What I'm Listening To: ....at this particular point in time

"Mr. Washington" by Glen Washington [Love Injection Production - 2023]

First up today is a selection I alluded to last time as veteran vocalist from out of Clarendon, Mr. Glen Washington, is back in 2023 with a big, brand new album courtesy of Love Injection Production, "Mr. Washington". This set launches pretty much simultaneously alongside "Look To The East", the debut album from Junior Campbell, also on LIP and it, at least presumably, shows that the label just may have a big schedule coming for fans this year (or, at the very least, they've laid all of their impressive cards on the proverbial table in January). What they've done here is a typically quiet winner. "Mr. Washington" is an album full of love songs for the most part (for the 'almost all' part, really) and it's a solid one. Standouts come from the direct middle of the album in 'Perfect Place' and 'Beautiful Woman', but also give a nice listen to the one praising piece here, 'Life' as well as the decent closer, 'Golden Touch'. You know what to expect from Glen Washington, "Mr. Washington" is more of it. 

{Note: Also on vinyl}

'Dem Wicked' by Queen Omega [Tribe 84 Records - 2023]

Just in case you missed out on the wonderful news, legendary Trini vocalist, Queen Omega, is set to deliver "Freedom Legacy" (cannot even type out the name without getting excited) on the 24th of March this year, her first album in a very, VERY long ass time; and while I still have yet seen a tracklist for the release, I'm wondering if her latest single may just make the cut because, as usual, it is damn impressive. 'Dem Wicked' comes via Tribe 84 Records from out of the UK (I was thinking it was the first time I'd heard of them but, after looking them up, I was familiar with a tune they did a few years ago with Earl Sixteen, by the name of 'Rasta Rules' ["Rastafari rules. Jah Jah children control"]) and it is typical brilliance from The Queen. 

"Dem have di face of a man, but di heart of a demon

They can never sit in Yahweh kingdom

DI FRUITS OF DI WICKED IS DESTRUCTION-

MISCHEVIOUSNESS AND CORRUPTION

They look like sheep, but they're dressed in wolf's clothing

Caan tek di light cause we're shining

Di wicked bound to fall, it is the timing

Dis ain't no joke, dis ain't no skin teeth, nah no laugh thing

Vatican is crumbling while we're uniting

Humble inna wi heart and now we're smiling

Pon di battlefield, wi ready and wi striking

Defend di cause, wi stand up for di right thing

DEM WICKED"

"Next Levelution" by Alex TOK [Grillaras Productions + Outta Di Box Records - 2023]

Last summer, Bay-C of Dancehall group, TOK, dropped his sophomore album, "King Bass" (which was actually decent, if I recall correctly) and taking the reins in the new year is his bandmate, Alex, who now delivers what I believe is his debut set, "Next Levelution". I have to say that, while I am not AT ALL a fan of the album's title (it is miserable!), my initial impressions of the actual music on "Next Levelution" are actually quite high. It's kinda fun. Much (most) of that definitely goes to the credit of Alex himself; however when you look at some of the names on join on this album with the awful name it also should come to no surprise. Alaine, Agent Sasco, Ward 21, Mr. Lexx, Future Fambo, Busy Signal [twice] and others all come together to help Alex in making "Next Levelution" quite memorable. The album definitely has... more international 'aspirations', but there is enough actual Dancehall here to make it at least of interest for people who're likely reading this.

"Dubways" by Arise Roots [Ineffable Records - 2023]

I do not know very much, at all, about US (California) based Reggae group, Arise Roots. I don't think we've ever mentioned them on these pages even a single time and I can't even recall ever really digging into their work to any degree. HOWEVER, I have to give a credit to their latest release, "Dubways", which I came across as being stuffed into my recs on Spotify, because it is damn EXCELLENT. A teeny amount of research reveals that the band released "Pathways" a few years back and, as you would suspect, "Dubways" is a dubbed out version of that album. So, if you did listen to "Pathways", perhaps this one will carry even more weight for you than me. As I've said in the past, I've never been the biggest dubhead in the world, but certain times the genre does CATCH me. Coincidentally, the easiest way to get me excited in recent times for Dub has come via the work of the esteemed Zion I Kings and, unbeknownst to me (literally just found it out while doing research on the band), the ZIK were responsible for mixing "Dubways". When I learned that - I was not at all surprised. There is a certain level of quality here which is downright enchanting and, although they (apparently) had no hand in actually constructed the music that I hear, it does ring of the ZIK's handiwork. This album -- over the course of the past week -- has become a very DURABLE backdrop for my everyday life. There is SOMETHING on this one which works in almost every.... you know what?? I currently have a pair of reviews that I'm working on (it's actually more like 5, but a few of them are vaults), then I may be on to Jah Cure, after that - I think I'll review this one. Tell you all about it in a few weeks. 

The Love Taking Over Riddim [Roadblokk Records - 2023]

Next up, also on our radars recently has been this excellent set, courtesy of Roadblokk Records, the Love Taking Over Riddim. This DELIGHTFUL composition features a solid tune from one Ray Isaacs, 'Jamaican Anthem' - it's decent. HOWEVER, also floating around this one are two MAMMOTH contributions from a pair of our favourites, the flaming Anthony B and the unforgettable Naptali, in the riddim's title track and 'Equal Rights & Justice', respectively. The duo (especially RIGHT NOW) immediately caught my attention and I'm thinking that I won't be the only one as, very early in this young year, Roadblokk has dropped a minor GEM of a riddim. Take a listen for yourself and enjoy!

