Preparations. As I'm sure you'll agree, one of the greatest things about being a consistent fan of music is the wonderful surprises that it continuously provides. Be it a big song from an unknown, a comeback of some sort, a shocking collaboration or ANYTHING, music, like life in general, has a wonderful way of keeping us on our proverbial toes when we pay enough attention to it. Given the nature of Reggae, where the point isn't usually building towards some album or complete project and singles run the show, for the most part, when you do come across that surprising album, it can be a special thing and you know, for someone like me, the first thing on my mind to do is to come and tell you wonderful people all about it. Today I'm going to tell you about such a release from an artist who has CERTAINLY shown a level of talent throughout what has been a distinguished yet, perhaps, underappreciated, career (GENUINELY underappreciated, not in the crazy, overused way Reggaeheads usually talk about), but is also someone who I've mentioned quite a bit throughout the years because he's remained active and prominent. He has very much been someone whose time in the music has seemed to be a GRIND and, in some ways, he seems to have enjoyed the fruits of his labour but, hopefully, more is to come. Of course I'm talking about the Kingston born, heavy voiced chanter, Spectacular who has provided us with some excellent material over the years. When his name comes up, the first thing that generally goes through my mind is the productivity that the link with label Irie Ites. Along with a small handful of others such as Chezidek, Ras Mac Bean, King Lorenzo and someone else who I'll tell you about later (I'll give you a hint, it rhymes with Hoot & Syah), Spectacular has become a favourite of the France based imprint and artist and label have made some truly brilliant material together and, presumably, will continue to do so, going forward. Apart from that, Spectacular has found the true source of his popularity (again, like a few others) on Reggae-crazed European soil, working with, amongst others favourites of ours, Oneness Records, ReggaeLand, Little Lion Sound and the once mighty Minor7Flat5. Earlier, his developmental years would see him drawing the attentions of big Jamaican labels such as Xterminator (crazy tune Spectacular had for Fattis called 'Blast Dem') and Buju's Gargamel.
You would have thought (and you'd think it still that Spectacular's opus would likely come via Irie Ites. Were they ever to work on an album and include both old and new material, that would surely be a big project and would be a legacy enhancing type of release, potentially. However, such a thing has yet to materialize and, after all of these years, one would presume that is unlikely to (GO AHEAD AND MAKE A FOOL OUT OF ME, IRIE ITES!) (I DARE YA!). Instead, the first two albums of Spectacular's career have come from two different European outlets. His debut, 2005's "Find Yourself", came via DHF from out of Germany, while his sophomore set, "Salvation" from eleven years on, was delivered via Carabeo Music who, like II, operate out of France. It was the first of the two which was his strongest in my opinion; carrying, amongst others, the OUTSTANDING '50 Push Up' ["DO FIFTY PUSHUPS! HUNDRED SKIPS!"], which is one of my favourite Spectacular songs still (and in the conversation for being THE best, actually).
2005 & 2016
Apparently, the link with Carabeo has remained quite strong in the nine subsequent years since "Salvation" because Spectacular & Carabeo now bring forth the former's third studio release to date and something I have really wanted to tell you about since I laid full ears on it, "Stay Up". When I heard this album and started to figure things out and work on it in my head, I was HAPPY for Spectacular. That was the dominant thing on my mind. I was so happy for him because of its quality and I look at him as someone who could surely use that type of a big and breakout release and I don't think "Stay Up" is likely to have much reach in terms of introducing to him such a giant new fanbase but I am DAMN confident that those tried and trusted lot of us who came to listen (because we ALWAYS do) will be thrilled by what is here. So, maybe in Reggae circles (and ONLY in Reggae circles) (and then again, maybe not), "Stay Up" can have that type of resonating impact with the masses. Along with reuniting with Carabeo, the new album also finds Spectacular working alongside the Forward Ever Band from Spain (great name). As far as I can tell, there's is a relationship that dates back half a decade to 2020's 'Seat Tight' which was a very nice single on the Modern Times Riddim and they've also made music with Luciano, Earl 16, Jah Mali, Loyal Flames, Ras Tewelde and even Gappy Ranks! So if the FEB is a new one to you, their credits prior to "Stay Up" says that they've more than earned the opportunity. Actually hearing it sends you off.... somewhere else. I did not get very far AT ALL into "Stay Up" before I realized that I was listening to something extremely strong and, again, as someone who basically CHEERS for Spectacular (and I cheer for just about everyone) - DAMN DID THAT MAKE ME HAPPY! I did, honestly, hesitate in reviewing it because, as small as it is, "Stay Up" is kind of EP-ish but... shit, I make the rules around here, I can do what I want! LET'S TALK ABOUT IT!
