The Vault Reviews: I Am Rastafari by Harry Mo

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

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

The wonderful works of Harry Mo

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

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

"I am Rastafari

I chant for Jah Most High 

I man hail King Selassie I

All might King of Kings and Lord of Lords

Said I am Rastafari 

I & I work for Jah Most High

Defend what is true and right 

What is true and right in Jah Most High sight

With Jah love will our way

When Jah call, we must obey

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

And we spreading through the earth

Got no time for the timid

Hotta fyah pon di wicked

We've got to clothe up the naked

Let the hungry be fed

The aged be protected"

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

"So now you know wi nah go par wid dem

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

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

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

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

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

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

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

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

"I am just the son of a runaway slave

Freedom songs in my head"

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

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

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

A Jah

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

Jah Jah

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

Jah Jah

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

A Jah

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

I'm always singing songs and singing songs for Jah

Rastaman sing a song, come sing a song for Jah

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

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

Jah Jah

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

Jah Jah

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

Jah Jah 

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

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

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

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

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

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

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

Rated: 4.25/5

Yellow Moon Records

2020

Tuff Lion has a Higher Reason

"I'm doing for you

I'm doing  this for me

Creating and shaping a new reality

Shifting the paradigm of what they see

Lifting up my family out of poverty

Using my inborn musical abilities

Telling my story with melody and harmonies

Liberating lyrics and redemptions songs

To the world, I will tell it all

And to the glory of The King, I sing

Spreading love and good tidings

Across the planet and all of creation

BROADCASTING A POSITIVE VIBRATION"

Biggup loooooooooooongtime favourite of ours, the masterful Tuff Lion who, just last year, gifted us his outstanding new creation, "Harmonic Therapy", and now the venerable guitarist, vocalist, producer, arranger.... is getting the new year started off in a major way on the strength of a downright pillaring new single, 'Higher Reason' on his own Tuff Lion Music label. Were it on "Harmonic Therapy", 'Higher Reason' would have been the single biggest tune there which is saying a lot given the class an quality of that set, but it is deserved! 'Higher Reason' is MAMMOTH. The tune, essentially, finds the Lion speaking on his grand purpose as a musician and why he does what he does and why, after all these years, he is still progressing (I've told this story before so I'll be brief, but I will never forget Tuff Lion talking about learning the guitar and, even after having practiced and performed for so long and rising to the point where he is one of the greatest guitar players in all of Reggae music, he said "...and I'm still learning the instrument).

The year is still very young, and something else will come along, but as of a month and a couple of days or so, unless I am REALLY forgetting something, 'Higher Reason' is probably THEE best new tune I've heard in 2024 thus far. I will not get my hopes up for a new album just yet but a 2024 with an active Tuff Lion will be a BEAUTIFUL year.  

Wealthy: A review of Harmonic Theraphy by Tuff Lion

Guide. There is something to be said about the concept and power of comfort in virtually all things in my opinion. We are human beings, mammals, living things and, while the unknown can certainly be exciting and bring forth a variety of other very different interesting emotions, at least at specific times I think that we all seek some level of comfort (even if "comfort" for you means discomfort) (everyone's experience is different). There is a phrase, 'comfort food', which generally denotes some type of meal that you grew up eating and gives you all type of nostalgia feelings about your childhood and your family etc. and you can surely take that and make 'comfort music'. 'Comfort music' (in this sense) for me is the Bob Marley, Peter Tosh and Arrow that I grew up with and a few others - gifts from my wonderful parents and older siblings, but today we're going to take the idea of 'comfort' within music and spread it around a bit and develop it and evolve it to include music which has not only brought me a nice level of 'grounded' contentment and satisfaction, but has served as.... WASHING for me. I'm talking about the type of sound I seek out when things may not be going the way I want them to in life or when I'm overwhelmed with too much music. These are the type of vibes which tend to help me focus and bring me to back  to center (and as I get older, I find that latter situation occurring more and more often). A very good example of this would be 'funky comfort', herself, Sara Lugo. Although more musically diverse than any of the other artists I'm about to name for you, Lugo's work comes with such a natural and organic refinement to it (and I've heard it SOOOOOO much over the years) that I will always come back to it before 'heading off' again. Furthermore, when she releases new music, I get this well expected sense of excitement, which is expected, along with another vibe which is optimism that I may have found yet another piece from the singer to add to my own personal vault. Someone else who fits into this category is definitely Lutan Fyah. I don't know if the Spanish Town chanter has had a greater fan in his entire career when it comes to trumpeting his lyrical prowess, specifically, than myself and I'll always find comfort in full albums of work that he's done over the years, such as "Time & Place" ["waters of many colours so wi haffi swim deep"] and, of course "Phantom War". Hearing how he puts together these highly detailed gems of tunes has been one of my greatest joys as a fan of music that I've experienced as an adult. I'd also add others such as Mark Wonder, (of course), Beres Hammond, HARRY MO and, strange as it may be, Bounty Killer (with the way Dancehall has gone these days, I've found the Killer to be an ultra-reliable source of calming when it comes to that genre). In all and at many times, I've found their output to be downright therapeutic and I am grateful to have come across these wonderful artists in my lifetime. 