The Brain Wash & Fire Cracker Riddims [Crown Star - 2012 org. 1999-2000]

And finally we go mining for our blast from the past today and we come up with these two beauties of riddims from Crown Star in the early 2000's, the Brain Wash and the Firecracker, respectively. I actually made my way here via listening to a ton of old Sizzla Kalonji (for another review I'm working on) and I ran into a tune by the name of 'Brainwash' that I barely remembered to any degree (I literally had PART of the chorus in my head that was about it). The riddim on that track (which was named after it), on the other hand, was far more familiar to my ears and I would go on to come to the conclusion that the BIG track was probably better known to me as having backed either 'On Two Order' or 'As the Hours Pass By' from Jah Mason & Shepherd and Capleton, respectively. The aforementioned Sizzla also does very well (may just have the best song on the entire riddim, actually) as do the likes of Determine, Bushman, Norris Man and Yami Bolo.

From there, a little bit of subsequent digging would lead me to another creation of Crown Star which has either COMPLETELY faded from my memory or just was never in there in the first place, the GHOULISH Fire Cracker Riddim. There're eight vocal tracks on the Fire Cracker Riddim, THREE of them feature Capleton who probably hits his highpoint on 'Clock Ticking' - an energized version of his aforementioned cut of the Brain Wash Riddim. King Shango also delivers the excellent 'Blaze De Fire' alongside Shepherd who also goes solo in a big way with 'Higher Heights' (that tune is excellent!). Big tunes also come in from veterans Spectacular, Determine and Kulcha Knox, HOWEVER, it is Kalonji again (with no argument this time for me) who puts the Fire Cracker to the sword via the SCALDING 'Bad Man Deh'.

"Seh dem strong when mi know dem weak

Dem buck up inna di lion and get water knees

So him tink seh a babylon him tink it heat

NEVER KNOW SEH I A DI WIND WEH BLOW DI LEAF" 

What I'm Listening To: Forever, Forever, Never!

"Lightning" [Greensleeves Records - 2000]

Don't ask me why (pleeeaaaaase don't ask me why) (... well, you can if you want, I don't know) a nearly two-decade riddim has found its way back on my radar, but it has and has done so almost totally because I am simply not strong enough to stop listening to one of its tunes. As the subtitle here alludes to, of course it is 'High Grade Forever' by Bounty Killer. I can suddenly listen to this song continuously on replay for... hours. For no reason at all, but there you go. To its credit, the riddim itself was exquisite. Built by Jeremy Harding for his 2 Hard imprint, the Lightning was pounding and unforgiving and along with playing a perfect backdrop to an indefatigable Killer, it also served well in the capable hands of the likes of General Degree, Spragga Benz & Sugar Slick, Ward 21, of course Sean Paul and Sean Paul's friends, Nadine Sutherland and even Gabriel (remember Gabriel/Levardes???). Still, despite my current state (I'm listening to it right now and will continue to do so, there's nothing anyone, including (especially) me can do to stop me), the best song on the Lightning was 'Bun Friend Enemy' by TOK. "... a nuh bush weed neva!"

CD + Digital

"Up & About" by UT Ras [CD Run - 2016]

Unsurprisingly, this drop from earlier this year (2016 is just flying by) got virtually no attention from anyone, but it was an album I had been looking forward to for nearly a decade. Wayyyyy back in 2008 Grillaras Productions delivered an exciting Roots set by the name of "Tha Bitter Stretch" from the just as exhilarating UT Ras ["Man a ancient warrior!"]. It was an outstanding and infectious debut album and I was well looking forward to the sequel. Well, we've all stuck around (if you're reading this, I can assure you that you are still alive) long enough to see it and here it is. "Up & About" is UT Ras' sophomore offering, this one coming courtesy of CD Run and while I can't at all put it the quality stratosphere of its predecessor, "Up & About" is still a tough, tough release. What it lacks for in the spectacular, it makes up for with a consistent and somewhat surprising 90's style Dancehall sound - highlighted by solid efforts such as 'Sprut', 'Safe Travel', 'Yap Yap', 'Auling Key', personal favourite 'Can't Tired' and the title track. Again, it isn't the best album you'll hear and it sounds like something straight out of the year 2000 or so, but definitely check out "Up & About" by UT Ras, if for no other reason than because you've been waiting on it for 8 years... biggup Elijah Prophet.

Digital

"Rasta State" by Mykal Rose [VP Records - 2016]

Inside of the same month or so VP Records deliver very strong albums from immortal veterans Freddie McGregor and now Mykal Rose who steps forth with another album I've been looking forward to getting my paws on (although not quite for eight years), the King Jammy produced "Rasta State". On paper this album couldn't be bad even if it tried to be and, thankfully, it did not as the two legends team up to offer a piece which shows the occasional flash of absolute brilliance in its fifteen tracks. To my opinion (albeit an early one, I'm still working on this one), "Rasta State" is an album whose real power comes in its subtleties. There are some REALLY big tunes here which may be destined to go overlooked by the masses but are wholly DOMINANT material. Example? There is a WONDERFUL tune on this album by the name of 'Hungryness' which I don't think will attract much attention but will reward anyone mindful enough to give it a bit of extra attention. The same can be said for pieces such as 'Free Education', 'Unity' and others still. Rose is someone who definitely does NOT have a kind of subtle style, but it is very interesting to hear it play out on what is turning out to be a very DETAILED project.

