'A Continuation': A review of "In My Father's House" by Addis Pablo

Pass it on. The process of coming into music, be it as an actual artist or even as a fan, can be a very hereditary progression. While you could argue that there is some magical musical gene which actually exists in the blood, more common (and more interesting in my opinion) is how the passion for music seems to be one of very few which, with very few conditions, passes seamlessly from one generation to a next. And even in cases where you can identify the originator and developer of that passion in the first place, it's very likely that all who come after him/her will at least have that foundation for building a similar infatuation for the music, in one way or another. The history of Reggae music, like probably all other genres is absolutely brimming with examples of that of all kinds. One the smaller scales, you'll find an endless line of connections which aren't necessarily the most known of situations. I read bios all the time and I'm surprised a lot to hear that someone who I've been listening to for years is, in some matter, related to some other esteemed figure in the music. It is almost always a delightfully interesting occurrence in seeing who chose to make that connection known and who did not. At the complete other end of that same spectrum, of course, are the unavoidable such as Reggae's first family, the Marleys and also the Morgans. And you can also fine lineages blossoming from the likes of Peter Tosh, Bunny Wailer, Freddie McGregor. There's Alton Ellis. Joseph Hill and Kenyatta Hill. Lee Perry. And siblings and cousins such as the Benjamin brothers from Midnite. Don Corleon and Protoje. Brick & Lace. Tessanne and Tami Chin and more. Like I said, a nearly endless line of connections are to be made and as we go through time, we'll eventually arrive at the point where we're dealing with a third line of grandchildren also following in the same way. Today we take a look and listen at another example of a family where the passion of music and the pursuit of that passion has gone beyond a generation and, in this case, has done so in a downright stunning way where a son comes along and assumes the very unique work of his father. 

Addis Pablo is the son of the legendary Augustus Pablo. The elder constructed his musical legacy largely on the strength of playing the melodica which certainly isn't the same thing as Bob Marley and the others. In their cases, through singing, they did something which has no end. As long as there're people on the planet, you can be assured that someone, somewhere will be singing Reggae music. Playing the melodica? Probably not so much. Despite (or perhaps including) all that he did in his career, what continues to amaze me most about Augustus Pablo is the kind of reverence that his name generates, even today. While he never achieved the level of stardom as his peers such as Marley, Dennis Brown and others, even from the production side, he still casts this very unusual shadow which is wholly unquestionable and, to my opinion, he stands one of the least polarizing and most beloved figures in the history of Reggae music amongst more devoted followers. But even though Pablo left that type of a legacy, the act of playing the melodica, as a full showcasing instrument, hasn't been maintained and it's become somewhat of a lost art. 

So go find it. Wonderfully, the greatest exception to that has been the work of his son who not only followed his Father into the music, thus continuing the lineage, but Addis Pablo has taken up the melodica thus, essentially, directly continuing his Father's work (Augustus transitioned in 1999). And in recent times, over the past year or two, it seems as if he's been getting more and more attention and now he takes the next step and, journeys to the highest region to bring forth his debut album. "In My Father's House" comes via one of or absolute favourite labels, JahSolidRock (who, apparently, has something to do with a Bass Galore Productions, so biggup Bass Galore). If you follow Roots music of the modern era, you have to be aware of JSR. Currently, the Dutch based label is making some of the best of it to be found throughout the entire world - which is pinnacled by their outstanding work alongside Jamaican veteran vocalist, Chezidek. Last year, they delivered part two of that union in the form of the MASSIVE "The Order of Melchezedik". They also worked with the venerable Brinsley Forde on his own debut, "Urban Jungle" and have also worked with others such as Earl Sixteen, Apple Gabriel and Lloyd De Meza. Interestingly enough, to my opinion, one of the label's signature traits is its sound quality. The first album they did with Chezidek, 2010's bonafide classic, "Judgement Time" is one of the most appealing sounding Roots albums that I've ever heard - STILL. And its sequel wasn't drastically behind it in that particular area -- if behind it at all -- and it's also been prevalent through almost all of their work. So coming from the specific standpoint of sound appeal, which is going to be very crucial in the case of Addis Pablo (more on that in a second), he couldn't have done much better than in linking with JahSolidRock. For his part, again, Pablo brings to the table a skill which has virtually no equal these days. For what he does, he is the best and most visible practitioner in the entire world and like I Grade Records and Zion High Productions, given their proclivity for making BIG albums, JSR is one of those labels who I'm always curious to see with whom they'll work next. In this case, they've aligned themselves with someone who is very skilled and already accomplished, but so damn unique as well that I'm expecting something huge.

