extremely dedicated flock of vocalists and musicians, surely at least some of them would have found something else to do in order to pay the bills, at least hampering their musical activity, if nothing else. Fortunately, however, we aren't in that situation and the one with which we are faced is entirely more pleasant as, since the door was ajar (always did like that word) a (hopefully) never ending line of others have come through. Not only that but, of course, the vibes have traveled and we've seen similar 'micro' circumstances come through as well. For example.... I don't know... let's take a quick look at the Virgin Islands, for example. When I first started listening to Reggae from out of the VI, there were two very dominant entities which garnered the lion's share of the attention, initially. At least from the outside looking in, there were the Brothers Benjamin and Midnite and then there was Jalani Horton and Bambu Station. That's who GOT US.... they had help keeping us (and they're still getting "help"). Soon, there was also Dezarie (who, arguably, belongs in that first group), Pressure Busspipe, who probably served a similar role for people younger than me and then an extremely strong line of talents such as Ras Batch & Ras Attitude, Ras Army, Danny I, NiyoRah, Raffijah, Ickarus and the rest of the Star Lion Family (I may've named them all by now). There was Ikahba, Iba, I Grade Records, a guy named Willow (biggup Ancient King) Sabbattical Ahdah, Sistah Joyce and, later, the brilliant Reemah. There was just a devastating level of talent which, for the more attentive of listeners, had already produced so much powerful material available by the time we became aware that we'd become longtime fans of many of theirs as well, almost immediately (that was out of the ones I just named, definitely that applies to Batch, Attitude, NiyoRah, Danny I, Ancient King.... I should stop). And should you doubt the impact of these artists, feel free to check the tags on this same page (this is the third review I've written for a VI artist in 2025, alone). We LOVE them and for good reason.
2013
Another name that came to prominence as part of that Virgin Islands lot was someone else who we've talked about a bit over the years, Ras Abja. Chances may be pretty good that if you are familiar with the works of Abja that you came on board via one of his most well known releases (courtesy of the aforementioned I Grade Records), "Inna Red I Hour" & "Mahogany Road" from 2003 & 2006, respectively. I go back now and do background on Abja for this review and I notice just how delightfully received those two albums were. You'll find quite a bit of material online in regards to both at the time of their release which shows just how rooted the structure already was at that point, twenty years ago now (the same goes for Army and Batch as well) (Batch almost had this... almost mystical type of interest around him at the time, if I recall correctly. A combination of the word of mouth of the quality of his first two albums and the great difficulty that it took to find either one). Since then, the St. Croix native has had his hands in a few different projects, including at least a couple of albums, an EP and a relatively steady stream of singles for varrying maestros. We last dealt with his work way back in 2013 on his "Songs Fa Jah" album from Higher Bound Productions but, as of late, Abja has definitely been re-demanding a closer look and listen.
A large chunk of the credit owed for that is to be thrown in the direction of the suddenly flaming Trinity Farm Music (in association with Go A Chant Productions, of course). I'll spare you their credentials (because I'm probably writing another review for one of their other recent releases and I'll save it for that since it's a compilation), but if you've hung around here much recently (you poor, POOR thing) then you've surely seen us cover some of their work and may've also seen me allude to material Abja and TFM have done together as well. While that does include singles (some of which we're going to be discussing shortly), at the center was an actual album released earlier this year, "Journey Of Gratitude". Not too long ago, I wrote a review for another of Trinity Farm's releases, "Oath Of Akae" from the aforementioned Ancient King and it forced me (not really) (not at all) to take a closer look and listen to "Journey Of Gratitude" which was seemingly born out of a similarly curious set of circumstances. Like Ancient King, Abja had done a number of singles for Trinity Farm prior to the album's release and.... some of them would feature on the album and some would not. Even more interesting, perhaps, is that since "Journey Of Gratitude" landed he's done MORE work with the label as well. For me, that says that artist and label enjoyed one another's company and felt that their was a great deal of musical chemistry as well and, while I can't speak to the former, in listening to the output, I would firmly agree with the latter. Like Ancient King and many of the others I've named, Ras Abja makes a very straight forward brand of Roots Reggae in the musical sense. If you're looking for 'crossover' or something more 'accessible', you will do much better for yourself turning your head in virtually ANY other direction besides his. On top of that, his style, specifically, is one which is for more seasoned fans of the genre. Abja is a chanter - pure and simple. That's what he is and I would say he falls somewhere between the Ancient King and Vaughn Benjamin. You'll rarely hear the consistent level of aggression from Akae Beka that you will get from Abja but Abja also doesn't spend a great deal of time hanging out on that kind of torrid level where AK dwells. He's a little more reserved and his style works well for him as is apparent throughout "Journey Of Gratitude" which, coincidentally -- and like "Oath Of Akae" -- is also produced by Vaughn Benjamin.