CD + Digital

The Daily Devotion Riddim [Pure Music Productions - 2016]

Biggup Delly Ranx and co. at Pure Music Productions for this golden composition from earlier this year, the Daily Devotion Riddim. The actual track here is so compelling because it sounds like a Reggae/Jazz type of a fusion (biggup Sara Lugo) which, in most cases, works excellently for the vocalists. Speaking of vocalists, it is Delly himself who makes a case for the biggest tune on his own riddim (as it should be) with 'Ganja Devotion', and he is joined near the quality head of the release by the likes of Sizzla Kalonji with the damn familiar 'Babylon Judgment', Norris Man [BOOM!], and UK duo Gappy Ranks and Chukki Starr who both shine on their solo efforts, 'Pool of Lava' and 'The Knowledge', respectively [--for his actual talent, what he is capable of, Chukki Starr may just be one of the most underrated Reggae artists that we've ever seen, the man can effortlessly pour out winners and the appropriately titled 'The Knowlede' is a glowing display of just that--].

Digital

"Crucial Duets Volume One" by Yami Bolo [Yam Euphony - 2007]

And finally, give a MAMMOTH thanks to an old friend of mine, Clark, who dropped his suit and glasses and picked up his cape when he passed on this difficult to find gem about a month ago (I have known clark since I was about seven years old, almost thirty years) (biggup yourself Clark). "Crucial Duets Volume One" was a compilation of some of the strongest combination tracks featuring one of my truly favourite vocalist throughout all of modern Reggae music, the incomparable Yami Bolo. Today we see these well-conceived "... and friends" projects (biggup Mark Wonder) (biggup Sara Lugo) and this drop was very much of the same type and, like the new ones, it too was very strong. "Crucial Duets" featured a strong mix of tunes with which you were likely familiar such as 'Liberation' alongside Capleton and 'Curly Locks' with Merciless; blended with lesser known lights featuring contributions from such artists as Qshan Deya, Jack Radics and even Bounty Killer. The album also carries the weight of legends in the form of Dennis Brown, Lee Perry, Sugar Minott and others still. And as a bonus (for me), also included was 'Spread The Love' with Lutan Fyah, the duo's cut of the WICKED Talking Drum Riddim courtesy of Lustre Kings Productions. We've seen this one available at the odd online retailer and it is well worth tracking down for fans in my opinion. Check it out.

CD

Come Again!

Near the end of each and every year we do a list which demonstrates the low standards of people in general, because it is both horrible and very popular, by the name of 'Most Wanted'. That is a list which generally describes who we hope to hear from on an album in the coming twelve months (and just in case you're interested, of the ten mentioned on the list for 2013, only one, Kalash, has made an appearance and at least to my knowledge, none of the other nine have anything completely planned). People who could musically make the year a better one for me and today we kind of expand on that idea. Along with the Kabaka Pyramids and Damian Marleys of the world who're more obvious selections, there is another group who for one reason or another, I'd really LOVE to hear from some time in the not too distant future. To them we say COME AGAIN. Here are ten not so apparent names who could really make a giant impact with their next release.  

Queen Omega

With the single best two albums that I've heard this year coming from Jah9 and Etana, respectively, and solid pieces coming from both Jah Defender and Khari Kill, in terms of albums, 2013 has already been a very good one for both women in Reggae music as well as Reggae from out of Trinidad. HOWEVER, as the years go by we move further and further away from the last time the most talented of either going today in my opinion, the amazing Queen Omega, has been able to do an album of her own and that is ridiculous and I mean that in a very, VERY bad way. Furthermore, it's been even longer than the half-decade from her actual last release that we've really seen her celebrated on a grand scale. That hasn't happened from 2005's "Destiny", which was sublime. Those details shouldn't really belong to anyone with talent and certainly not one as supremely gifted as Queen Omega who continues to record and tour quite often, but this is someone who shouldn't such a long patch of being absent from album shelves in her career unless she's retired but…

"Mi have to bun di fyah and mi nah go retire

Full time now di wicked expire!" 

Maikal X

Maikal X's name is an interesting addition to a list like this because he has constantly been making new music to my knowledge and may or may not actually be working on an eventual album release at some point. However, he's been doing all of that as part of his once former (now current again) group, The Postmen. I haven’t followed them very much, but that's fine, he's a musician and musicians make music. However, Reggae fans do await the talented vocalists return to his more Reggae-centric solo career and if/when he does return, it'll be a fascinating comeback. Over the last year or two the label which brought his debut set, "Genesis" has actually lost its biggest name, Ziggi Recado and one would wonder if the imprint, which has an excellent history of making big music, would continue to do the work with Maikal X as well. Of course only time will tell that, but if X could fine the TIME to re-pursue his solo career in the next year or two, that would be nice and even nicer if he could do it with the label that brought out the 'best in' him. 

Yami Bolo

I recently came to the very unfortunate theory (and I hate that word - I HATE it) that it was very likely that the album whose praises I had been singing for so long now, "Rebelution", just may be the last studio release that the WICKED veteran vocalist, Yami Bolo, had ever done. That is an album which dates back to 2003, at least, and we're now in a place where he has not had a new one in over a decade or so (an interesting thing about that album also - it may've been the very first on its label, Zion High Productions). This is terrible and is particularly so as a fan of Bolo's who came to be so relatively recently, as I've gotten older, a new album from him, or even a new ACTIVE recording schedule would be more than welcomed. The Zion I Kings are currently turning their attention to another veteran in Lloyd Brown, reportedly, and if they could find the time to do so again with Bolo, the results would be a guaranteed huge project. 