And it may be even better than I hoped that it would be. Unsurprisingly, "In My Father's House" is a VERY unique album. It is an instrumental release, a Dub release, there're guest vocalists. There're familiar sounds and a healthy variety of twists and turns making for one dynamic and compelling musical experiences whose existence is going to require more than a giant review to explain but who cares, I'll try it anyway. The first tune on the album is also what, I believe, is the first single from "In My Father's House", 'Road To Addis'. I think that they made a wonderful choice in selecting the first single, because 'Road To Addis' is the single best song I hear on this album, altogether. It is STUNNING! When I first heard it, I kind of just let it go on and on and then I came back and almost immediately it took me in and it made me smile and I think I even cried [WHAT!]. It is a breathtaking composition and, for what he does, I would assume one quite personal to Pablo and it's pretty personal for me too and I'm sure we aren't the only two. Next is a full song featuring the aforementioned Earl Sixteen, 'Evolution'. It's a very good tune also with Sixteen dealing with evolution and revolution of varying types and how everyone, in some way, must change with the times to make it through. When he's in a good tone (and he usually is), I could listen to this man sing all day long. Then there's a piece called 'Evolutionary Rockers' which is, basically, a dub version of both 'Road To Addis' and 'Evolution', stuck together. It is GORGEOUS! And it took me awhile to figure out exactly what they had done, but when I did, this album, right there, got a few extra points from me, because that was a stroke of genius. They do a similar thing, though not to the same completion with the next couple of songs (and really, throughout the album), 'In a Di Gideon' and 'Gideon Rockers'. The tunes utilize a form of the same pleasant riddim which backed Chezidek's 'Faya Pon Dem' from the "The Order of Melchezedik" album. Handling the vocal duties here, on 'Gideon Rockers', is the esteemed Sylford Walker and both are really nice additions to this album, taking advantage of JSR' increasingly vast vault of productions.

  'Road To Addis'

JahSolidRock continues to do that with the next trio of tunes from "In My Father's House". 'His Majesty' shows that Addis Pablo, like Chezidek, also has Jah in his heart as it tops the same riddim you'll find on 'Jah In Our Heart'. Its vocal accompaniment, 'Giving Thanks', features another big name in Prince Alla, while the Dub version is 'Rockers Trodding Jah Road'. Like the opening sequence of songs, this lot is exquisite and it gives such a vibrant new life to this music. I do enjoy 'His Majesty' most between them, but you'll find not a bad note amongst them… nor will you be able to locate one anywhere else on this record either. Things come tumbling down at the 'Walls Of Jericho' which is Pablo's cut of the riddim which you know from having backed 'Tumbling Down', also from the "TOOM" album (surprisingly easy to abbreviate). Incidentally, in tracking down where I knew this track from, it gave the impetus to go back and listen to 'Tumbling Down' dozens of times. We reviewed and rewound that album, but this song is now probably better than I ever gave it credit for being. As for 'Walls of Jericho' and its biblical vocal piece, 'To The Chief Musicians', alongside Jah Exile - again, they are highly impressive expansions on the music. 'Walls of Jericho' is something special with its melodies and I'm going to give a big credit to Sam Gilly from the House of Riddim and especially to an Obed Brinkman. The former did the music and the latter did the horns in particular and both, in full, are CANDY to the ears. The MAMMOTH 'Praises To Jah' was one of the singles of the "TOOM" album, may've been the first, and actually featured the work of Addis Pablo, so it was no surprise at all to see it here - now renamed 'Thanks and Praise'. Pablo's take on the same riddim is the equally lovely 'Wareika Mystic', which is simply one of the finest things you'll hear on this album or any of the other gems JSR has dropped along the way. Fortunately, that track does get a ribbon in the form of the version for 'Rockers International'. It didn't get a version on the first album and I guess they had intended to save it for this one (and, in retrospect, I don't think that any of the tracks which're covered on "In My Father's House" had instrumentals present on "TOOM", which was a critique of mine of that album, because that is a signature of JSR, and I guess what happens here more than explains that). It is outstanding and, something so simple, a definitive highlight from the album. 

And winding down is a pair of two more familiarly vibed standouts from “In My Father's House". The first is 'One Heart, One Love, One Family'. Chezidek's tune on this track was 'One Family' and I think Pablo may've outdone him. This effort is golden and, reminiscent of the opener, it comes off as very personal and subtly intense as well. And finally is the title track… TEARS! Though not even a year old, 'Search and You Will Find' is a personal favourite and classic of mine and to hear that same track given even more attention just kind of lengthen and strengthen the legacy of that MASSIVE song. Addis Pablo's rendition is probably the second best song on the album named after it, altogether, and I'm going to have years and years of fun listening to this one. Both 'One Love, One Heart, One Family’ and the eponymous tune have clean versions also present on the album. I still favour the latter in that case, but the former doesn't trail mightily with its intoxicating bassline.

"In My Father's House" Documentary

I do want to remark on the presentation of this album, in general. It's outstanding! From the great cover, to the musical display and other things such as a full documentary released in support of it (which Bredz almost surely put in here somewhere), JahSolidRock did, arguably, the greatest job they've ever done and, at least for me, that signifies that even though they well had it together previously, they found room for improvement and have made it. 