Someone else who would well fit within that group and do so in a very curious way would be the somewhat reclusive but not really and truly great instrumentalist Tuff Lion. I use the term 'reclusive' for him only to say that I find it so unfortunate that we don't get to hear much [enough] from him in the way of making new music (with himself as the credited artist), but as far as I know, Tuff Lion remains quite active in performing and studio work, especially on the west coast of the US. Many years ago the name 'Tuff Lion' was best known to me and most others, I would presume, as simply one of several regulars that would appear as a player of instrument on various projects. In his case, those releases predominately would be of Virgin Island artists and releases as Tuff Lion, himself, is a native of St. Croix and his handiwork would appear constantly on such sets. He was a well notable favourite of I Grade Records, the region's dominant label, but he was awfully active elsewhere as well. So much so, in fact, was Tuff Lion hard at work in the early 2000's or so and beyond (and, I'm sure, well ahead of that as well), that I'm confident that I could pick up virtually any album from a Virgin Islands artist from own collection and his work will be there... I just did that and the first three albums in the most accessible box containing my physical copies of music -- "A Different Age" by NiyoRah, "Ride Tru" by Midnite and "Matsahyel" by Ras Iba -- all feature Tuff Lion on guitar (a span of nine years between those albums, in total). In fact, with the exception of one song, he plays on every tune on "A Different Age" and I had forgotten that Tuff Lion did everything there was to be done on "Matsahyel", a classic on these pages and simply one of the greatest albums I have ever heard. While you associate Tuff Lion closest with the guitar and for good reason (more on that in a second), he's probably done every single thing imaginable behind the scenes and done it, like so many of his peers, without you knowing it and maybe even on some of your favourite songs and albums.  

2007 & 2008

And sometimes the light embraces him as we do. A shockingly brief fifteen years ago  I Grade Records released a project by the name of "Ten Strings" which was their very first fully instrumental album, I believe, and it featured the brilliance of Tuff Lion in a major way. It kind of was the Lion's tune on several familiar IGR riddims (just like you'd hear from a vocalist) and it was so thoroughly well done. "Ten Strings" was brilliant and it became #twenty-seven in our Modern Classics series and for good reason. All of these years later, I still find myself going back to it on a semi-consistent basis as I've found that it helps alleviate any type of 'writer's block' that I may have (it's helping me write this review, even). The album put Tuff Lion in a class of players of instruments such as the great Dean Fraser and the great Ernest Ranglin as individuals who had reached a level behind the scenes to where their work could not be overlooked anymore and I would presume that there are many people, like myself, who began to notice the name Tuff Lion present in production credits after "Ten Strings" (side note: There was a promo video for "Ten Strings" and it has the Lion talking about his experiences coming up and how came to play the guitar and I think he mentioned that when he started, he had an older brother who was playing something and he figured he had to do something as well. He said something in that video that I will never forget: After having spent all of those years dedicated to learning to play the instrument, he says, "....and I'm STILL learning how to play it")  (that is FANTASTIC! ). However, prior to "Ten Strings", Tuff Lion would actually (and fittingly) helm his own debut voyage as the sublime "Utterance" would arrive in 2007 on his very own Outpost Music Workshop label. Like "Ten Strings" which was to follow, "Utterance" was a release featuring the work of Tuff Lion, HOWEVER, the difference was that the first album actually carried material highlighting the Lion as a vocalist! He would show a fine singing voice and, to this day, I still find myself loving tunes such as 'Be Natty' ["Be natty, be natty, be natty beeeeee!"], 'Pimps & Parasites', the title track, 'Rootstafari', the mighty 'Advance' and several others (like 'Balance'). "Utterance" was another fine work of art and although it isn't as well known as its followup, we're going to use it as a springboard for our topic today, because more direct successor has just walked through the door. Since the release of "Utterance", I'm fairly confident that Tuff Lion has continued along (well... I know he has. "Matsahyel" and "Ride Tru" are younger than "Utterance") his career as a 'instrumental artist' and done so actively, but on the vocal side, he hasn't been quite as prolific. I was trying to figure it out and while I'm certain that I've missed something along the way, I was having hard time thinking of the last time I'd heard a tune that Tuff Lion had actually sang. I'd traced it back to maybe 2013's "Powerlink" from the Amandla collective. On that project Tuff Lion played guitar on every single tune and also did backing vocals on several of them as well, but "Powerlink" also carried 'Some Have', 'Ready' and 'Something To Remember', which all were songs that he was the lead singer on. So that was the last time I actually had memory of him singing songs.... until fairly recently. Back in January, Tuff Lion would release a tune that I'm about to tell you more of in just a second for a label by the name of Yard Stylee Records. I probably did not hear this song until maybe May-ish or so, but it was Tuff Lion and TUFF LION SINGING, so I was definitely interested. I was unfamiliar with the label but they are, as I assumed, from out of California (town called Salinas, to be exact) and ran by an individual by the name of Lujan, who also makes music himself. While their vault isn't the deepest just yet (it appears that the label began just a couple of years back in 2021), in April of this year, Yard Stylee released "Earl Zero Meets Yard Stylee Krew" with the venerated vocalist, a very solid EP (which featured a tune called a few nice tracks, 'Jah Morning' and 'So Much', in particular). Well, if they wanted to get my attention (and they didn't. They couldn't care less, I'm sure), lifting up a new tune from Tuff Lion was the way to go..... and an if they wanted to go even further..... I mean... why not do an entire album?! It would be difficult for me to express just how DAMN HAPPY I was when I saw the third solo set from Tuff Lion, "Harmonic Therapy", in the offering courtesy of Yard Stylee Records. In a year which FINALLY brought us a new album from the great Queen Omega, this set would immediately become yet another big surprise from 2023. Somewhere in the back of my mind, I'd like to think that I had an inclination that at some point, he'd make another album, but I did not realize how much I MISSED listening to this man make songs until I laid my ears on the most fittingly titled "Harmonic Therapy"; and if you're not doing anything at the moment, I'd LOVE to tell you all about what I heard.