Fay-Ann Lyons

Soca star Fay-Ann Lyons is the first of a couple of names on this list who have yet to ever release an album. In Soca music that isn't… well yes it is. Even for a genre such as Soca which doesn't receive very much in the way of promotion consistently, for someone to have reached Lyons' level and not had at least one is very, very strange. The three time Trinidad Road March champion, and perennial contender (she actually won her very first a decade ago, which is remarkable to think of) has very little in the way of peers, but if you do examine what little she does have, the absolute top of the genre - and even just women: The likes of Alison Hinds, Destra Garcia and others have all done multiple albums (as has her husband) and the large possibility exists that she may never do one. If she doesn't, that's fine, it doesn't diminish her at all. But in 2013, not to have an album from a bonafide superstar in any genre of music, well within the digital age, is... unique to be mild. And to have a full and current project from the human child of Energy and Brilliance would be spectacular… oh and okay, maybe I just want it because you KNOW the pictures inside would be divine (biggup a completely nude Destra in the liners for her own debut album, "Red, White & Black"). 

Reemah

Reemah stands out mightily on this list because it is 2013 and… she just had a big album, which she is still promoting to my knowledge, about a year ago, "Check Your Words". She has a place here, however, because of just how big that album was and, potentially, what may happen to her if she doesn't return rather quickly. If you look at some of her peers, women from out of the Virgin Islands, as I've said in the past, even at the head of their class is a distinct level of inactivity. If it could happen to someone like Dezarie, then Reemah potentially could have the same fate, where her fans can go a year or two without even hearing a single new song. She's not only too talented for that, in my opinion, but she's also far too marketable to a more 'mainstream' brand of fan to just kind of do an album once every four of five years. 

Bushman

Technically the last time we got an album from Bushman was just a couple of years ago in "Bushman Sings The Bush Doctor”, which was a collection of the singer doing songs from the immortal Peter Tosh. His last regular studio album was "Get It In Your Mind" from 2008. That self-produced record was nowhere near being his best work, so his last GREAT studio album was actually "Signs" from nine years ago now. Again, that is too long. It was last year [I THINK] when the news reached that the Bushman was once again preparing to do an entirely new set and it even had a name which sounded great, "Conquering Lion", and a very colourful single called 'Somewhere'. I have a nice feeling about how all of this is playing out, but I'd feel even better about it if it did wrap up and ship out some time during the next four months remaining in 2013. 

Arkaingelle

Stirring Guyanese chanter, Arkaingelle, definitely made a big impression on me back in 2008 when he dropped his first and only album to date, "O'Pen". All of these years later, I probably underrate that album to a degree, because every time I think about it, what comes immediately to mind is the MAMMOTH track #6, 'Manifess Joy', which was rather easily one of the best songs I have ever heard in my entire life. From that time, while the Arkaingelle hasn't been overly active, he has managed to remain current, particularly with producer Blaak Lung, but also with a few others, including the aforementioned Zion I Kings and Zion High Productions. I should also say that someone told us earlier this year that a new album was in the works and should it arrive next year, it'll quietly carve out a place as one of the most anticipated for me as he'll hopefully be able to manifest previous heights once again. 

Revalation

I was wrong about Revalation. I was just wrong. To my opinion, the skills that he showed himself to possess throughout his excellent debut album, "Serious Matters" from back in 2008, combined with the fact that the St. Thomas native had already gotten the attention of one of the finest producers in the genre, Dean Pond, would see him become the proverbial 'next big thing' from out of the Virgin Islands (and I hope that it is not years from now and I'm saying the same thing about Reemah). This didn't happen at all and five years later, we're wondering if he'll ever even get around to doing another album (or if they'll do a digital release for the one he actually did do), and not whether or not he'll someday follow the route of Pressure Busspipe (whom he vocally resembles to a degree) (and who also had a debut album produced by Pond) (and who also appeared on "Serious Matters") to superstardom. The latter seems HIGHLY unlikely and nearly full impossible at this point, but damn if he could take care of the former sometime soon, his would be a more than welcomed return to album shelves. 

Skinny Fabulous

Though we're coming off what was, arguably, the single finest year of his career, I don't know that we've moved any closer to the release date of that once highly rumoured (maybe three years ago now) debut album from St. Vincy Soca supernova, Skinny Fabulous. 2013 would see 'Da General' take up his second consecutive and fifth in six years Soca Monarch crown as well as his very first (and probably not last) Road March. What would likely be a sort of compilation of greatest hits of an album would be a very nice ribbon on such an outstanding year, but you could have said the same thing last year and you'll probably be able to say the same thing next year as well. Skinny has a nearly unrivaled ability to consistently bring ultra-intense Soca music with an edge and, as a long time contributor to my workout playlists, I've probably lost quite a few pounds directly as a result to the euphoria his music can cause. Hopefully one of these years they'll get it right and push out an album with years and years worth of big tunes such as 'Da General', 'Head Bad', 'Monster', my personal favourite 'Scary' and many, many others. 

Nereus Joseph

And finally is someone who didn't really enter my mind until rather late in building this list (and I'm not going  to tell you who I took off of it to make room for him), the sensational sweet singing Nereus Joseph. The Lucian born vocalist has made a career which can be best described as literally being saturated in CLASS and he has enthused quite a bit of it in nearly everything and everyone who he has touched. Most recently the esteemed vocalist set the "Real Rebels Can't Die" album from four years ago now, a classic here, but he's also been doing well in production, including working on "Stronger" the most recent album from King Lorenzo late last year. Joseph has also worked diligently as a singer still (he actually sang on a song on "Stronger" also) and just a few short weeks ago released his latest single, the big big 'Tings In Life'. Hopefully 2014 sees more of this and he FINALLY returns with yet another big project of his own… and I actually think he will. 