Addis Pablo

Overall, while I'll continue to, first and foremost, immediately identify JahSolidRock with the landmark work that they've done with Chezidek (and you can clearly see that from my points of reference for this album), if they do another one of these, that may just change. "In My Father's House" is a riveting album from beginning to end. Something which stands out for me that I do not think that I mentioned is also just how intense this album is as well. It's laidback on the surface, but when I hear such a detailed level of musicianship, I hear PASSION! I hear someone spending a lot of time fine-tuning and tweaking something to perfection and there is a whole heap of intensity brewing throughout that process. "In My Father's House" isn't perfect, but for what it is, it is damn close. The album serves as a mighty debut for Addis Pablo who not only picks up where his legendary father left off, but he also shows himself to potentially be capable of building a legend of his own. GOLDEN. 

Rated: 4.55/5

JahSolidRock

2014

CD + Digital

Review #497

'Battle Tested': A review of The Jah Warriah Riddim

Version 2. In terms which are purely observational, there may be no single more interesting aspect of being a fan of music than watching the career trajectory of an artist. It can be something which, literally, lasts a lifetime (their lifespan or yours) (or both), and even beyond as you're able to virtually pass down the structure of being a fan of a specific individual to younger people who can eventually do the same. In more finite terms, it is just so interesting to see artists who you've enjoyed when they first arrived on the scene blossom and become stars and, on the other hand, see those who you didn't rate highly not only do the same but also win you over as well in the process. It is can be fascinating and compelling to absolutely no end. Far less talked about, conversely, is observing the lifespan of music label. Theoretically, as an institution, such an experience can last longer than in watching an individual and it can (and always does) encompass more than one as well. In Reggae things are just weird. You can have a certain riddim, trace it back to an originating label and a producer, and have it recalled and recalled into perpetuity -- refusing to go away -- by a never ending line of re-makers for an equally countless amount of vocalists and that is more life and more 'career' to that first label and to that first producer. And while we'll have to wait to see exactly which tracks and producers from the current era begin to get that treatment (is 2014 too early for a Diwali remake???), there're many labels around today who are experiencing growth which is becoming undeniably captivating to watch. Of course today we focus on one of them (or two of them) as we take a look at the first project of the new year coming directly from an imprint which had as good of a year, musically, in 2013 as anyone else throughout the entire genre, Zion High Productions. The US based label has been in existence for quite awhile now (I'm going to say that they have at least a decade behind them now) and have already assembled a more than respectable catalogue going way back to a personal classic for me, Yami Bolo's "Rebelution" (which may just be one of the most underrated and overlooked albums of all time). So I've always attempted to keep an eye on their work, however, as has also been the case for two other labels, what ZHP has managed to do over the past two or three years or so has become even more noteworthy and fascinating. 

What changed? Certainly it has been the formation and then the kind of instant development of the Zion I Kings collective (it was as if they walked through the door already a finished product and everyone else noticed, immediately, how good they were). As a unit, over the past two years they've jointly been responsible for making as good as music as anyone in the genre and watching and waiting to see to whom they'll turn their attention next has also been a lot of fun. And what has been really nice about that as well has been how, each label has been able to flourish as single components as well. While the "Kings", Lustre Kings Productions, haven't been terribly active (although they do have a big new single, 'For The Children', in stores now and hopefully it signifies the beginning of a prolific year for the LKP), the "I", I Grade Records has been flaming (new Midnite album, "Beauty For Ashes", in stores now) and as I said, "Zion", Zion High Productions hit towering highs in 2013. The label pushed no less than three big albums from esteemed artists with the 'tallest' definitely being Lloyd Brown's "Rootical". There was also the legendary Cornel Campbell with "New Scrolls" and the delightful "Original Yard Food" from General Jah Mikey. All of those albums were very well received and remained so into the new year.

Zion High Productions in 2013

So what do you do after a year like that. You make another Yami Bolo album? No. Not yet. What you do, instead, is to feed the masses of the second installment of one the best ideas that the ZIK have manufactured, its Riddim Series. The first edition, the Songbird Riddim, came via I Grade Records and it was spectacular - earning both our favourite riddim altogether from 2013 and producing our favourite compilation as well. And if I recall correctly (and I never do), I believe the concept of the Riddim Series was that the three labels would alternate in productions and ZHP is up next and they're bringing the Jah Warriah Riddim. I have to say that after all of the albums from 2013, I was REALLY looking forward to seeing who was next and although I now think we know the answer to that question (stay tuned, you will not be disappointed), I was just as happy to see that this series has apparently remained a priority for the ZIK and I'm well looking forward to future installments. And, if you go back, they have also been conscious of doing big compilations, in general, and the Jah Warriah Riddim not only directly follows the aforementioned Songbird Riddim, but it also follows releases such as "Jah Golden Throne" and the pillaring "Joyful Noise" from a few years back. As for the Jah Warriah in particular, last year ZHP gave us a taste of the track on the "Rootical" album via one of its biggest moments and while it didn't necessarily leap out at the listener, looking back it was very good and made for a perfect accompanying piece for that tune, which does appear on this album. Also, just because a riddim is a nice one, it certainly doesn't mean that it will make for a good composition to carry an entire album through multiple vocalists, but that isn't a problem here as the Jah Warriah Riddim goes on to show itself to be a more than solid next step in a series which is quickly showing itself to be very special. Let's talk about it.