I'll make a comparison that, perhaps, no has ever made and no one ever will again here: Tuff Lion's music kinda/sorta reminds me of Jah Cure's. It's not that they both make Reggae music, but when I first got into this piece I had a certain level of expectation going in at the baseline of it. I don't care what happens along with it, "Tuff Lion album" makes me think (KNOW) that I am about to hear wonderfully crafted and created music. The SOUND of it will be top notch. On the side of the Cure, I may not know what he's going to actually be singing about, but I can be assured that what I am going to hear will be a display of the single greatest voice I have ever heard in my life. The comparisons end there and maybe I went to far to make it (wouldn't be the first time and surely will not be the last), but I bring it up to make the point that you know exactly, at least at the core, what you're getting into when you hear Tuff Lion's music and "Harmonic Therapy" is not an exception. A sterling representation of that would be the fine opener, 'Lead I Guide I'. "RICH" is the word that immediately came to mind when I first heard this tune. It is just such a FULL and HEALTHY experience on the musical side and, when you get into the messages you discover what just may be Tuff Lion's greatest strength as a vocalist: Along with having a very nice and heavy (yet versatile) voice, he also injects quite a bit of MATURITY and WISDOM in his words. It's very matter-of-fact, yet clever and so unique within its simplicity (which sounds strange as hell, I'm sure, but I think it is an appropriate way of at least attempting to describe what he does ["I keep a focus and direction. Stepping straight with no distraction. Living under guidance and protection"]). Later on he does selection up a taste of what he's best known for and dazzles on his guitar which is an excellent touch in closing. What reigns as the single finest moment on the whole of "Harmonic Therapy", 'Social Expectations', is up next and this one hit me SO HARD on a lyrical side that I just could not take my ears off of it.

"I ACCEPT ANYONE CAN HAVE A BAD DAY

I EXPECT TO BE TREATED AS I TREAT PEOPLE, SAME WAY

People are people

Some good, some evil

Some of them don't love themselves

Some people agitated

Some of them frustrated

Some of them are ticking timebombs

I see peaceful interventions in tense situations-

Turning down the heat of the confrontation

Emotional control, rational response

Anything to ease up the pressure

I ACCEPT THAT NOT EVERYONE IS NICE

I EXPECT TO LIVE A HUMBLE AND PEACEFUL LIFE!"