"Well Hello Again": A Review of Yami Bolo's Rebelution In Dub

I think that there’s like some record player in the sky where great old albums go, as sort of waiting room and a waiting period, between first releasing and becoming eventually heralded as classics. It’s just so interesting to me that you can surf around online and literally find TONS more information about a thirty year old album than you can find for one that’s in that downright purgatory-ish five to eight year old range, save for the absolute most popular ones. In Reggae music, this is even a more unfortunate case because of the nature of our music, still being somewhat ‘obscure’ (although I hate that word in that context, you look around this blog and tell me how obscure this is) and it’s often difficult to find information on brand new releases, when you get more hard to find than that, albums can literally VANISH. Keeping them alive is another issue in and of itself and one which is quickly becoming more and more interesting by the day and most certainly by the year with the development of the digital market. Albums (and even artists to a degree) can figuratively ‘survive’ in cyberspace seemingly into perpetuity and although they may never again gain the type of exposure they did at first (or they may), fans like you and me can retrieve them with just the push of a few keys. And as an extension to that, hopefully all of those very hard to find late 1990’s/early 2000’s albums are either already available digitally or on their way. You also STILL have the more traditional method of re-issuing albums, the old fashion way, through CD’s and such and over the past few years, we’ve seen industry leader, VP Records, take this route quite consistently with albums from some of their mainstay artists including Richie Spice (Spice In Your Life album), Tarrus Riley (Challenges) and even Buju Banton (Inna Heights), so that tool of keeping pieces alive has certainly proven valuable in Reggae also. AND then there’s the MOST interesting of the bunch which is taking a project and doing something just very interesting with it in general. In R & B and Pop and even Hip-Hop to a degree, some of the more mainstream genres, when there’s a big album release, a lot of times now, you’ll see it released as a normal piece and then (simultaneously) with a ‘deluxe edition’. That deluxe version may have an entire other disc worth of music or a DVD or something like such, or a remix piece - something like that to gain attention. You’ll also see the same thing done with complete remix albums as well, which is also just so remarkable to me and definitely it helps to keep an album alive.

Well, in Reggae things are also kind of similar, but we don’t have ‘remix albums’ for the most part . . . We do have DUB, however. When I saw this release up (which was awhile ago by this point) I found it to be so PERFECTLY RANDOM that I had decided to check it out despite the fact that I’ve never been the biggest Dub head and in terms of what I like to do (I.e. write reviews), it is HARD AS HELL to write for a Dub/instrumental album, I’d resolved that I simply had to check it out to satisfy my curiosity. Zion High Productions, the maestros behind some of the most beautiful and HEAVY Roots Reggae albums that you’ll find over the past decade or so has decided to take one of their finest releases EVER and dub it out and release it again as Yami Bolo’s Rebelution In Dub. And not only that, but if you go back and take a look at the steps I outlined that record companies generally take to keep their albums up and running, you’ll see one of the most UNUSUAL occurrences with the history of this album as it was originally released (as a CD) back in 2003 - it would be re-released with a new cover for the digital side (for the very first time I believe) in 2009 and ultimately here we stand with the same album (ostensibly) now in its third form. That says a few things to me immediately. The first is that Rebelution probably sold pretty well. Zion High hasn’t exactly been the most active of labels over the years (unfortunately), but one would assume that their dedication to the album has been at least somewhat consistently rewarded and hasn’t just been a result of their own thoughts, but has come at the behest of the album’s fans. The other thing that it would tell me is that the label itself is VERY confident and even more pleased with the QUALITY of the album and it is because of the piece’s ‘durability’ that, despite the fact that they’ve also done albums for the likes of Ras Attitude and our good friend Messenjah Selah, you’re going to have to make a GREAT argument if you believe that something other than Rebelution is ZHP’s signature release to date (even if you don‘t think it‘s their greatest, that’s certainly debatable). So was it that good? Absolutely! The original album was one for me that pretty much called to my attention that I was becoming an old ass man, because it wasn’t something which I would have enjoyed very much just a few years earlier. That being said, however, I would have NEVER expected to see the album back again and this time chopped up and dubbed out and sparkling new and going out to collect new fans. I have to say that one of the first things that came to mind is just how wonderful it might be if my other two favourite ZHP releases, Attitude’s Holding Firm and Selah’s Breaking Babylon Curse might also receive the same type of treatment and that was just first. Because of how random this piece was for me, I went onward and started thinking about other favourites of mine from the same time frame getting in on the act and being dubbed out and released digitally to the people. Well, a man can always hope, but on to the business at hand. This dub version made me appreciate yet another side of this wonderful album even more, which I’m SURE had to be a part of ZHP’s thought process in doing it. Yami Bolo has a VERY interesting style of singing and it can take away sometimes from his backdrops. However, listening here, you come to realize that what he was dealing with on the original album was GOLDEN, even before he sang a single note.