"When I hear the songbirds I think of you" [2013]

On projects like these, just as crucial as the actual music is exactly who it is given to. The Songbird, and pretty much every ZIK compilation to date, not only came equipped with big names, but diverse ones as well. It is one thing to stock a track full of household names, which can be nice (and usually is), but I do want to be surprised as well and this set offers two or three of those as well which fit right into the vibes of the release. Not surprising at all, on the other hand, is Lutan Fyah who begins the Jah Warriah Riddim from Zion High Productions with his typical brilliance on the downright royal 'Beat Dem'. I believe we're supposed to see a ZIK album from Lutan Fyah before the end of 2014 and if this is a sign of what is to come is should be a great one (and even if it isn't, you know that album is going to be excellent).

"'These are the last days', a dat mi hear dem ah talk about -

On di TV screen, every news all bout

Who ah plan fi destroy

Who ah plan fi wipe out

Some already micro chipped with barcode

Selassie I ah rule inna Zion, Rastaman step forth

Be conscious of the time you're living in this ain't no joke

This a nuh soap opera, wi no come yah so fi sport 

Repatriation for most

Beat dem Selassie I, beat dem

Beat dem Black Marcus, beat dem

Dem come a Bobo Hill and wi no keep dem

Emmanuel no waan fi si dem di next weekend

Beat dem Selassie I, beat dem

Beat dem Black Marcus, beat dem

Nyabinghi lick di kette drum and slew di heathen

12 Tribes of Israel - those are my kindred

Banton seh a morning now, so wi chanting for later

I no trust di system, mi know seh dem a faker

Total destruction is the worst case scenario

Try no get caught inna dem barrio

Almighty Selassie I more powerful than dem

Digital or analog, a HIM set di trend

Conquered Mussolini pon di TV screen

ONLY KING WEH CROWNED WITH A QUEEN!"

The Fyah delivers a subtly unique piece which is something of a praising tune, but also a comment on society. He'll never get a full credit for it either, but despite being a full level or two below his absolute best, 'Beat Dem', is lyrically top notch and completely effortless. 'Cycles Of Life' was a song here I was really looking forward to hearing. The riddim's only combination links Jahdan Blakkamoore and VI ace, Pressure Busspipe (someone else who we'll hear from alongside the ZIK this year) on a tune about living an upstanding life as the best you can. Both, expectedly, turn in big efforts, but it is a verse in the latter stages of the tune from Pressure which is the most stirring moment on one of the best songs you'll find here. And I should also mention a few different 'textures' on the riddim here. To my ears it has a few sequences which are unique to it and that can also be said for a few other tunes here as well. Also present is the previously alluded to nasty-swatter 'Not From Me' from Mr. Lloyd Brown. Class and pure intelligence converge on the selection where Brown is forthright and straight-forth enough to tell all that whatever piece of negativity you seek, you can find it and find it in abundance throughout the world, but you'll find not a drop of it coming from him.

As I mentioned, there were a few names here which I was surprised to see on this project, but none of them are out of the type of artist you would imagine voicing a riddim like the Jah Warriah. Definitely the most unexpected, however, also turns in one of the single best songs on the riddim as veteran Jah Mali does a major damage with common sense on the LOVELY 'How U Ago'. This one is a direct call to action as Jah Mali takes aim at the listless people of the world who watch life pass them by while complaining about what they don't have or what they cannot get. It also kind of applies in a more specific and less broad type of a way. Even the hardest worker can go through those type of moments and if you need a kick and a boost to turn yourself in a proper direction, maybe 'How U Ago' is a song that you need to hear… and you should listen to it even if you don't need that kick because it's a big tune. Ancient King's was also a name I didn't expect to see on the Jah Warriah, but the fiery St. Croix chanter does his best on his 'Rightly The Trumpet', to ensure that he may be associated with future ZIK projects. Ancient King is someone who doesn't record as much as I wish he did and a song like this is a large reason why. Had it appeared on his 2013, "Ethiopie", 'Rightly The Trumpet' would have been the best tune and it is amongst the very best here as well (I love the kind of chaotic ending to this song with  the vocal effect which takes advantage of the Ancient King's burning unpredictability). And then there's 'Many More' which features Statian fireball, Ziggi Recado.

"Nuff a dem heart is so cold

Fighting war fi control

Deception a dem weapon, a nuh truth dem ah hold

Dem a pirates, dem no like to nationalize

Dem waan fi privatize and mek dem income rise

And if the cost is light, still dem nuh think twice

CAUSE DEM AH DEAL WITH LIFE LIKE A BUSINESS DEVICE

Mi stand fi truths and rights cause dis a crucial times

Seek knowledge, don't get left behind

Many more hills to climb

Many more barriers, wi gonna burn dem now

Seek truth and you will find

Babylon ah fight to control mankind"

The song is a very good one with a nice and free-flowing vibes to it which you should definitely hear, and apparently it is Ziggi who will be delivering his own album for ZHP and the ZIK later in 2014. His work, at its best, is masterful and as soon as I heard that (biggup Bredz), it full became one of my personally most anticipated releases for 2014. 