If you go back to the "Songs Fa Jah" set, it kind runs congruently with this one as far as how it seems to have come to fruition. "Songs Fa Jah" came via one Higher Bound Productions and, during that very same year, the label would go on to release full albums from Akae Beka ["Free Indeed"], Ancient King ["Ethiopie"] and Army ["Dreadlocks Time"] ("Dreadlocks Time" was probably the best of the lot but, unsurprisingly, it's "Free Indeed" that stands out as the most popular) (album had 'Hemp Scroll' on it). So, as is the case for Trinity Farm, that album arose from the works of a delightfully active imprint delivery a new Abja album. Let's do this one in reverse: Trinity Farm Music's edition of an Abja album, "Journey Of Gratitude", actually ends with the tune for which it is named. Before we even get into the actual song, let's deal with the obvious: 'Journey of Gratitude' is just a great name! Left to my own thoughts to sort it out and I go to the direct thought of someone actually having to WORK and to DEVELOP to the point where they know how to be appreciative for what they have in life, which is all kinds of fascinating. Abja's take is a bit more broad, however (at least somewhat), as he presents "gratitude" and the display of gratitude as several different things. Abja's gratitude is humility (should be everyone's), HARD WORK, upful behaviour, intelligence and a few other things as well, beneath the umbrella of giving thanks to His Majesty. This is set atop an ultra simple and minimal riddim that I do not LOVE but does grow on you as you spin through it more and more. Abja also touches on the subject earlier on with 'Attitude of Gratitude'. In comparison to the title track, the riddim supporting this one is also very basic but this thing is BEAUTIFUL! 'Attitude of Gratitude', in general, is the stronger of the two as Abja delves deeper into the idea of gratitude, this time with an even more spiritually inclined reasoning and a song which is stronger, lyrically, than the already quite impressive 'Journey of Gratitude'. IN A SEMI-UNRELATED TWIST, Abja & TFM released a single back in January of this year by the name of 'Grateful For Life' which, oddly (as hell), does not appear on "Journey Of Gratitude" at all. It is an excellent song and you would have thought one that would have fit perfectly here (it would have) but, for some reason, it is missing. I kind of appreciate that on some level because it makes things seem like there was more of a plan that they refused to detour from and that everything you hear on the album was meant for it.... just thought you'd like to know. And because this paragraph isn't quite big enough, also check the other two efforts hanging out around the closer (told you we were going to reverse it today), 'Rasta Have Faith' & 'Brave For Life'. 'Rasta Have Faith' isn't at all what I was expecting in terms of vibe. It isn't this kind of laidback chant. It has some bite to it. The song is a plead to the masses to show some perseverance when times get hard and to keep faith in The Almighty. It does take a decidedly more social/tangible route at times and I was very impressed by 'Rasta Have Faith', in full. As for 'Brave For Life', this thing is in the stars somewhere. 'Brave For Life' was an unexpected praising tune and I don't think I've ever heard a song so categorically focused on thanking HIM for BRAVERY, such as this one. Abja, essentially, thanks His Majesty for the strength to get out of bed every morning and go about his daily works, in good times and bad ["Life bring such blinding things. Help me a sight. Help me see alright, that outta darkness comes a light"]. You won't get a tune leaping out at you with originality but, TRUST ME, it's in there and well worth the 'journey' to discover it.
This song is not on this album
While you won't find previous single 'Grateful For Life' on board, "Journey Of Gratitude" does get going with a pair of songs that you may've been familiar with prior to its release date. 'Behold The King', for once, is EXACTLY what you're supposing it is.
"Jah Hail The King
Behold HIM in His glory
As I trodding out Addis Aba' to cross to Awash, to hail Jah Rastafari, The King
Give us solace, oh Jah, in our time of suffering
Hear I when I wail and cry
Keep wi in Your bossom of splendour, oh Jah
Hail King Selassie I
I will praise His name in every song that I sing
Magnify His magnificent glory
Can hear the angels from afar, singing songs of The Emperor
Hail Jah Rastafari, THE KING
Long live The King
Behold HIM in his His glory"
Despite the fact that there is nothing really flashy or exceptional about 'Behold The King' on the surface, I am HOOKED on this tune and it's probably my second favourite on the album altogether (yes, there is one CLEARLY better). When you really tune it in, 'Behold The King' is downright flooring. 'By The Way' is something else in its own territory, playing by its own rules. Coming off as an almost... Gil Scott-Heron-esque Spoken Word piece, at times, 'By The Way' is a very powerful social commentary (I'm going to also call it a 'personal commentary') telling us not to focus too heavily on the ills of society as "Jah will find a way". The 'hole' on this one, however, goes very deep as it takes several MASTERFUL lyrical twists and turns, in its time making for, again, one of the legitimate highlights found here.
With alllll of that being said, the highest ranking tune on "Journey Of Gratitude" is 'Chanting'. Blessed with another riddim saturated in a beautiful simplicity (more on that in a second), 'Chanting' is HEAVY and Abja takes the moment to its fullest through both straightforward and more complicated routes. On one hand is that beautiful basicness:
"Chanting is healing"
While on the other, Abja, once again, goes Spoken Word
"Black is a divine cosmic principle of the universe
Since the very beginning, Blackness is fundamental, universal energy
DARK MATTER
Blackness, not darkness, is a receptor fi all colours and wavelengths in dimension of energy"
I mean... you drop something like THAT right in the middle of a tune and just keep on going. 'Chanting' is FIRE. It is literal FLAMES! Also should be mentioned that, at just south of five minutes in length, the tune is easily the longest on "Journey Of Gratitude" with the final minute or so going total instrumental as a STUNNING nice touch. As I said, though the riddim is very simple, when you hear it sans vocals, you begin to fully appreciate every little twist and turn in its sound and it also gives it more of a PRESENCE in my opinion as I can see Abja performing 'Chanting' in my head and when the riddim plays, he backs off and does exactly what I'm doing while hearing it: ENJOYING. I hesitate to call the riddim backing 'Majesty' "cute" or "adorable", but that's kind of what it is. It's just a delightful bounce and something tells me Abja would have agreed with me because 'Majesty' ends up going in so many different directions that it comes off as such a total vibe. It seems like he was just so pleased with the composition and he came up with something organically and spontaneously from the top of his head and what resulted was 'Majesty' and that's just fine! Lastly, Abja casts LOVE as far as he possibly can -- worldwide, dimension-wide -- with the DEEP 'Matuneta Luv Song'. This track is kind of Bluesy to my ears and it also comes off as slightly less planned out and orchestrated and more of an organic creation. Speaking of things organic: 'Matuneta Luv Song' is a celebration of life, of LOVE and of just a general level of positivity and it is a very solid addition to the album, particularly on the sonic side.
Overall, although checking in at just nine tracks spread out over about thirty-seven minutes, "Journey Of Gratitude" is a fairly HEALTHY set. I don't listen to it and, as I often do, come away wishing there was more (well.... I do, but only because I want more of it and not because it feels incomplete which is what I mean here). It is exceptionally well done and a solid case could, perhaps, be made that it represents some of Abja's best work to date. On top of that, for those of us who're likely to appreciate such work (more hardened fans of the genre), you will LOVE much of the subtle music on display throughout "Journey Of Gratitude". I found myself often talking about how simple it was.... while nodding my head along with what I was hearing at the time. Trinity Farm Music continues their tear with an artist, in Abja, who, though maybe you originally learned of his name through searching the work of another, has shown himself to be an extremely talented artist. Want an example? Take a listen to "Journey Of Gratitude".