The first thing that I noticed, as a fan of the original, is that the dub version of the album only has eleven tracks as opposed to the fourteen you’ll find on the first album (of course now you know I want my three other tracks, although two of them ‘Y Mas Gan’ (acoustic) and ‘Binghi’ (drum) probably wouldn’t have done well here). Also (more importantly), the album was mixed by esteemed engineering/producing veteran Lynford ‘Fatta’ Marshall and the names of the tracks (frustratingly) have also been renamed, albeit with fairly clever ones (usually). So, getting the sweet playing easy vibes going on Yami Bolo’s Rebelution In Dub from Zion High Productions one of the coolest sounding guitars (I THINK) I’ve ever heard on ‘Ancient Trod Dub’ which I didn’t have to look up to match-up with the original tune, because I immediately began singing “there’s a place called Afrikaaaaaa, the land of the Ancient Fathers”. The original tune was ‘Ithiopia’ and it sounds SO GOOD with just the instrumental, not quite as good with the words, but definitely as I said, this type of vibes allows you to appreciate another side of this HUGE tune. Next in is the ‘No Captivity Dub’ which was originally ‘Talk Bout Slavery’ (you see how the names match kind of?). This one I like at times, but the prevailing sound here is this kind of whining and LOUD sound which gets a little overbearing at times to be honest, but it doesn’t remain throughout and when the piece ‘settles down’ a bit, it’s a BEAUTIFUL thing, so much so that, later on, when that whining sound comes back, I barely even noticed it (especially when some of the more traditionally dub effects come in, like the over-echoed voicing and stuff like that, which I love). And last up on the opening lot is a loud one which impressed me immediately and then got more impressive once it settled, ‘Clean Up Dub’ which is the instrumental of ‘Sanctify Yourself’ on the original album. This one is just HEAVY and although not my favourite (definitely not far from it though) on the album, you start to get the vision of sitting in some tiny and smoky Reggae club with a band that looks like it’s almost falling asleep BRILLIANTLY strumming through this one and it is BEAUTIFUL! This one is a can’t-miss and the way it slows down to an almost crawl at times, even sweetens the vibes and locks off a full on impressive start to the album.

The ‘Break Free Dub’ [originally ‘Liberation’] is probably my favourite composition on the album although certainly by no means is it the BEST. The tune, I’m pretty sure, is a riddim from the Lustre Kings camp (the two work together quite closely to my knowledge) and I recognize it as one the backing from one of my favourite LK tunes ‘We Need Liberation’ from Turbulence alongside Digital Ancient. I LOVE this thing. Again, there’re finer done pieces on Rebelution In Dub, but this strikes and has always struck me as just being so STRONG as hell and it and I go back! Of the more (terrestrially speaking) well done efforts on the album, I’m sure the hardcore dub heads will appreciate pieces like ‘More Ises Dub’ [‘Pray’], which had me singing “Pray! Pray! Pray! Teach the children how to pray” as soon as it dropped in. The one-drop on that thing is downright ANGRY at times. The next tune in, the ’Upful King Dub’ [’Hail The Conquering Lion’] is a bit more ‘spectacular’ sounding and here, in a good way (isn’t that interesting, you but a very colourful riddim behind a singer and I love it. Put it by itself and I like ‘less is more’). This is definitely one of the more impressive pieces altogether on Rebelution In Dub and I think it even has a bit of lasting vibes to it, much like the original tune for the album (kind of a mid-Eastern sound to it, in my opinion). When I heard ‘Righteousness Prevails Dub’, I was kind of surprised because I don’t know if I ever made the connection before, but I’m also very familiar with it as well. Not only was it the riddim for Yami Bolo’s ‘Good Must Conquer Evil’ (which took me entirely too long to figure out), but the lovely piece also back NiyoRah’s MAMMOTH ‘Nothing To Prove’ tune from the Purification Session album a few years back. This thing is absolutely VAST! I can literally hear dozens of melodies of singing in my head which could match this riddim perfectly and if they haven’t already (and I don’t think they have), I’d like them to turn it over to a few more artists as well. It is beautiful! The very joyful ‘Night To Day Dub’ sticks out here, just as it did on the original album, where it served ‘Empress I Love You’. It’s one of two big changeups for Rebelution In Dub. This one kind of almost NEEDS Yami Bolo’s vocals on it to make it sound ‘right’ I think, but it just pulls such a joyous and happy vibes that I didn’t run off and grab the original (at least too much) before it ran its course. That other changeup I alluded to follows the joyful ‘Night To Day’ - ‘Joyful Dub’. It isn’t quite as joyful as its immediate predecessor sequentially on the album, but it is BETTER. This delightful piece is also quite addictive, just as it was in its original form for ‘Do No Evil’ on Rebelution. And going back, there was also ’Independence Dub’ [‘Safeguard’], which is VERY laid back and beautiful. This one is definitely one of my favourites from the dub album and I had to go back and listen to the original tune, if for no other reason than to remember and relive Bolo’s usage of the phrase “trying to destroy humanity”. And ending matters on Yami Bolo’s Rebelution In Dub is ‘November 2nd Dub’ which of course is ‘Crownation Glory’ and it does end things on a high note quality wise and spiritually-wise, to say the least . I LOVE this tune in its original form and fittingly the final selection here reinforces the thought that this album can well turn a listener onto yet another wonderful side to this wonderful album.

Overall, like I said, I’m not the biggest Dub fan in the world, so maybe I don’t exactly know what I’m talking about altogether, but Yami Bolo’s Rebelution In Dub works for me. So, I’ll try to put that on a scale. It’s not TOO heavy so, the heaviest of Dub heads may look at it merely as an instrumental (or they may love it, I’m sure they’ll let me know), but for YOU, very deep Reggae head who isn’t necessarily the first one to make the move to pick up a Dub project, this may very well be the prerequisite one you pick up every six months or so. Better still (and more likely) YOU, big fan of this album should definitely pick it up, if for no other reason than as a very nice ‘companion pack’ to the original Rebelution album. As I said, it well opens up the senses to another dimension of this beautiful creation and who knows, given Zion High Productions’ obvious love of it, I wouldn’t be surprised if this WASN’T the final stop for Rebelution (maybe a ten year anniversary is in order, who knows). But as for this one, it was well worth doing and is well worth the spot in the collection of almost any big fan of modern Reggae music.