And speaking of albums, along with Lloyd Brown, there're three other artists here who have had full albums for the Zion I Kings to date. Midnite, Glen Washington and Ras Batch also touch the Jah Warriah Riddim with predictably big results. Of course it was Washington who actually did an album for ZHP in the form of his sterling "Masterpiece" and he makes an appearance on the Jah Warriah with the praising piece, 'Touch Not The Lord's Anointed'. Washington is someone who has enjoyed a big success at such an advanced stage of his career and it is through excellent output such as this. Unless I'm overlooking something, Batch had my favourite ZIK album to date with his MAMMOTH "Know Thyself" from 2012 for I Grade Records and he continues a run of excellence which dates back to… like the beginning of his career, with 'Lie From Truth' where he examines some genuine societal and historical facts. As I've said previously, anytime you involve Batch's name in something, my expectations go really high because I know what he can do and this was not a letdown. And as for Midnite, whose own ZIK album, also for IGR, "Beauty For Ashes" is brand new and also in stores today - check a tune which doesn't appear there, 'This World Happened' (so it's a bonus!). While not at all what I expected, the song is a solid one and one which is likely to, even further, push a few people in the route of picking up "Beauty For Ashes", which is an amazing album. Though he doesn't have a ZIK album to his credit (and hasn't had any album since 1924) check underrated Guyanese chanter, Arkaingelle, who was also present on both "Jah Golden Throne" and "Joyful Noise", and picks up the  very relatable 'Igh Shield'. This song I probably took in a different way than most people will and maybe even in a different way than it was intended. For me it comes through as the act of finding where you belong in the world and the joy when you finally do find it. This song has a lot of 'space' around it. It is somewhat quiet and because of that, it comes off as very personal (as we listen to where the Arkaingelle found his own place) and somewhat intense as well. It is gorgeous and while bigger names run throughout this project (Arkaingelle is probably the least known artist on the Jah Warriah Riddim), not many of them turn in better songs than 'Igh Shield'. NiyoRah also comes through with a big offering in the decent social commentary 'Media Portray'. The song picks up in intensity (and quality) throughout and hopefully it is one of the first shots from what turns out to be a big year for NiyoRah. And finally - I would have complained had the Jah Warriah Riddim not carried at least one female voice, particularly given the successes of both songs from Jah9 and Reemah on the Songbird Riddim, and if they asked me who I would have most liked to see, I would have surely said the single most gifted female in Reggae music today, the incomparable Queen Omega who, unsurprisingly, delivers my favourite song on the riddim, 'I Am Blessed'.

"I am blessed, oh yes

I am blessed

Nevertheless Father guards my interests

Serve HIM with righteousness

What's the scene for tomorrow?

No one knows

Yes, today is gone

The future, He holds

Today is the day, glorify the One who sits on the throne

I'm flesh of His flesh and bone of His bones

I am made in His image, He'll never leave me alone

New Jerusalem is my home

So whenever things get sticky in Rome - I know

I am blessed, oh yes

I am blessed

Throughout the trials, tribulations, temptations and tests

I prophesize and protest"

Reggae music, as an entirety, is a better place when Queen Omega is making music like this. The vocals on this song are the best on the riddim as she turns the passion to its highest point and, once again, brings forth a GIANT tune. 

Overall, my only problem with this release is that it doesn't have an instrumental. The Songbird went even further in giving a full song to the genius Tuff Lion, but I always appreciate even a more conventional type of clean version of the track (though if ZHP wanted to enlist Tuff Lion, I would not have complained). In absence of that, however, the Jah Warriah Riddim is everything it should have been in being the second of what I hope turns out to be a very respected and FULL running series. Listening to it for the sake of this review definitely gave me a greater impression and appreciation for the track and, in retrospect, though I love several from the "Rootical" album, I don't know that any of them would have translated as well into a full album as it did. And not only does it compliment a series but it also continues a winning stretch for Zion High Productions. Apparently and hopefully, the next stop is Ziggi Recado, but with what they've been doing in recent times, you have to begin to think that it whatever they come up with is going to be something special. Very good. 

Rated: 4/5

Zion High Productions

2014

Digital

Review #493

Coming Soon #76: The Journey

"Nuh Worry Unu Self" by Sizzla Kalonji [John John Records]

Coming soon this week is a one of two (and maybe even three) projects from ace producer, John John, who once again teams up with the legendary Sizzla Kalonji for his new album, "Nuh Worry Unu Self". The album follows 2011's very solid "The Scriptures" and producer and vocalist have worked together between the  two as well. This album I definitely knew was on the way, but I didn't quite know when to expect it, but it fits nicely in a first quarter of 2014 which continues to show itself to be absolutely stacked with big names releasing albums. Listening to some of the clips here, it seems to have bit of lighter sound in some cases, but I'm very much looking forward to hearing the completed product which I have a slight feeling may be pretty good. 