I mean.... seriously! The song is just so mature and accepting of not only people but pure facts. Each and every person you have ever met in your entire life (including yourself) is ridiculously FLAWED. We just all are and we're also moody and have things going on and, most of all, we're DIFFERENT. What I take from 'Social Expectations', ultimately, is the acceptance that when people are involved (in ANYTHING), nothing is certain or guaranteed, but you're fine with that and you reach a point where you're capable of dealing with it the best you can. I've probably never heard a piece quite like this one and for that reason --and that it's delightful-- make it scintillating for me and the crowning jewel off "Harmonic Therapy". Immediately charged with keeping the vibes high on the album is another big winner, '2 Faces'. I actually relate this one to the track just ahead of it because what it does (in my opinion) is to personalize the experience with others we heard about in 'Social Expectations'. Just as you will meet others who you will not  get along with.... someone will meet you and not like you (AND NOT LIKE YOU FOR LEGITIMATE REASONS) because, again, we all go through so many different things and maybe the day you came into contact with them wasn't one of your finest and it came through for them. I should also add here the later offering, 'Original People', which shares kind of a pacing with 'Social Expectations', but isn't necessarily related (at least not directly), but you will listen to the second of those and it will remind you of the first. The difference between the two is that the former is definitely more about our interactions with others (and ourselves), while the latter does have elements of that, but it's more steered towards the observation of people and the respect that people of all types exist, many of whom (the VAST MAJORITY OF WHOM) we will never have any contact with, but they are amongst us from all different backgrounds. 'Original People' has a more of a grinding type of vibes to it and you get to the end of that song and so many things are going on, musically, and it is not to be missed. Have to mention another fine musical display on '2 Faces' as well, something which steps even further in 'Over You'. When this one came in for the first time, I got EXCITED. The song is a very strong one and it's something that you're well familiar with (I'm not even going to tell you what it's about - but from the title you have a certain thing in your mind and that is exactly where this one goes), but the sonics on 'Over You' SOAR! It sounds SO GOOD! Later I'll tell you about a drop which gets a dubbed out version attached to the tail of "Harmonic Therapy" and had they decided to do the same with 'Over You', I would not have been opposed to that. Earlier, I alluded to what would become the first single from this project, 'Strength an'.

It's grown on me considerably from the first time I heard it and that's saying a bit because I well enjoyed it from those early days as well. Along with having a very nice vibes to it (it's another one which they could have included a dub to), 'Strength an' is another effort that really pushes such a nice simplicity in its message and does so in a way which is so straight-forward that it's UNIQUE in that transparency (you listen to enough music and enough ultra-talented lyricists and you really become accustomed to and conditioned to hearing people come up with these really cool ways of saying things; Tuff Lion doesn't do that.... he just says it for the most part). At the core of this one, 'Strength an' is a song about LOVE and how love of oneself and others can reinforce us and become "the answer to so many problems". It is an interesting choice for a single and I'd wonder if the thought back then was to do a full album (and if it was, how much of "Harmonic Therapy" was completed at that point), but if you give it a chance, like I said, regardless of how you feel about it initially, 'Strength an' is a surger. It will GROW on you, even if you love it already. Check the DELICIOUS and old school licked title track which is going to be a tune that will register in a very relatable way with You just it did for me an so many others, I'm sure. Watch this:

"I was sitting at home, all alone

Resting my bones with the spliff, medicating

Contemplating world affairs, family relations, life and its complications

Al of my thoughts were sad, not glad

I was feeling bad and-

Praying to Jah to guide and send direction

ALL IN A SUDDEN THIS RIDDIM HIT ME

I JUMPED OUT OF MY SEAT AND ONTO MY FEET AND STARTED SKANKING, SKANKING"

"THAT MUSIC CHANGED MY MOOD

Put me in a different groove

Made my body move so free, so free

A medicinal dosage, prescribed by the selector

Make i feel better, harmonic therapy

Jah know I didn't take no pill to get no thrill

Drink alcohol to stumble and fall at all

Not at all

I started dancing my troubles away

I felt a smile come to my face

Cause I was skanking!

Real skanking!"

If this situation or anything like it has NEVER happened to you, I want you to stop reading this review and never come back here again! I experience SOMETHING like this maybe two or three times a week. Literally HUNDREDS of times a year! I'm not always sad or in deep meditation on anything in particular, but it will LIFT me somewhere. The music will just make you feel better and you know what?? 'Harmonic Therapy' also did that for me and it's done it for me multiple times. The overthinker in me (which is pretty much all of me) (that's all I got) would love to believe that the idea behind making it wad to bring that experience directly to the listener RIGHT HERE and, along with describing and reliving his own time, the Lion is also basically giving a play-by-play of what the listener is going through while listening to 'Harmonic Therapy' and if that were, I can personally attest to the fact that he got at least one situation that went COMPLETELY according to plan. MINE! The album named after it does conclude with the dubbed out version of 'Harmonic Therapy' that I alluded to. This thing is downright jovial, I hear a flute (I THINK) that is not nearly as pronounced in the original and given the topic of the matter, what results in the dub is pretty close to what I would have expected. Nice and upful and just a really positive vibe. With Tuff Lion being who he is and having the history he's had, a dub tacked on the end of his album is an excellent touch (the aforementioned "Utterance" album also has a tune, 'Dreamin', which is primarily an instrumental and a golden one). Another big vibe from "Harmonic Therapy" and one with which I've had a lot of fun so far is definitely 'Cosmic Energy'. I've intentionally attempted not to take this one too deeply (I'm not even going to tell where I was on it at first), so what I take from 'Cosmic Energy' these days is looking at it, simply, as the Lion's homage to energy. Broadly, we are all energy. We are tiny bundles of energy and without it we are useless (and even after death, there begins a different type of energy). This one is giving thanks and observing ALL things as energy, itself, is something incredibly powerful; so powerful Tuff Lion made a song about it. While the album does wrap up with the aforementioned dub, its final two vocal contributions are surely not to be missed. The first is the spicy social commentary 'Amurdikka'. On paper, this one should grab a nice bit of attention because it is the sole combination here, featuring GRIZZLED veteran, Prezident Brown. 