Rated 4/5

Zion High Productions

2009

Yami Bolo

Loving You Through The Years: A Review of Rebelution by Yami Bolo

Despite the fact that I keep albums in my players rotating in and out at an almost ridiculous pace, there have been and continues to be a few here and there which manage to, for one reason or another, stay not too far from my reach and thus, one of the eternal answers to that oft-asked question, “What are you listening to right now?”. Well, RIGHT NOW I happen to be listening to a whole heap of pieces. Not surprisingly at all you’ll find relatively new releases such as Ziggi’s sublime sophomore album, In Transit; you’ll also find a Lutan Fyah’s EPIC double release Africa (currently waiting on his new album, African Be Proud); Daweh Congo’s Ghetto Skyline is in there as well as is, perhaps most fittingly in this case, the constantly ‘improving’ Breaking Babylon Curse from Messenjah Selah which I enjoy more and more each time that I spin it. In the tangible sense, all of those albums would make perfect sense to be spinning right now: They all were released within the last four to five months or so and are definitely BIG albums in their own right. And, even to take it a step further, were I to say that I was that I was currently listening to something like Sizzla’s Black Woman & Child or Capleton’s More Fire, despite both being either more than or just less than a decade old, they too would make sense because they are widely held as being two of the best of all time. That being said I also have a few albums which are kind of ‘stuck’ in terms of time being around three to ten years old or so and they didn’t do a ton of damage and were relatively either decently received or, in some cases, even negatively received when they initially were pushed out. For example, should you check what’s currently playing on my speakers at this very moment and it’s been there for quite awhile, you might be surprised that its another Sizzla album which wasn’t too well regarded when it reached and still isn’t, Rastafari Teach I Everything from all the way back in 2001. I know people who will literally call RTIE a BAD album, but to me, it’s a sleeper as one the August Town Wizard’s lower level better albums and just a BEAUTIFUL piece when you really sit down and take a note of it. Another very good example from that same year (and same label actually) would curiously be [General] Degree’s WICKED Yeah Man. That PACKED album, in my opinion, was one of the best PURE Dancehall releases from the past decade and although it definitely didn’t get the attention it deserved, it has continued through the years to retain a very welcome spot in my players. Other examples would be albums like Lyricson’s Born 2 Go High from 2004, Chezidek’s at times AMAZING debut album Harvest time which reached in 2002 and probably ALL of Peter Broggs’ catalogue which unfortunately tends to go under noticed. These albums aren’t necessarily the GREATEST actually but for some reason they’ve managed to stick with me over time and are still sticking.

But there is undoubtedly something VERY ODD going on with the things that I am CURRENTLY listening to, with three in particular standing out. The first would be the aforementioned Breaking Babylon Curse by Messenjah Selah which I reviewed and rated four stars. I may someday rank BBC as high as five (EASILY) because that album really takes a while to grow on you and you definitely need to take a more MATURE approach to it to be able to appreciate it. The second would be an album by the name of Holding Firm by wicked Virgin Islands chanter Ras Attitude from back in 2005 (I THINK) which came and went in my collection before I actually gave it a proper spin and discovered that it was absolutely BEAUTIFUL. That album almost single-handedly made me recognize that my tastes were changing and I had become a much ‘older’ listener than I was before. Now, fittingly, is the third album, Yami Bolo’s Rebelution from back in 2003 originally which has FINALLY gone digital courtesy of a label based in Florida in the States, Zion High Productions. If Holding Firm made me take notice that my tastes were changing in Reggae music, Rebelution CONFIRMED those thoughts as I not only LOVE this album, but it made me go back and take a look at Yami Bolo’s ENTIRE career and catalogue and you know what? I ultimately gained a new appreciation of that material as well. Of course the odd bit of ‘coincidence’ here is that all three albums, Breaking Babylon Curse, Holding Firm and Rebelution are primarily Zion High Productions albums which kind of is a weird quality that their albums have (as if the slogan might be, “You’ll love this stuff. . . In a couple of years) and they can lay claim to putting out the best ‘time delayed’ material in Reggae altogether. After that time period passes, however, and you take another look at all of these albums what you’ll find is CRISP and very MATURE work between the three, particularly in Holding Firm and now with BBC and as I find new and very interesting things (especially lyrically) in that album almost everyday. I do feel, however, that Rebelution is the best of that lot. This album is one of my favourites of Yami Bolo’s entire overlooked career. For years he has been on the outside of a very select lot of singers which has, primarily, included the likes of Luciano and now with the up and coming Roots Reggae singers like Jah Cure and I-Wayne, he figures to get even more pushed aside, ranking alongside CRIMINALLY underappreciated artists of similar ilk such as Everton Blender, the aforementioned Daweh Congo and maybe even someone like former Xterminator artists Mikey General and Prince Malachi would also fit into that list. And even amongst that VERY STRONG list of artists, Bolo may just be underappreciated as well and it’s really a shame that so much of his music goes unnoticed, especially locally speaking, because really and truly there haven’t been too many more consistent names than Yami Bolo since he first entered the business, if TRULY any at all. Thus, it isn’t too difficult for me to say that if you have been amongst the masses sleeping on the singer, Rebelution would be an EXCELLENT starting point for you to make up for lost time.