Old friends. During our several year hiatus from writing about music, unfortunately I missed quite a bit of things that I would have, otherwise, definitely talked about normally. I've always prided myself on being someone who seeks out the experience and the challenge of covering things that either no one else [at all] does or that very few people were likely to, in addition to the more obvious works that are more widely appreciated and examined. Because of that, one of the things I'm happiest with in regards to this blog can be found in the Labels section: Aima Moses, Ambush, Empress Cherisse, Fefe Typical, Jah Defender, Jah Turban, Jahmings Maccow, Nahyubi Joseph, Mischu Laikah, Revalation.... and I could really go on and on [Little Guerrier] as examples of names that, in no way, are of the 'household' variety but are well talented individuals who we've metioned [Sydney Salmon] at least once over the years. So sure, I missed writing for projects from the likes of Akae Beka, Jah9, Damian Marley and all of the other big names who released projects while we were away, it was even more the case with that next other group who may've produced BIG material and the internet hasn't done its best job of keeping track of such things. I don't have as much time as I once did (well I kind of do) and I'm old as hell, so writing these things isn't as easy as it once was but, somewhere in the back of my mind, I'm thinking that if I stick around for another year or two, I can at least somewhat make up for lost time, while managing to stay at least relatively current. I distinctly made it a point to write about an album called "Break The World", which was Fay-Ann Lyons first (and, subsequently, only) album for VP Records that I THINK I could recall waiting for while I was still active. I'm sure that album got a decent amount of attention (going to tell about the one she did last year, too, one of these days), for what it was, and I'm just as sure it went completely around the attentions of msot Reggae heads who're more likely to spend any time around here. I made a similar point for Lutan Fyah's "Music Never Dies", "Rebel With A Cause" from Pressure Busspipe and, over that same span of time, works from the likes of King Lorenzo, The Arkaingelle, Lloyd Brown and others which would have definitely gotten my excitement up as something being just a little off center and slightly out of the spotlight (with respect to Lloyd Brown, who probably doesn't belong in that group, but I'm including him anyway) and attention of most fans. Today, we not only take a look at someone who most certainly does fit into that group but is also, personally, a favourite of mine and someone who's always been very nice to us throughout the years.
While your listening travels may not often take you to Dominica as a Reggae fan, when you do get there, you're likely to recall what you heard. Surely the biggest name to ever emerge from the Nature Island is the EXTREMELY well-regarded (and extremely well-retired) Nasio Fontaine. I never fully got on board there --though I will say that I appreciate his music more now than I ever have-- but, once upon a time, Nasio had some of THE most passionate and loyal fanbases in the entire genre. It wasn't quite there, but calling it "Benjamin-esque" wouldn't be terribly out of line, in my opinion. You also have the aforementioned Aima Moses, Nelly Stharre and, whether you realize it or not, the great NiyoRah was also born on Dominica. Still, when we talk about Dominica and Reggae music, it is IMPOSSIBLE for me to do so without mentioning a longtime and grizzled favourite of ours, the well esteemed Harry Mo.
The wonderful works of Harry Mo
Harry Mo is a very curious one. On one hand, you could definitely do him justice by saying that he makes Roots Reggae music - plain & simple. There's nothing wrong with that at all and I'm going to tell you about some of that in just a moment. Still, if you wanted to tell a more complete story, you'd also say that Mo, at his absolute best, embodies some of that colour and diversity that his homeland is most well known for (and if you don't know anything at all about Dominica, you should know that it is, EASILY, one of the most diverse places on the planet. If you are looking for a race of green people, I'd tell you to start on Dominica because, if they exist, SURELY at least one of them would be there). So his brand of Roots can come with a 'flare' or a 'drift' from what you will often see in the genre. I would compare his style, somewhat, to that of the great Tuff Lion and, again, Harry Mo goes on to add his own, special blend to things (as does Tuff Lion who is, of course, a genius with the guitar). While we were out, in 2020, Harry Mo would release his latest creation, "I Am Rastafari", which would follow excellent sets "Runaway Slave", "On My Way", Roots & Lovers" and "Back To Africa". Although all were/are of a certain qualiy level, 2008's "Back To Africa" ["Jah will help me find my way!"] reminds his opus in my opinion and Mo would also give us the VERY interesting "Thank You Jamaica" which I don't want to mention too much of because, I will hopefully getting around to dealing with it in a heavier level someday (I may actually just start writing that one with I'm done with this one and save it for later), a decade after "Back To Africa", also during our hiatus. I chose to focus on "I Am Rastafari", specifically, because of its fairly unique sound and this.... ultra-impressive sense of a humble-confidence that I heard in it. I'm making it sound complicated, I'm sure, but it really wasn't. The album seemed to often make its bread on the very basic thought that when one is doing the right thing and THINKING the right things that "one" has very little to worry about. That's where the confidence comes in and it was DELIGHTFUL to hear in this form. I'm probably not going to go through the process of ranking this one in direct comparison to what came prior to it from Harry Mo but I can tell you right now, "I Am Rastafari" was pretty much excellent.
I alluded to it, briefly, but we have actually had brief contacts with Harry Mo back in da day. I believe he once sent a message telling us of his new album (which may've been "On My Way" (could have been "Roots & Lovers" though) and I even remember giving him a critique on one of the albums (which actually may've been "Back To Africa") and he agreed with me (Zacheous Jackson did the same thing in regards to his most recent set, "Levite"). He's just a very nice person and he even thank us in the liners for "On My Way" if I recall correctly. I should probably return the favour and the thanks for "I Am Rastafari" which animates with its MAMMOTH title track. 'I Am Rastafari' is about as simple and basic as it could possibly be.... and it's also kind of brilliant.
"I am Rastafari
I chant for Jah Most High
I man hail King Selassie I
All might King of Kings and Lord of Lords
Said I am Rastafari
I & I work for Jah Most High
Defend what is true and right
What is true and right in Jah Most High sight
With Jah love will our way
When Jah call, we must obey
The pain and joy, yeah, it's really worth a bag of love & righteousness
And we spreading through the earth
Got no time for the timid
Hotta fyah pon di wicked
We've got to clothe up the naked
Let the hungry be fed
The aged be protected"
If you've heard five or six Roots Reggae songs in your entire life [like, literally, EVER], there's a pretty solid chance that 'I Am Rastafari' isn't going to say anything with which you are unfamiliar at all. What differentiates this one from the thousands of others built on a similar foundation is how well it is situated. It reaches not only a personal level, with Harry Mo just talking about himself and his views but, in doing so, it also touches in a way which personifies (and BEHAVIOUR-IES) the teachings of Rastafari. Essentially saying, 'I am Rastafari... and this is what I do. This is what I stand for'. It is very subtle but it stood out clearly for me and it also is a fine example of what I was referring to when I talk about the "humble-confidence" of "I Am Rastafari" as a bona fide GEM gets it started. Things head in the direction of social commentaries with 'Trouble on Jah Earth' and does so, again, with a very attractive simplicity. Mo writes a lot of his work in a way that is very matter-of-factly. He says things that may be opinionated but they're very difficult to disagree with or to find fault in. When you do something like that, it makes your music very easy to identify with and also, DELIGHTFULLY, allows your to do more things musically when you know the core of the work is so solid. 'Trouble on Jah Earth' is a fine example of that (and it also SOUNDS REALLY GOOD!). Next is the first sign of flames, in the form of highly infectious 'We See Dem Coming'. I never expected what would become of this tune as, following the fairly terrestrial beginning, 'We See Dem Coming' ascends into this... almost Dancehall type of delivery which dazzles.