"As I am affected by the number of killings by my people in Amurdikka

I cannot be silent about the gun violence among us, killing us faster than the virus

Recod-breaking homicides make me wonder - did we decide to declare war upon ourselves?

THAT EVERYONE THAT LOOKED LIKE YOU IS NOT WORTHY TO LIVE LIKE YOU

Don't you see the homicide is fratricide, form of suicide, leading to our genocide"

"In Amurdikka, the big, bad tiger chase another

Law-makers, law-breakers and bounty-hunters

Now the whole damn place it catch a fire Jah know!

Modern day wild, wild west

It look like everybody need a bulletproof vest

Strapped up to dem chest

Silence! Down with the violence!

It's about time now for a quantum leap

Put it pon a platter

Our lives matter

Life is a stage, everyone is an actor

Our actions shows the content of character

HATRED AND ANGER: EVERYONE CAN BE A CARRIER"

I do not know if these two are well acquainted or if they've never met one another at all, but together they DEFINITELY show that they have musical chemistry in HEAPS! 'Amurdikka' is outstanding. I should also mention something which is present on more occasions than just this one but it well stands out here (and on the other song I'm about to tell you about): Though subtle, 'Amurdikka' features some really strong backing vocals. I don't know who sings them (I would actually suspect that Tuff Lion does), but it really helps  to bring a lovely facet to this tune and others on "Harmonic Therapy" as well. Lastly (first long review I've written in a while, thoroughly enjoyed myself) check, 'Reset', EASILY one of the finest selections on this project and any of the work that I've heard from Tuff Lion to date. The riddim behind 'Reset' may just be the single finest on the entire album (the guitar, in particular, is STERLING. He shines!). He also doesn't let it go to waste lyrically and Tuff Lion produces another winner, this one steering closer to the tune just ahead of it in terms of being a look at society. Where 'Amuridikka' takes a look at homicide, especially, 'Reset' is more broad in its approach with the Lion, ultimately, saying that, given what we've been through and with how many things we've done, unsuccessfully, to work it out, it's time for us to "reset, recalibrate, reprogram all the parameters". When something does not work what is the first thing you try to fix it? You turn it off and turn it back on. Tuff Lion is saying maybe that works for something else besides electronics and an absolutely wonderful tune.

Overall, though it only brings eleven tunes, "Harmonic Therapy" is very THICK. It's a very dense listening experience and sifting through it is very enjoyable and satisfying and I expected it to be ("Utterance" & "Ten Strings" DEFINITELY exhibited that quality as well). Certain things, as I said, are far more than solid with the main point being the music. If you enjoy modern Roots Reggae music (and if you don't I'm shocked you've read THIS far into this review), you will be dazzled by "Harmonic Therapy" at times. I do not know if this release has a future but I would love it if, at some point, it received an instrumental push ("Eleven Fingers"???) because while I was listening to it and now, in retrospect, I found myself numerous times thinking that the riddim I was hearing was something special and I'd love to hear many of them get that time to gleam on their own. "Harmonic Therapy" is a lovely showcase for one of the most reassuring and SOOTHING talents that Reggae music has seen in.... an ever. I will also add that if you've never experienced his music, "Harmonic Therapy" is also a fine introduction to Tuff Lion. If this is actually your first time hearing him, like myself and so many others, get ready: It sticks with you. Very well done. 

Rated: 4.5/5

Yard Stylee Records

2023

What I'm Listening To: November

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

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

"I feel a breeze!