The vibes on Rebelution, unsurprisingly, are VERY much on the spiritual side which should be nothing new for longtime Yami Bolo fans. And for new fans, I’ll also mention that vocally Bolo probably falls into that same line of singers like Mykal Rose and the likes with the kind of WAILING sound that he employs so often, but there is a REFINED bit in his voice at times also, sounding more like Everton Blender to my ears than most would say. Of course now that I trumped up the spiritual nature of Rebelution, Yami Bolo begins the album with a love song (DUH!). This love song, the very nice Empress I Love You definitely has quite a bit of spiritual and conscious connotations to it, so it more than fits in (and you KNEW one would be on the album) on the project and, despite being on the lower end in terms of overall songs quality, it’s still a very nice opener to get things started. The far more expected Pray is up next for Rebelution and it certainly lifts the album to the stratosphere and proves to be one of it’s best tunes altogether in it’s time. The song is just DIVINE and is so without using really any type of ‘tricks’ in terms of taking the music or the vibes or the lyrics in any type of radical direction. Instead, Bolo simply pushes a message that times are well hard and we definitely need to pray for the better. Agreed! And you’ll agree that the tune is near magic. Bridging the gap between the opening tracks and the body of the album is the arguably even stronger Good Must Conquer Evil over a very familiar minimalist riddim from Zion High (which develops into a ‘complexly vacant’ beautiful composition). This tune is full of knowledge gives the listener about as strong of an example of what to expect with the balance of Rebelution as anything on the album’s opening.

Despite the fact that Yami Bolo makes a few combinations with big artists it’s SPECIFICALLY the tunes which feature him and him alone which stand out and have stood up to me the most obvious representing the power of Rebelution. The PRIME example of this and ultimately the finest tune on Rebelution to my opinion is the AWESOME tune Accident. Livicated to the well famous case of Mumia Abu Jamal, I can particularly recall when this tune HIT me and when it did it brought tears, it brought crazy emotions as I tuned in and heard him directly say, “Babylon is like an accident!”. POWERFUL! Trust me, definitely not to be missed a real microcosm of the entire album and perhaps even all of ZHP’s pieces as it builds and builds until it finally has you. Accident begins a very powerful string of tunes which ultimately send out Rebelution as, after it, there are nothing but WINNING tunes. Do No Evil is a very easy and bouncing tune which encourages all to do exactly what the title says (its kind of the changeup here, if that role doesn’t belong to Accident). Following Do No Evil is the sole combination on the second half of the album and DEFINITELY one of the best tunes on Rebelution in full, the very inspirational and HEAVY Hail The Conquering Lion which features Bolo alongside the legendary Ras Michael. This tune is for the Rastafarian crowd FAR AND AWAY. Now, should you follow that path in life (and I do) then this tune will speak to you on so many different levels than probably any tune up until this point on Rebelution altogether. It well remains that way, however, for a very short period of time as, in keeping with that vibes, the next tune, Crownation Glory, is an even larger step up. CROWNATION GLORY is MAMMOTH! To no exaggeration this tune, probably even more so than Accident, has been the one which has stuck so closely with me. I play this song for my plants in my house! It’s just a wonderfully big vibes in praise of His Majesty before ‘ascending’ into a sweet sweet ending definitely not to be missed. Still on a similar vibes is the next tune, Safe Guard, which, although not as strong as the two tunes immediately preceding it, has a ‘bigger’ sound to it which is the attraction on the surface before you get into that wonderful message of the people really needing to protect ourselves from just the evil and corrupt system (Safe Guard may be the best WRITTEN tune on Rebelution altogether). Binghi is just what it sounds like, the obligatory nyah drum backed tune on the album and, as usual because I love these songs, it’s a real winner, just a nice chanting vibes for His Imperial Majesty (I might have preferred it as the closer though). And it sets the stage for the actual finisher on Rebelution, the rather understated Y Mas Gan which rolls in on a Spanish/Acoustic sound and doesn’t really develop much but may just be the most personally sang tune on the album and in such a reflective nature you can’t argue with it’s choice for the album in full and not even with it’s placement as the closer. Going backwards to check on the combinations: Ithiopia is BIG. Yami Bolo sings SO sweet on the hook there alongside my not so favourite Al Pancho and Prince Bob of all people (+3 to anyone who knew Prince Bob) that he well outshines his friends on the tune even before checking in later on with his own full verse which just wraps things so nicely. Liberation is the highest profile combination on Rebelution as it reunites Bolo with Capleton and does so, so wonderfully to my ears as they infuse the same riddim which backed Turbulence’s MASSIVE tune We Need Liberation (alongside Digital Ancient). And Talk About Slavery links Bolo with both underrated Bunny Mystic and General Jah Mikey (who is WICKED). This may be the finest combination outside of Hail The Conquering Lion and however you place them, they’re all very well done and impeccable on an equally impeccable album. (oh! And check the HEAVY Sanctify Yourself Rebelution’s second best written tune)

Overall, I do feel the need not to OVERRATE Yami Bolo’s Rebelution. I don’t give it five stars because it simply isn’t a five star album. It’s not the best album I’ve ever heard (it probably isn’t even in the top twenty or so actually) and I don’t want to make you think it is. HOWEVER, Rebelution is an album which simply just struck me on SO MANY levels as having a very ‘familiar’ and ‘comforting’ vibes that, even in spite of the nature of Roots Reggae which can paint a very bleak picture at times, still managed to be uplifting throughout. This album has a very natural ‘human appeal’ to it and like I said, if you can take a step back and listen to the entire album and meditate on it a bit and then listen it again. You, you already well indoctrinated roots Reggae fan (newer fans I don’t recommend this one for you), will find the same thing I found in Yami Bolo’s Rebelution: It’s not the greatest, not even close, but it is one of my favourite albums of all time. Period.

Rated 4.25/5 stars

Zion High Productions

2003 [re-released 2009]

YamiBolo.com -// the official site of yami bolo.