"So now you know wi nah go par wid dem
Wi nah go sit down, nah go reason, nah go blar wid dem
Wi nah go ride inna no van, inna no car wid dem
WI NAH GO CLOSE, WI NAH GO NEAR, WI NAH GO FAR WID DEM!
Wi nah go eat, wi nah go drink, wi nah go bar wid dem
No tek wi chalice, nor a spliff, wi nah waan draw wid dem
Inna no dance, inna no show, wi nah waan star wid dem
And if it was another day, wi woulda war wid dem!"
Call it a bit of SPICE while we're still warming up on "I Am Rastafari" but you don't see 'We See Dem Coming' coming (yep, that's what I'm sticking with) and it sneaks up on you in a FANTASTIC way. You have to bookend it, so also check out, fittingly, 'Deh See We Coming', which puts the listener on the opposite side of 'We See Dem Coming' which forecasts the coming of negativity. 'Deh See We Coming' sees POSITIVITY and RIGHTEOUSNESS in the offering and, unfortunately, some don't like that. 'Deh See We Coming' gets the language flip as well with Mo colourfully showing off something distinctly Dominican to fine display. Sandwiched in between the two Comings is, EASILY, one of the best songs on the entire album, 'Son of a Brave'. This fine creation takes several courses with, perhaps, the most prominent being the pride route. Harry Mo is directly and indirectly proud of his heritage ("indirectly" being even the perception of his ancestry. He's proud of how they are viewed) and it becomes crystal-clear here. The song also provides "I Am Rastafari" with one of its many signature lyrical punchlines to my ear:
"I am just the son of a runaway slave
Freedom songs in my head"
I took something GRAND from that. I don't know Harry Mo's story. I don't know his family. I don't know if he's the first musician or anything. That statement, to me, says that his work is, essentially, putting instrumentation and form to songs and ideas that have been in his bloodline for generation. THAT IS GORGEOUS and a powerful aspect to one of the most beautiful songs he has ever made that I've come across.
In order to not end things on a low-point, I'll mention what I do NOT enjoy about "I Am Rastafari" here as it is, wholly, centered around just a couple of tracks, 'Running From Love' and 'Caught up in a Blight'. The former is... tough. I can hear a decent song in there but it's hard to overlook that it isn't the greatest delivery and there almost seems to be a disconnect between the vocals and the riddim (which is quite nice, actually). It just isn't very comfortable and such a trait is imperative when it comes to a love song, in my opinion. For its part, 'Caught up in a Blight' is much simpler - it just isn't very good. It's kind of a Hip Hoppish type of tune, featuring a rapper, Mundo (who I know nothing about), and it's really just not for me at all. I do appreciate people, on albums, making songs that change up the vibes and not always doing the same thing and this is definitely one of those instances, but they do not always work well. If you want something to steer you back in a nice course, definitely head in the direction of 'Push on Thru'. The riddim on this song...... it is a DIVINITY! It is a gift straight from the Most High! Sounding like he's singing right in front of a live band in recording this one, Harry Mo absolutely dazzles with a delivery on 'Push on Thru' which registers somewhere between singing and almost Spoken Word at times. What results is definitely one of the finest offerings that you will find on this album, altogether. And have I mentioned how nice that riddim is??! The very next selection following 'Push on Thru', 'Singing Songs for Jah', keeps the music here exquisite and adds to it a message that, once again, shines for its simplicity.
"Who protect I for the night, wake me up this morning to see the light of a new day?
A Jah
Who bless I with love, strength and light - same one who always hear me when I pray?
Jah Jah
And who is gonna guide my steps, clear my way, trodding through this wicked babylon today?
Jah Jah
And who do I turn to when the wicked set their devices and traps and ah run dutty play?
A Jah
That's why I sing a song, I sing a song for Jah
I'm always singing songs and singing songs for Jah
Rastaman sing a song, come sing a song for Jah
We're always singing songs, we're singing songs for Jah
Who bless I with the most loving friends, bredrens and sistrens, blessed children?
Jah Jah
AND WHO SHOWER I WITH BLESSINGS SO BOUNTIFUL BADMIND COULDA NEVER COMPREHEND?
Jah Jah
And who expose the folly, show me the true friend from the frenemy dem?
Jah Jah
NOT TODAY OR YESTERDAY, WE PRAISING JAH JAH FROM WAY BACK WHEN!"
'Singing Songs for Jah' is pure 'message music'. It is a vehicle to deliver a point and even with Roots music, as plain as that may sound, it isn't always the case and it can be refreshing, as it is here, when you come across it in its most 'primitive' form (and I mean that in a good way). I wasn't crazy about 'Running the Track' the first few times that I heard it (and I still wouldn't say that I LOVE it, even now) but it has grown on me somewhat, LARGELY due to the riddim. As is the case with several of the songs that we've discussed from "I Am Rastafari", the musicianship on 'Running The Track' is soaring. This one, in particular ( at least to me) has an almost... 1980's sound to it?? There's something very old-school 'flashy' to its delivery but that riddim behind is TIMELESS and Harry Mo uses it for a solid moment but one which might require more effort on the part of the listener full absorb. The vocals on 'Burning Bridges' aren't the greatest (not in terms of how they're sung but as far as how they're recorded) but that is my sole complaint about that tune. This song has a very fascinating aspect to it because, on one hand, it has an element of being exactly what you think it is from its title -- don't burn your bridges; be careful how you treat people, because you may need them in the future -- but on the other it MOST CERTAINLY DOES NOT.
"What if it's gonna take you to a place named Malice, near the Vampire Palace?