Digital

Releases on March 18

"My Journey" by I-Octane [Tad's Records]

Burgeoning star I-Octane also returns in March with a brand new album of his own, his second, "My Journey". This album, fittingly, has already generated a whole heap of buzz and attention and I'm expecting it to, easily, contend for the best album of 2014. Tad's Records distributes the album which is produced by the entirely more than capable DJ Frass. Octane has proved himself to be amongst the most consistent lights that Reggae music has to offer today and you don't even have to 'worry' in his case: This album should be excellent and I'm confident that it will be. Just in case, however, Gentleman, Kymani Marley and Alaine lend a hand on an album which would be full on foolish to miss. 

CD + Digital

Releases on March 4

"Crucial World" by Mykal Rose [John John Records]

Esteemed veteran, Mykal Rose, also finds himself linking with John John these days as the two prepare a new album for Rose, "Crucial World". I most certainly did not know that this project was on the horizon, but like Sizzla, Rose has also been someone with whom John John has worked extensively through  the years and it is evident on the tracklist for this album which appears to be a mixture of older and newer tracks. Including in the known efforts are combinations with the likes Damian Marley, Agent Sasco and Shabba Ranks. And though I've never been the biggest of Mykal Rose fans, I may check this one out. Do the same.

Digital

Releases on March 18

"In Your Eyes" by Sanchez [John John Records]

…And you can basically take everything I just said about Mykal Rose (sans combinations ) and apply it to Sanchez who also links with John John for an EP-ish new album, "In Your Eyes". The eight track compilation appears to, almost wholly, pull together tunes the two have worked on in the past.

Digital

Releases on March 18 

The Village Riddim [IrieVibrations]

Last time, we told you about the Diamond Riddim, which will mark the first release from Irie Ites for 2014 and also on the way are the wonderful people from big Austrian label, IrieVibrations, who says hello with a new track, the Village Riddim. This joyous piece you may be familiar with, as it backed 'Voice of A Trumpet' from Luciano on his WONDERFUL album from IrieVibrations back in 2011, "Rub-A-Dub Market". Joining 'The Messenjah' on the Village is a very healthy collection of names which includes Lutan Fyah, Lion D, Denham Smith, Ras Muhammad, Tony Anthony and IrieVibrations favourite, Raphael. Unfortunately the set doesn't include a clean version of the Village Riddim, which would have been a nice thing to incorporate because it is lovely. Still, there is a lot here to like and you definitely should pick up the Village Riddim compilation when you can. 

Digital

Releases on March 7

The Going Home Riddim - Reload 2K14 [Larger Than Life Records]

When I heard last year's MAMMOTH Going Home Riddim from Larger Than Life Records, the thing that I thought was that it so good that it deserved more songs than the original four or five that it had and apparently I wasn't alone in my thinking as LTL brings it back for 2014 in a slightly expanded format. Though only adding a trio of tunes (and they could do more if they wanted to), it makes a big impact in its brevity. The three tracks come from very heavy names in Capleton, Luciano and Pressure Busspipe who add even more flames to a riddim which is giving you a second chance to see just how good it was… and it was! 

Digital

Releases on February 25 

The Buggy Riddim [Fox Fuse]

Check the brilliant and colourfully chaotic Buggy Riddim courtesy of Mr. Roots and Wiz Records which comes via the exceedingly reliable Fox Fuse. Though only four selections and an instrumental, the track does contain a favourite of mine from this season, the MASSIVE 'Di Most' by Patrice Roberts which may just be one of the best songs of its kind that she has ever done. 

Digital 

Releases on March 11

'Keep On Moving' featuring Cali P by Geoffrey Star [House of Riddim]

Take a look at a very interesting collaboration via the House of Riddim which features Geoffrey Star alongside Achis Reggae favourite, the unstoppable Cali P, 'Keep On Moving'. This song has a very infectious and intoxicating kind of old school bounce and blend which is sure to achieve the goal set and said in the title. 

Digital

Releases on March 21

'Caution' by Joggo [House of Riddim]

And also residing in the House of Riddim in March is the unfortunately less than prolific Joggo, who gives us a big new tune in 'Caution'. Joggo is one of those people who doesn't seem to record too much, but nearly every time that he does come up with something - it's golden. The early spins from this tune don't seem to make for an exception and I'm very looking forward to hearing (his next album) (anytime now Joggo!) the full piece. 

Digital

Releases on March 28

"Indigenous" by Rob Symeonn [Jah Youth Productions/Goldheart Music]

And finally, because we got quite a bit of feedback from the review (biggup Bredz), though Rob Symeonn's SUBLIME new album, "Indigenous", is not currently in stores, it will be available very soon. And be sure not to miss what is sure to be one of the year's finest. 