Cause I've got Jah - in my life"

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

CD + Digital

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

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

CD + Digital

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

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

CD + Digital

"Jah" by Iwan [Gideon Music - 2014]

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

CD + Digital

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

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

CD + Digital

'Link Up': A review of "Powerlink" by Amandla

One common destination. Although we may not look at things related to music in such a manner -- and instead are often ultimately steered in the direction of or cleared away from by -- the final product, there certainly is a lot to be said for just having good planning and idea development when it comes to music. There are the obvious examples in regards to the absolute basics - as far as with whom to record and where to do it. And while many of these things can be quite random, just as they can be in almost every aspect of life, sometimes when they reach a level above stumbling upon what are the crystallized results of a chance encounter and become something which really involves a great deal of preparation and follow through, the output can be just as organic, and arguably even more impressive. Currently, looking at the current landscape of Reggae music, if you wanted a really good example of this, I would definitely point you in the direction of the assembled production machine that is the Zion I Kings collective. What they do and have already done to date, in my opinion, represents some of the finest idea development and full-on good common sense that we've seen during not only the modern era of the genre, but perhaps EVER. Along with fine choices in the artists with whom they choose to record (which may or not be set to include the great Lloyd Brown sometime later this year), they keep a very active release schedule and the group's latest undertaking, a riddim album series (The Songbird Riddim, in stores now), is yet another wonderful step from the ZIK. Now, where that union includes the bringing together of three different labels, the case which we take a look at today is a union of great musical minds to come together to form a fully functional band. While such groups are not today in Reggae music what they once were, in terms of numbers, amongst more hardcore fans of the genre definitely names such as Virgin Islands bands Midnite and Bambú Station are of the household variety. And personally, I do have to say that there exists some different type of trait that the music has when you have a set of individuals who come together, specifically, to make music for the whole and for the successes of the whole. It seems to give the material a bit of a 'fuller' feeling at times.  

Amandla

Meet the fullness that is Amandla. While it remains to be seen if they go on to reach the levels of the aforementioned Midnite and/or Bambú Station, on paper the Amandla Band would appear to have each and everything they need to succeed. Like what? First of all, if you read my work to any degree, you're definitely going to know the name of Tuff Lion (who, coincidentally actually played on and had a full tune on the Songbird Riddim) (have I mentioned that it is in stores now?). The masterful guitar player/producer/arranger/vocalist/engineer/writer has been a favourite of mine from a very longtime now and so has the downright monstrous catalog of music to which he has contributed. If you look into that catalog, directly, you'll find the work of an apparent favourite of the Lion's by the name of Ras Iba. Along with delivering what we've already called a modern classic in the form of his most recent release, "Matsahyel" ["He has found Jah!"] from 2010, the amazingly gifted Cruzan born chanter has been around for quite awhile, officially on albums going back to 2003 (when he debuted with "Jah Lion: Children of The Nile" (on which Tuff Lion played extensively)), and has had a fantastic career. Also, if you've spent enough time here, the name Toussaint shouldn't be a new one to you either (well, it shouldn't be "new" to you in anyway) as the dazzling US born 'Soul Roots' singer has also become a favourite of ours. His MIGHTY "Black Gold" release, also from 2010, is a project which we've discussed at length and it also featured the work of Tuff Lion. Now imagine that all three joined the same band. They have and it is a very big deal and now the Amandla band releases their very own album.

The fittingly titled, "Powerlink". The Amandla Band is different. They don't necessarily have a 'built-in' lead singer, like a Vaughn Benjamin or Jalani Horton and instead there're five different vocalists who rotate and do the honours. Along with Tuff Lion, Ras Iba and Toussaint The Liberator, there is also Burnie T (who was apparently born in Dominica) as well as US born YahKali - both of whom sing, write and play various instruments throughout the project. There're also Jah Derek, Leon Cotter, Akhil Gapal and Brian Paulding adding additional instrumentation and Empresses Melinda, Tonya and Nephertiti, who sing backing vocals. That is a HEALTHY unit of talent and it is a quality which is exhibited throughout their album. Last year Amandla actually gave us a taste of what was to come by pushing a six track EP release of the same name (all of the tunes on that EP have subsequently made it onto the final album). The EP, in another fine exhibition of common sense, displayed a single tune sang by each of the band's five vocalists and an instrumental piece (I did say that Tuff Lion was involved) and, if I needed even more of a reason at the time, and I absolutely did not, when I put it all together it well made me interested in hearing a full Amandla band album and it didn't take very long at all to materialize. Unsurprisingly, what I heard on the EP was a great deal of musical chemistry and, as I said, three of the main principals had a history in working with one another and while I wasn't incredibly familiar with the work of either YahKali or Burnie T, my research on them leads me in the direction of thinking that they're both those wholly necessary types of individuals who, although they may not get their deserved credit most times, if they all suddenly stopped making music, people like You and I would notice IMMEDIATELY. Put all of that together and, again - at least on paper - you have the foundation laid for one big project. The question is whether or not the full album fulfills on those prospects. Yes it does. Let's talk about it! 