I say let it burn to the ground..."
Some bridges are not only useless but their existence is a negative thing. In a more applicable/tangible setting (presuming there is no bridge from your neighbourhood to the Vampire Palace) (if there is then you can just ignore this part here) - if there is someone in your life who you have some type of connection to but they're negative people and they bring no good to your life, let it go! If you're working a job that you hate and it's draining your happiness, you find a new job! Things like that, I think, are examples of burning bridges in a good way and I think that's the very powerful sentiment behind this very interesting take on 'Burning Bridges'. There's the downright hypnotic 'Work to Do', which finds the singer lacing up his boots, rolling up his sleeves and getting down to business. It also comes with this excellent.... almost rapping style just to change things up, but it's also very melodic and very pleasing to hear. On top of that, Mo's form of work to be done is a general one, from doing a better job in raising children, to helping those who're down on their luck and struggling and doing better in spreading the word of Rastafari, Harry Mo is ready for it all and, hopefully, we are as well after hearing 'Work to Do'. Finally, unsurprisingly the album ends with the nyah drum heavy CHANT 'Do Good' (this used to be a fairly active practice on albums, if I recall correctly). 'Do Good' is not only LOVELY and expected, for what it is, it is a fantastic way to end an album like (and titled) "I Am Rastafari", sending the listener out with a very special and upful feeling going forward.
Okay, something I really would like to mention in regard to this album because I find myself being more and more critical of it in regards to other projects we review: "I Am Rastafari" is very FULL. It's very satisfying. With its thirteen tunes topping out at nearly fifty-eight minutes (by my surely incorrect math), that puts an average song as nearly four and a half minutes long which is LOVELY! Part of the reason, in practice, why this is the case is because Mo and company definitely give their MUSIC an opportunity to shine and they should. They often give these nice stretches of instrumental or extended choruses to really add to the complete experience of enjoying the album and that is a wonderful touch and one which, again, stresses and highlights a legitimate strength of the release.
Overall, "I Am Rastafari", for the most part, is just a simple and excellent display of what Harry Mo does best as an artist, in my opinion. While it isn't the most challenging of listens, it also isn't one that I think is going to leap out at the newer fans but at the same time it won't be totally tucked away from them as well (the music here would be appreciated by absolutely anyone in my opinion). "I Am Rastafari" well follows into the line of quality set by its at least solid predecessors and is precisely what I, as a longtime fan, hoped it would be. Harry Mo is someone who I consider myself lucky for having stumbled upon when I did (whenever that was, exactly). His music has found a home in my rotations and DID NOT CHANGE AT ALL during our time away.
Okay so, when we last spoke to [about] the wonderfully prolific people at Trinity Farm Music, they were dealing with yet another release from the equally active Ancient King, following the [other] new album release from the determined chanter (biggup Determine), "Oath Of Akae". Next week, by the time you read this, the label is back with a BIG new compilation with a very interesting roster of vocalists that definitely caught my attention, "Heart Of One".
Who's here, exactly??? Well, there's Rob Symeonn, there's the Arkaingelle, Noble Culture, our old friend Messenjah Selah, RAS ELIJAH TAFARI [!], KING HOPETON, Jah Myhrakle, "Original Nine Fingers" Xkaliba, Star Lion Family veteran, Ickarus, and others! I mean.... that is BRUTAL and I mean that in a great way. TFM has been flaming as of late (and it continues. I'm writing this one Saturday, the 19th and, yesterday, they released 'Africa', a new tune from Abja) and a really big compilation like 'Heart Of One" presumably stacks up to be, is a damn strong addition to their catalogue in my opinion. The label... there's something about them that... I don't know.... There's something really strong about this lot. It almost comes off like their RAN by music fans - if that makes any sense at all. Trinity Farm is making moves and working with individuals that I would work with! 'Let's make an Ancient King album!', 'let's do something with.... Danny I'.
And if you think they're just kind of making cheap stuff and throwing it all against the wall to see what (if anything) sticks, I would point you in the direction of an album they did about a year and a half ago by the name of "Living Testament", by Akae Beka, which was subsequently named Album of The Year 2024 by this blog. They make REALLY good stuff as well. It isn't quantity over quality.
You can check both quantity (twenty-one tracks in all) and, likely, quality in just a few days on the 23rd of July when Trinity Farm Music returns with "Heart Of One". I will be there and so will you.... it isn't like you have anything better to do.
Okay so, I've been meaning to do something here as he's been doing a lot of nice work as of late, so I thought that we'd take a quick look in on a trio (two minutes ago it was two songs but I just decided to add another one, just because) of relatively fresh and impressive releases from the monstrous talent that is Ras Attitude. HOPEFULLY this is leading to an album of some sort, but even if it is not, there's always room for tracks that sound like THIS.
'They Got A Box' featuring Lutan Fyah [Rebellion City Productions]
Back in April, Rebellion City Productions dropped their GORGEOUS Bongo Rockers Riddim which featured works from the likes of Chezidek, Imeru Tafari, Turbulence and even a combination featuring Pressure Busspipe alongside Bescenta. Also present on the riddim were the Sound Vizion family, Ras Batch [!] and Ras Attitude. The former was joined by some of the up and coming artists from the label for 'Chanting', while the latter once again links up with the brilliant Lutan Fyah for the excellent 'They Got A Box'. I don't know if these two could make a bad tune if they went into the studio and tried to and that is clearly not what happened here. Big tune on a big riddim, definitely worth checking out. Take a listen.
'I Grade' featuring Skunk Dojo [Skunk Dojo]
Attitude was also joined by Skunk Dojo, from out of Argentina, for 'I Grade' (now wouldn't it be SO nice if Ras Attitude made AN ALBUM FOR I GRADE RECORDS??!) (have been wanting that for years) which is exactly what you think it is. The surprise on this one comes from SD's part where we get a bite of Spanish mixed into the vibes - a bilingual ganja tune! The riddim is absolutely towering (it's even better than the next one I'm going to tell you about) as well and I could just listen to that thing play on and on for hours. See how much you like it.
'No Holding Back' [Venjahanze Music]
On the best tune out of the three, 'No Holding Back', Ras Attitude links up with Venjahanze Music (that is a VERY impressive way to spell vengeance) from out of Canada (I THINK). This song is a very basic and broad social commentary with a spiritual footing and there's nothing wrong it that, ESPECIALLY when you put a riddim like this one behind it. I don't know what it's called, if it even has a name or if it's been voiced by anyone else but the track supporting 'No Holding Back' is a brick of gold. It is so damn cool! Attitude plays atop it, going in several directions but never too hard but what results is one sweet tune and probably the single best that I've heard from the chanter in quite some time.