Digital

Releases on February 25

See Review

"Big People Party" by Farmer Nappy

"Big People Party" by Farmer Nappy [Fox Fuse]

1. 'Big People Party'

2. 'Stranger'

3. 'Family'

4. 'Addiction featuring Imani

5. 'We Doh Sleep' featuring Shurwayne Winchester

6. 'Minglin'

7. 'Drunk'

8. 'Down Low'

9. 'All Ah Dat'

10. 'Stranger' [Roadmix]

11. 'Ah Find Mehself Dey'

12. 'Doh Stick'

Though, thus far, we definitely have not been thrilled by the music coming from the Carnival season 2014, there have definitely been a few bright spots in the mist of mediocrity. One has certainly been my favourite tune this year, Bunji Garlin's giant 'Truck On De Road'. Machel Montano has also had a song or two that I've really liked and, as she always does, so has the incomparable Destra Garcia. Someone else who has already had a quality season in my opinion has been veteran Farmer Nappy who now becomes the first big name from Soca this year (in a list which always includes the Happiest Man Alive, Montano, and is sure to include Garlin) to set up an album release in the form of "Big People Party". 

The record comes via a most familiar source as the Farmer, once again, links up with the increasingly outstanding Fox Fuse. Digitally speaking, outside of Precision Productions (who can release the next edition of "We Muzik" anytime now) (…please!), the Fox Fuse does more Soca than anyone and along with the world's angriest man, Stein, and veteran Dub Poet, Yasus Afari, Farmer Nappy seems to have become one of the label's most pushed stars. To date the Farmer and Fox Fuse have linked on two projects to my knowledge, the first being his very strong 2012 album, "You Make Me... Surrender" and just last year as well, on the EP, "Mischief" (whose contents appear, entirely, on this album).

"You Make Me... Surrender" [2012] "Mischief" EP [2013]

This year, Farmer Nappy has rolled out with some very big material, as he does every year. Though he may go overlooked at times (and I'm beginning to change on that. There is a level of stardom in Soca music that exists beyond, but I think that for what he does, amongst people who faithfully follow the genre, Farmer Nappy is no longer what I would refer to as underrated and is very appreciated), if you want top notch Soca music with a very fresh blend, you can't really do any better, in the consistent sense, than the Farmer, who has well proven himself, arguably, THE most reliable producer of such a sound in all of Soca music. His biggest set from 2014 has definitely been the intoxicating title track for "Big People Party" which, obviously, appears on the album named after it and the album also picks up some of his bigger releases from 2012 and 2013 including personal favourites of mind 'Minglin' and 'Ah Find Mehself Dey'. There's also a song here which I've NEVER heard before, 'Doh Stick', which is chaos and should be a highlight on this album.

'Big People Party'

You can see all of that for yourself, however, when you pick up Farmer Nappy's new album, "Big People Party", which arrives in stores on February 25.

CD + Digital

Coming Soon #75: Beautiful, Beautiful!

"Beauty For Ashes" by Midnite [I Grade Records]

Though you won't find the work of Stevy Mahy on this post (at least I don't think you will), you definitely will find something beautiful of another kind as the much anticipated latest release from Midnite, "Beauty For Ashes", is not only now officially forthcoming, but you'll get to have your hands on it probably a lot sooner than you thought. Even before the end of the shortest month on the calendar, "Beauty For Ashes" arrives in stores courtesy of I Grade Records and the Zion I Kings and I cannot wait to get a listen to the full release. I have a very good feeling about this one based largely on the very nice EP release, "Same I Ah One" from IGR and I wouldn't at all be surprised to see this one rank as one of the very best Midnite albums ever. 

Releases on February 25

CD [I THINK] + Digital

"In My Father's House" by Addis Pablo [JahSolidRock]

Also up fairly soon is an album we've been hearing a great deal about over the past few months or so, the debut album from Addis Pablo, "In My Father's House". The son of the legendary Augustus Pablo makes his full length debut and does with one of the most dependable labels in the entire genre these days, the Dutch powerhouse, JahSolidRock. Their name, alone, attached to a project is enough to peak my interest and when you add to it a variety of different aspects, this one grows immensely. JSR makes a brand of music which is just so enjoyable to listen to and I think that when you place it in the most capable hands of Addis Pablo (who has really made a name for himself and on his own merits during his career), I'm expecting an album full of familiar sounds which is just damn hard to put down (and it'll be really fun to write a review for an album like this as well). 

Releases on February 25

Digital

The Rise Up Riddim [Oneness Records]

Another of our favourites is up with a brand new set which just brought a smile to my face when I saw it. The MAMMOTH Oneness Records from out of Germany who just released a fine compilation ("One Love, One Heart, Oneness", in stores now) is back doing what they do best -- making outstanding music -- with their Rise Up Riddim. This track I know from a pair of songs (both of which appear here), Naptali's 'What Goes Around' from his all conquering "Long Journey" album and 'Jah Love Is Amazing' which appeared on "Working Wonders in 2012 from the incomparable Mark Wonder. Both were big tunes on even bigger albums and the riddim itself is also very nice. It's more laidback and easy, but I'm sure it will make for a fine album. Why am I so sure? Along with Naptali The Great and Mark Wonder, voicing the Rise Up Riddim is a very impressive batch of artists which includes Buju Banton, Capleton, Ziggi Recado, Prince Malachi, QUEEN OMEGA, a loaded combination featuring the golden voiced Raymond Wright alongside Lutan Fyah, Jahcoustix on the title track and Skarra Mucci who joins Sara Lugo [WHAT!] for 'Dubbing Is A Must'. No reason at all to miss this one and I won't. Neither will you.