Ras Iba

With the different vocalists, "Powerlink" very much has the feel of an extremely well carried out compilation. This album actually gave me the mind to go back and enjoy a previous and related set from a few years back, "Wadada: The First Itation" ["Burnin away. Burnin away! Can't keep babylon from burnin away"], and just like that release, where almost all of the songs were written by the same person, despite having different artists on the mic, this album has a nice level of cohesiveness and, essentially, is a compilation specifically put together for the purpose of creating an album. Because it is Ras Iba who gets us started on "Powerlink", we'll take a look at all of his songs first. His first and the album's first effort, 'Arise' is also one of both of their finest. Iba may just be one of all of Reggae's best writers at the moment (and if you want to hear a master class of lyrics in Reggae music, definitely pick up "Matsahyel", which is one of the most intelligent releases that I've ever heard) and he uses that major skill here to near perfection. This track is one constructed to inspire people through difficult times, in particular, and it goes to a powdery level of detail, especially in its latter stages. There's also a nice vibes to the tune and while it may be a little heavier of a song than I was expecting for an opener (and I mean that in a good way), it ranks near the best material that you'll find from anyone on the album. Iba later returns with the delightful 'Afrikan Queen' which (does sound like a typical opener) is an obvious tribute to the amazing Afrikan Women of the world. This piece simply instills a great feeling in everyone fortunate enough to hear it and definitely adds a nice dimension to the album. If this song were not here, it would have been the type whose absence I would have lamented because it is necessary. Still, my own favourite song of Ras Iba's on "Powerlink" is his final and the song which was on the EP, the MAMMOTH 'Herb & Music'. 

"Music was always part of my life

From in Mama womb, hearing her voice

Hearing her sing to me 

Hearing my Daddy playing the bass for me

Natural in I destiny

Music kept I man busy

And the way from jailhouse and cemetery 

Herb and music saved my life

That's no lie

Herb and music 

Give thanks for the drum line

Herb and music saved my life

That's no lie

Herb and music

Give thanks for the riddim

Empress Mari -

Such a mystical spice

Secret flowers bloom in the dark of night

She help I reconnect and align 

She help I and I open up mi third eye

And help me to look inside

To look inside -

And see the source of life: SELASSIE I"

Ras Iba speaks on the two entities which helped to make him the man and the musician he is today and, if you're a fan (and you are), you have to be just as thankful because when at his very best, Iba is also one of the best as is shown by his three songs on this album.

Tuff Lion

For his part, Tuff Lon also dazzles on his pieces on "Powerlink". This album really presented a nice opportunity to hear the somewhat vocally reclusive Lion (of course I LOVE his instrumental work, but he's also a very strong vocalist) on a trio of selections which should also be a big selling point for more hardcore fans for this album as well. His first, the album's second, is either his best or his second best, but it is fantastic in either case, 'Ready'. This VERY clever relationship song speaks on the most important aspect of a full unity in a positive and functioning connection. And (because I'm an over thinker) I also take this one in a different direction towards general friendships. If you're going to be married to someone or in a relationship, it takes both of you to make it work ALL OF THE TIME and the same is true in being [good] friends with someone. It is a unique idea and an even more unique delivery of it on a big tune. The Lion returns on the just as impressive social commentary 'Some Have' (his tune on the EP). This composition is very straight forward, but it makes the most of itself and Tuff Lion talks about people basically helping someone else out who really needs it. The song pinnacles when the maestro kicks up the intensity and delivers a big verse later on which is not to be missed. 

"Too many helpless people deh pon di street

Ah push dem life inna cart, with no food to eat

No government nah help dem inna dem plate

Wonder how does it look inna His Majesty sight

Rich man pon di top

Poor man at di bottom

Dem mussi fi get tough fi dem foundation

Table ahgo turn, change of di situation-

Bringing bout di poor man revolution!"

And Tuff Lion's final song is also something to remember - it's actually called 'Something To Remember' - which is an excellent and somewhat funny lover's piece on which he… offers a very, very special token to remember him by to his special lady. This song lightens things up a bit and I'm sure that it is a big song in a live performance as well.

YahKali

YahKali is next and I have to say that, from his three songs, I was VERY impressed. Coming in with three very well known talents and two lesser known ones to my ears, I finish this album thinking that I'd like to hear more of his work, in particular, at some point in the future because he is excellent. By the slimmest of margins, his first song, 'As I Am' is my pick of the best of his lot. Along with possibly having the best riddim behind it on the whole of "Powerlink" (BEAUTIFUL!), this is a powerful and serene praising tune - sounding something like you might hear from Luciano, actually. 