"Jah hear the nation cry: VENGEANCE IS MINE"
Who even remembers when the last time Ras Attitude released an album off the top of their head?? I THINK it was 2020 ["Warrior Status"] but I am going to presume that one is forthcoming. He's been very active as of late and I would think that the Cruzan chanter is building towards something big. HOPEFULLY that's the case because it's been entirely too damn long. Still, even if it isn't, there's no time like now to get caught up with the output of one of Reggae music's most compelling current talent and a longtime favourite of ours.
Vintage. Something felt REALLY good and REALLY familiar about this one. Twenty years or so ago, I would have never thought that, in 2025, Reggae/Dancehall music would look and sound like it does today. I would have been downright shocked if I could have had a glimpse of what was to come and that is in no way a critique (my personal opinions being what they are, I still spend a great amount of time enjoying good, NEW music) but I would have been shocked. One aspect, in particular, that has seemed to have declined to some degree -- and maybe not in terms of practice, overall, but definitely as far as how respected it has become on the highest scale -- is that truly BIG riddim. Music will never stop producing stars and generating popularity in that way and it will (HOPEFULLY) never stop producing hit songs but something that Reggae had going for itself, and itself alone basically, was the times when that big and all-conquering riddim would drop and go on to support multiple hits and big songs from a variety of different artists. It may even serve as an introduction to new names who will stick with fans for years to come or maybe just come across with a single hit from an unexpected light but... damn, was it fun! Furthermore (and why we're here today), some of those riddims (not all of them) would go on to work very well in an album form, particularly on the Roots side (I've never been the biggest fan of mixes but if you get the right Dancehall track and just put neverending tune after tune on it, it is spectacular) (biggup Spectacular). Surely, you'll recall a few years when the reigning biggest album-releasing labels of Reggae & Dancehall music both maintained 'dueling' (not really) riddim album series, VP Records & Greensleeves. Of course, you remember Riddim Driven. I bring them up not just for the obvious but when I saw and initially got a listen to the project we're taking a look at today, it brought my mind back to something very brief and even more specific (...and random as hell). In the midst (or maybe slightly after, I don't feel like looking it up) of Greensleeves' Rhythm Album Series, the label would break form and, very surprisingly, release an album for the Triumphant Riddim. It was no shock that they (or VP, or anyone from the time) would have been interested in the track as it was not only beautiful but the Flava McGregor produced piece carried a pair of solid hits in Gyptian's 'Mama' and 'Trodding' by Natty King, as well as efforts from the likes of Luciano, Chezidek, Ras Shiloh, Lutan Fyah, Anthony B, Norris Man & Natural Black (on the same song), Turbulence, Fantan Mojah, Perfect Giddimani.... I mean.... it was absolutely LOADED!
When I saw & heard the Pon Di Island Riddim and saw that it had been headed to album form, I got all nostalgic! I was thinking that if, by some chance, Riddim Driven was still active and VP didn't pick it up (and they would have), Greensleeves would have likely turned it into one of those COOL projects like they did with Triumphant Riddim. On the surface, it was loaded with big/good names (although not to the degree as the Triumphant), it was excellent, had some IMMEDIATELY interesting firepower (more on that in a second) and it just has that same vibe surrounding it like some of the big projects that I remember from years ago and it feels good! The Pon Di Island Riddim also comes to fruition via some very nice (and marketable set of circumstances) which would have, again, gone on to make it of presumptive potential interest of big labels, back in da' day.
2021
In 2023 a bit of common sense made it into play as "The Kalling" would take Reggae Grammy honours. It's rare that a set lauded by so many fans of the genre actually does such a thing as the award is, typically, seen as a popularity contest/Marley Invitational. The moment would take the album's BRILLIANT star, Kabaka Pyramid, to new heights and help to bring his considerable lyrical talents to the forefronts; beyond the attentions of Reggae faithfuls. "The Kalling" was masterminded by the equally sagacious Damian Marley for his family's Ghetto Youths International imprint, alongside the Pyramid's own Bebble Rock Music. Previously, BRM had worked on several projects, including Kabaka Pyramid's debut album, 2018's "Kontraband" and the EP which preceded it, "Lead The Way" (incidentally, there was also a deluxe version of "Lead The Way", which contained thirteen tracks making it, TECHNICALLY, his debut album, in my opinion). Arguably even more interesting for us today is 2021's release of The Victory Rock Riddim. Just like what I'm about to tell you about, the Victory Rock was GOLDEN and was placed into the more than capable hands of vocalists such as Christopher Martin, Gentleman, Bugle, Romain Virgo, an all-conquering Alaine with the riddim's title effort and others. Given its history, no one should be surprised that Kabaka Pyramid and co. at Bebble Rock Music are back with one of the best produced and situated riddims and subsequent riddim albums of the first half of 2025. If you are familiar with the Victory Rock Riddim, the fact that I hesitate in saying which of the two is the strongest should tell you all you need to know in regard to its quality. The Pon Di Island is chilled to a near perfection with a subtle guitar (I think that's a guitar) and GORGEOUS piano being amongst the standout detailed sounds and a more prevalent horn dominating. While it doesn't change for individual artists (Lenky used to do that, it was special and led to some of his pieces being some of the greatest Dancehall riddim compilations ever in my opinion), all of those different colours and textures, given to different vocalists, make for an incredibly varied experience and, by its end, the Pon Di Island proved to be every bit of the class presentation that I felt it would be, going in. Let's talk about it!
Although it definitely does have a solid number of the bigger names, as I mentioned, the Pon Di Riddim isn't quite as loaded as you might expect. However, what it does lack in supremely massive names on paper is that it sets and maintains a very high level initially from which it rarely ever (if ever at all) dips. Also, specifically concerning the artists here, I found the MIXTURE of talents to be damn interesting. Yes. I am a nerd about such things, but it's damn hard for me to imagine anyone with any type of interest in what's going on here coming away disappointed to any degree. Getting the Pon Di Island Riddim from Bebble Rock Music started is Yaksta who supplies the riddim with its title track. 'Pon Di Island' shouldn't come as a surprise to anyone as far as its direction but what is a very nice eye-opener (ear-opener??) is the vibe of this one. It comes off as a very laidback type of theme but there is a certain STERNNESS behind it, making for an experience much more than just... laying around, enjoying the sun but that element does exist and is celebrated. I don't know if I've ever actually written about Yaksta's work, but he is a well talented individual and someone to keep an eye on, providing a definite highlight on the Pon Di Island Riddim. Next up, lives are endangered and stuff is broken and blown as, RIDICULOUSLY, legendary fireman, Capleton is paired with Cruzan blowtorch, Pressure Busspipe on 'Gunman Town', the single strongest tune here, to the surprise of absolutely no one.