Releases on February 25

Digital

{Note: We've seen this one officially labeled the 'RISEUP RIDDIM' (sans space between @@rise@@ and @@up@@) if you're looking for it}
{Note 2: …and you are looking for it} 

The Jah Warriah Riddim [Zion High Productions]

The Zion I Kings have a very busy last week of the month scheduled as the ZION portion of the group, Zion High Productions, as we told you not too long ago is also back at work with the second installment of the ZIK's Riddim Series, the Jah Warriah Riddim. This exquisite track, much like the Rise Up, features an absolutely stellar group of vocalists in the likes of Midnite, Lutan Fyah, Glen Washington, Jahdan Blakkamoore & Pressure Busspipe, Ras Batch, NiyoRah and others. Here's another piece I cannot wait to hear in its entirety and, just like the others, I won't have to wait long. 

Digital

Releases on February 25

The Party Spree Riddim [Payday Music]

Be sure to check the latest from Payday Music, the heavy Party Spree Riddim. This track, as a whole, is a nice example of how a one riddim can be given different colours and textures in different hands from different vocalists. And though I'm not crazy about everything here that I've heard, the 'Grungaad, Gorilla' combination featuring Bounty Killer alongside Mr. Peppa, is huge. Kalado also does a big damage with his 'Today'. 

Digital

Releases on February 25

The Universal Riddim [Massive B]

Bobby Konders and Massive B are also in this week with their latest composition, the Universal Riddim. For what they do typically -- these kind of hard and heavy Dancehall tracks -- Massive B is always damn reliable and this time around they've kept these high as well. Billed as an EP, one can hope that eventually they'll turn over the Universal to a few more artists. Until then, however, Burro Banton, Spragga Benz, Junior Reid and Spice, who turns in the biggest track here in my opinion with 'Want A Man', do a fine job.

Digital

Releases on February 25

The Diamond Riddim [Irie Ites Records]

The venerable Irie Ites Records is making its 2014 debut [I THINK] with the sublimely vibed Diamond Riddim which, again, features a very interesting group of artists handling vocal duties. II always does big things and put together big tracks and the Diamond is definitely no exception. It certainly does help when you assemble the likes of Lion D, Spectacular, the inescapable Skarra Mucci as well as the unfortunately easily escapable Ras Mac Bean.

Digital

Releases on March 17

The Hollow Body Riddim [Ted Dun Know Productions]

And finally, coming soon this week is a project that we alluded to just a little while ago, the Hollow Body Riddim, courtesy of Ted Dun Know Productions. The label pushed up a nice single for the riddim in the form of 'Sirens', by Khari Kill. The Trini native is joined by another very talented Trini artist in Jah Defender, as well as veteran Major Mackerel and Lutan Fyah. This one I also have a very good feeling about and definitely pick it up and see for yourself when you can. 

Digital

Releases on February 22

In Stores Now

"Songs For Reggae Lovers Vol. 5" [VP Records]

Though it hasn't had a new installment in three years or so now, one of the most underrated and overlooked compilations from VP Records, "Songs For Reggae Lovers" is back for 2014 and it's following its set pattern once again. The album features thirty tunes spread across a pair of discs with the first being new[ish] material and the second dealing more with classic[esque] material. This time around you get the expected likes of Morgan Heritage, Gyptian, Tarrus Riley, Maxi Priest, Terry Linen, Tessanne Chin, J Boog and others on the first disc. While Beres Hammond, Dennis Brown, Gregory Isaacs, Barrington Levy, Cocoa Tea and more take control on disc two. Like most compilations with such a high amount of tunes on them, this piece is likely best for a more casual fan of the music, but also with so many songs on it, regardless of how much of the music you listen to, you're likely to find something that you missed along the way. 

CD + Digital

The Sweety Come Brush Me Riddim [God Bless Records]

And also in stores this week (and last week) is a compilation which may be a decade old at this point. God Bless Records touched the Sweetie Come Brush Me Records, renamed it (not really) and delivered an absolute winner of a remake with their Sweety Come Brush Me Riddim. Between them, the riddim actually featured three songs from a pair of my favourite singers in Elijah Prophet (who does a tune, 'More Love', alongside Luciano, as well as a solo effort) and Mark Wonder and that certainly was not all with Turbulence (A GOOD Turbulence), Anthony B, Norris Man, Utan Green, George Nook covering the title track and others. Would have made a fine edition of Riddim Driven a decade ago, but better it's better [MUCH] late, than never at all. 

Digital