"In this mystery of life, I need Your guiding hand, oh Jah

You are my strength in I going out and coming in

Though You seem so far away, yet deep within

And when I go astray, You lead me back again

As I breath in, I find the I within my heart

And as breathe out, I feel Your presence all around

As I sit and contemplate  in this earthly struggle

Oh Jah - give I courage and protect I and I hustle"

Everything about this one is a winner and it resonates well beyond its completion. It also has a great feel to it and you hear a small variation of the sound throughout, making for one dynamic piece (and I still call it serene - it is both) and a most memorable presentation as well. YahKali returns with another sizable offering in 'Debt In Slavery' which continues to impress (especially lyrically) as does his third contribution to the album, 'Same Old Story' which is a kind of a love/relationship song (seeing a familiar sequence here?). Again, this is an entertaining and compelling song and, like I said, these three as a whole make me interested in hearing so much more of his work as, particularly placed in this context -- where I was SO much looking forward to hearing three other people who were not him -- YahKali demands attention within all of that brilliance. And I don't want to pass over it quickly either, 'Same Old Story' is a very good song!

Toussaint

The Liberator, himself (curiously absent from the Songbird Riddim), is up next and to introduce himself on "Powerlink" he offers my single favourite song on the entire record and in the process gives a remarkable tribute to Jean Jacques 'Dessalines'. A lesser known leader of the Haitian Revolution (lesser known than Toussaint's own namesake, Toussaint Louverture), Dessalines becomes the subject of this unforgettable tune and I suppose it should have clicked with me at some earlier point in time that someone who calls themselves "TOUSSAINT", might have Haitian blood and, whether the singer does or does not doesn't diminish from this huge song. His second song on the album, 'See It In You' (which I believe was written by Burnie T) is Toussaint's relationship type of song and it is a solid one and he later concludes with the crucial 'You Got It'.

"Let your mind go free

Relax, ah yeah

Let your troubles go 

That burden's far too heavy to carry alone

No time fi worry

Can't live life in a hurry see-

Always worried - no

No!

You got it

I got it

You got it

I got it

Brewing within, under your skin

What it takes to turn boys to men

Fighting the sin that we living in"

I was probably most looking forward to hearing what Toussaint did on this album, given his dynamicity as a vocalist, and he does not even come close to disappointing. And YES, I'm damn looking forward to that next big album from the singer ["nobody knows what I did today. Only me. Me and The Most High!"]. 

Burnie T

Lastly is Burnie T who plays a significant role on every tune on "Powerlink" (usually as a drummer) and gets his batch (biggup Batch) of tunes started with a love song which appears to be quite personal to him, 'My Love Reads Like An Open Book'. I'll tell you something that happened to me when I started listening to this song: I heard it and I decided that it was okay. It was decent, but not a highlight for me and then, while doing something else and listening to another song, I'm still singing the chorus for that song. So definitely don't pass a judgment here from a cursory listen, because you're likely to miss something that you'll like if you do. Burnie mines and Reggae-fies a classic song from the legendary singer Nat King Cole and does a respectable job with 'L-O-V-E', but to my opinion Burnie rides on his final offering to the album, 'Can't Keep A Good Man Down', which is 'officially' Burnie T's track, but actually is a song from THE AMANDLA BAND. Tuff Lion, Ras Iba and YahKali seem to join in at points for a dramatic and likely signature moment from this album. Biggup Burnie T who, as I said, was very important in the construction of this project as his, alongside Tuff Lion and YahKali, are the only names to appear on every song on "Powerlink" for doing something. The album wraps up with a GOLDEN and lively instrumental, 'As It Is', which is a definitive highlight in my opinion. I really enjoy when labels and artists and producers choose to include things like this on otherwise vocal projects, because it really adds to the EXPERIENCE of listening to an album and adds so much to vibes. Again, a very good idea.

Overall, while I am certainly tempted to give this one a more conditional recommendation, I don't think I'm going to based on its quality. Listening to it, I think that "Powerlink" is the type of an album which can really be appreciated by any fan, new or old, of Reggae music, but it will just as surely mean more to more experienced fans. Tuff Lion, Ras Iba and Toussaint on a project together is a very interesting set of circumstances that are actualized exceedingly well throughout the album and, subsequently, also becomes fitting introductions to the work of Burnie T and YahKali. Furthermore, there is such a prevalent interrelation between these songs so while they do stand alone quite well as single songs from different vocalists, they come together to make one fantastic album as well. In "Powerlink", Amandla comes together and, collectively, performs one giant stroke of genius and with a group like this, together and as solos, you have to continue to keep an eye on what they'll do next. Very well done. 

Rated: 4.35/5

Amandla Productions

2013

CD + Digital

Review #444