"Gunman town inna gunman town
Gunman town inna gunman town
Inna graveyard every gunman found
This is the problem wi face as minorities
Ghetto youth nuh have no food and don't get no surety
Nuff seh dem are your friend but dem no know what is loyalty
Bwoy seh dem a gangsta and dem don't got no lawyer fee
WAIT!
Don't be a fool to what di system create
Give up your life so easy and go take di bait
He who fights and run away, lives to fight another day
LOOK IN AND LOOK OUT!
Be careful when they step and put a foot out
Gun clown, gun rookie - dem dun rook out
LIKE DEM FORGET SEH THAT THE GRAVEYARD BOOK OUT
CAAN BELIEVE DEM OWNA FRIEND - DEM DID TOOK OUT
Seh dat him have something weh tall weh chop di bush out
Inna gunman town, nuff a dem get push out
Dem seh dem cold and start di vibes and now di whole a dem goose get cook out!"
BOOM! The tune is a HEAVY anti-violence set that gets brilliantly specific, grinding the subject down to a powdery-like substance. Capleton's older now. He's nearing sixty years old. You cannot tell me, lyrically, that man has lost a step - one of the sharpest minds in the history of Reggae and he and Pressure sets this riddim on fire with one of the strongest selections of the year. Unlike on the Victory Rock, if I recall correctly, Kabaka Pyramid does take on his own creation, with the typically genius 'Jamaica'. This one is all about having pride in being where you are from and, in the case of the Pyramid, he just happens to be from the sweetest place on the planet.
"Mi fly around
Go whole heap a town
Collect nuff euro & pound
But dem no nice like Jamaica
Nowhere no home like Jamaica
Been all round di world
Seen whole heap a girl
Ah wear nuff diamond & pearl
But dem no nice like Jamaica
Nowhere no sweet like Jamaica
A what a likkle Island nice!
From di beaches, to di rivers, to di island spice
From wi likkle but wi tallawah
Leader, wi no follower
And every Yard woman no fi whine pon time
Just a dat pon di map still, regardless
Weh you know bout Nanny and di one Marcus Garvey?
World class coffee and cocoa dem call chocolate
AND FRESH JELLY WATA FI WASH OFF MI HEART WITH
Jah know mi love buy mi Clarks dung a Brixton
And mi will travel, go a Brooklyn inna instant
Mi juss shell a one show ova Lisbon
But nuttin no nice like a dance inna Kingston
Uptown man deh so Weddy Weddy now
Boom Sundays ah gwan, so wi heading out
Every night bout three dance ah keep
AND DI DANCEFLOOR MI SPOT ALL MATTRESS AND SHEET
The birthplace of Rastafari
Ah wi seh 'look to the east'
Wi gi yuh Bob Marley, Usain Bolt, Shelly-Ann and all now nobody can compete
Mi have whole heap a mango tree so mi no buy a supermarket
Trailerload a ackee so just forward wid yuh basket
Real Jamaican, yuh know wi caan stop
From wi have pure breadfruit and plantain, lawd!"
YES! I felt compelled to write all the lyrics down from the tune (because why not!). Kabaka Pyramid, in my opinion, is one of the very few people who has a case for being THE single greatest lyricist in Reggae today and he consistently proves it to devastating effect. 'Jamaica', easily, goes down as one of his finest builds in recent years. And if you love great writers, immediately following him (and Capleton & Pressure) is longtime favourite of ours, Lutan Fyah (probably going to write out a chunk of this one as well, then I'll give it a rest) (not saying there won't be anymore in this review --THERE MOST CERTAINLY WILL BE-- just not for a minute), also takes on the Pon Di Island Riddim on a vibe we know absolutely nothing about 'round these parts, 'Common Sense'.
"Mi no graduate from Yale
A common sense
Mi no believe inna no fairy tale
A common sense
Mi never come first in class
Mi took di test and pass
Mi no run dead last
None a dem coulda neva si mi fail
A common sense, just common sense
Mi no deaf, mi no dumb
Mi know mi language and mi psalms
I'm not a calculator, so dem caan shut mi dung
Alla now mi wise and mi did smart from mi young
They looking down at us, now si what wi become
I took a shot from the free-throw line
Things are stepping up, I'm certain, one day I must rise
WEH MI DO BEHIND CURTAIN MI LIVE IT OUTRIGHT
MY KNOWLEDGE COMES FROM THE MOST HIGH"
There is more than one way to come across knowledge is the sentiment behind this one and Lutan Fyah, I would guess, is someone who, though he may or may not have the scholastic accolades to show for it, has spent a considerable amount of time studying both the book and that type of knowledge that only comes with living and learning from life experiences. 'Common Sense' is MAMMOTH and it speaks to the quality of this entire project that it only barely manages to crack its top five efforts.
Dre Island comes through with the very entertaining and Jr. Gong-esque 'Cold World'. I've always thought that the Island to be reminiscent of Damian Marley and, if you haven't, I'd definitely recommend you take a listen to 'Cold World' (...even if you have, still hear this song); that being said and regardless of its stylistic inspirations, Dre Island absolutely DAZZLES here ["HOW YOU FI TELL MAN BOUT PEACE WHEN A YOU AH MEK WAR? TELL YOUTHS BOUT HEAL, BUT YOU NEVER GET SCARRED?"] as he asks the world for just a little compassion and understanding for others. I've never been the biggest Demarco fan, I never will be and his effort on the Pon Di Island, 'Don A Yard' does not rank anywhere near my favourites on the riddim.... but it isn't bad at all! This one doesn't hit in the way that relatively similarly vibed present pieces like Kabaka's 'Jamaica' or the title track do but that does not mean that it is dull. 'Don A Yard' is a beautiful ode to the culture which gave birth to it and everything you're going to hear on this album. I'll also mention one of the two remaining combinations (trying to get most of the biggest names together, then we'll talk about the surprises), 'Real Vibez', which pairs Qraig [from] Voicemail and well grizzled big-voiced veteran, Singer J. Singer J (has a new album out this year, the Gospel vibed "Grateful". Qraig's on that album as well) has literally been making music for over thirty years and I don't think that we tend to properly acknowledge his contributions because they have been numerous. Let's start here! The two come together under the umbrella-ing idea of being aware of those who may come into your life with not the greatest of intents in their thoughts, while giving credit to people who're true to you. 'Real Vibez' is fairly direct, but it does a very nice FEEL to it, particularly at the chorus and it is well worth several spins.
Hopefully, you'll come away from the Pon Di Island Riddim with a few names that are either completely or relatively new to you and you'll be impressed enough to, perhaps, follow their work going forward. Such a candidate might be bouncing Spaniard, Irie Souljah, who does reach amongst the highest of heights here with 'Bout Ya'. Call it INFECTIOUS, 'Bout Ya' (and 'Common Sense' would be another one), is the type of song that forces this riddim to 'change'. Whether it does, actually, or not is not even important but with his delivery and the backing singers and everything going on here, it sounds like such a different and CAPTIVATING display from every other song. I'm dying to write lyrics here but I will refrain and, instead, tell you to really focus on what Irie Souljah says because you'll miss a few GEMS if you do not ["Mi and mi empress take a ride up on di hill and ah talk bout di one bad house wi waan fi build"]. Impressed? If so, you can check "World Citizen", the new album from Irie Souljah (which does feature 'Bout Yah'), when it releases on the 1st of August, 2025. Maybe (you're crazy as hell) Irie Souljah doesn't do it for you. If so, check the burgeoning Jah Lil with the, arguably, even stronger pure social commentary 'Hold Corner'. Lil is a multia-talented/faceted artist and you will encounter it all on vibrant display on this tune which is an examination of ghetto life in its most basic sense. It also develops slightly around that with the suggestion that people who go through the struggle may come out stronger because of the tough experiences Jah Lil is the exact type of person I was thinking of that may earn quite a few fans from appearing on this type of project. There're many people who will hear him here for the first time and will remember the name. While Ras-I doesn't quite mine gold with his 'Do The Right', he does come close with the solid piece (which does take a step up during its latter stages as the chorus seems to intensify and the delightful backing singer/s take more of a presence. Check the final vocal track on the riddim, it's obligatory ganja number, 'Pon Plane', courtesy of Jah Izrehl (great name). This one does DAMAGE!
Izrehl has a very free-flowing and organic style. It seems like it comes so naturally to him (he does have a new album, "Kippy Fyah Red", which I have listened to. I cannot recommend it though, it isn't very good) but he doesn't run from STRUCTURE, which is kind of unusual (and I mean that in a good way). 'Pon Plane' IMMEDIATELY becomes one of my favourite songs ever from the Kingston native. I would have complained had 'This I Know' not been on the Pon Di Island, saying that the riddim lacked a significant female presence (more on that in just a second.... literally the next tune I tell you about) but not only is that NOT the case, Kabaka Pyramid tapped one of the greatest female voices going today, the outstanding Khalia. 'This I Know' is golden. It is a LOVELY song, centered around the idea of going through the trials and tribulations of life and coming out better for it on the other side (with a spiritual inclination, of course). Such pieces are in abundance but they rarely have the purely sonic appeal that 'This I Know' does. Khalia's isn't the only woman's voice you'll hear on this riddim as (along with backing singers), Iyansa brightens up 'Jah Sound' which features an ABSOLUTELY SCALDING Queen's son, Imeru Tafari.
"Rifle dem ah lock a town
Body drop a ground
Wonder why di father not around?
It's a shotta zone
Likkle juvie get a proper crown
Bodies scattered round
GWAN GO LOOK INNA YUHSELF AND TRY FI LISTEN JAH JAH SOUND
Rastaman is not a clown
Siddung pon a throne
Responsibility - dem heavy than a pound
Give thanks ah gimme everything a Jah alone
That's why a everywhere mi wave di banner proud
He that dweleth in the place of The Most High
Tell dutty babylon dem seh fi don't try
Abide under di shadow of The Almighty
The inner city, it so cold until it icey
One time mi could afford fi live but now it pricey
Di youth dem nah no upside, now dem get so grimy
CORRUPTION CLEAR COULDA EVEN MEK DI BLIND SI
Ghetto youth unuh bodda tek it lightly"
You don't even hear from Iyansa until well into the song's final minute but she does make the most of her time. I do wish that she did have more of a presence but Tafari absolutely lays waste to everything he touches on this track. 'Jah Sound' is FIRE and, again, if you are unfamiliar with with either Imeru Tafari or Iyansa, you've now become acquainted! Also included, thankfully, is a clean version of the Pon Di Island Riddim... because to not do so is just dumb. The instrumental is gorgeous and one of the nicest moments on its album - as is generally the case on these things.
What's wrong with the Pon Di Island Riddim? It's too damn short. I don't necessarily mean in terms of the total length here (I just clipped the screen off, I don't even know how long it is) but with all but three being in the 2:50ish range (and the other three are only ten seconds longer), I would have liked to see more done with the development of some of the material here, with the prime example definitely being 'Jah Sound'. Just looking through the tracklist also gives you that kind of... bad nostalgia that was so frequently associated with Dancehall - with that sort of 'cookie-cutter'/'one-size-fits-all' type of approach. Would have loved to have seen someone kind of break out of that and do something more.... organic and improvised because you can listen to it and KNOW that the opportunities were there.
Overall, the Pon Di Island Riddim is outstanding and its album, for the most part, is as well. Riddim albums, in my opinion, provide such a wonderful opportunity to compare performances, ideas and such things as you can really see the different ways different artists approach the same music. The tunes can float around the same areas or be completely very different at times. What stands out in this particular case, however, isn't such a grand deviation between tunes but, instead, REALLY big performances. As I said, I hope that you might come away from it with someone new in your mind to listen to, going forward, but the ones with whom you are already familiar SHOW UP as well. The biggest guns on the Pon Di Island shine just as bright as you would hope. Going in, I had such a beautiful nostalgic feeling about this one and, as it turns out, Kabaka Pyramid has delivered yet another one for the time capsule. Very well done.