Since I just alluded to it, let's get the biggest critique here out of the way right now. Comprised of just nine selections, spanning only thirty-eight minutes, "Stay Up" is too short. It just is. Even just one or two more songs of the same quality as the first nine would have went a considerable way in adding to things but, just judging it for what it IS, "Stay Up" is fantastic. Getting us up and going is what is EASILY one of the album's finest offerings altogether, 'Jump Ina Fyah'. BOOM! The opener is POWERFUL!
"Nuff a giant
Nuff a dem a dwarf
Nuff a whale
Yow, nuff a shark
Some act like dem tough
Wi know seh dem soft"
The song is fairly broad and pretty much all over the place but it serves as the PERFECT opener, just to grab attentions and make sure you're well paying attention. Charged with holding your attention is the also very free-flowing 'Hardcore', with its golden bounce. I'm pretty sure Spectacular planned this song out and rehearsed it (or whatever he typically does) - it does not sound like something he just came up with off the top of his head and went with, but it almost has that type of feel of it (none of that makes any sense, I know, but I think you sorta/kinda get what I'm trying to say). 'Hardcore' is, effectively, a musical celebration where Spectacular declares that he has his style ["Mi gi dem it HARDCORE!"] and pays respect to those of us who have ears to hear it and the ability to receive it and IT is EXCELLENT (and we appreciate it!). The album's first of a pair of combinations is in next, the title track, which brings in respected veteran vocalist, Lymie Murray. Murray is one of those people that tend to have more of a dedicated fanbase than you probably give him credit for. His releases, as far as I can tell, tend to garner a fair amount of attention and you'll be doing something fine for yourself in laying a bit of yours in the direction of this wonderful tune. 'Stay Up' KIND OF practices what it preaches and I mean that in a good way: The VIBE of this one is subtly infectious. It is a track about staying persistent , staying the course and keeping a good attitude during challenging times but 'Stay Up' is not, AT ALL, what you'd call a happy song; it also goes through the struggle and, in its pacing, acknowledges that what it is asking of you is most certainly not easy. Later on, is 'Farmer Man', the album's other song featuring another artist. This time, Lutan Fyah joins Spectacular on a, upful, hard-working effort that is sure to get head bobbing and fingers tapping. The two also came together on the heavy 'System Dread' from the aforementioned "Salvation" set (and that was not their first tune together. Spectacular was even on "Justice", seven years before "Salvation" and more than fifteen years ago now) and have, obviously, been around one another quite a bit through the years. The result, unsurprisingly, is a lot of musical chemistry being developed which is crystal clear on 'Farmer Man'.
For all intent and reasonable purposes, 'Stay Up' is the best song on the album named after it but.... something else catches my ear and earns top honours from me as our obligatory ganja tune, 'Bag A Weed', is downright addictive.
"Mi no si nobody love weed like mi
When you si mi, you call mi di Weed OG
I wanna tell yuh something about this tree
Mi know seh yuh bound fi agree
I tek a seed and mi guh put it inna di soil
Water and when it grow, mi nurture it just like a child
Groom it up, prune it up, so it no grow wild
MEDITATION STYLE!"
This tune is brutal! It is tough as all hell to shake (not that you'd want to) and it grabbed me and has yet to let me go! Of course, such pieces are in a ridiculous abundance in Reggae music, but Spectacular's 'Bag A Weed' is one of the finest ganja tunes that I've heard in the last five years or so - without question! Having ticked off one compulsory section, Spectacular later deals with another one in 'Mama Proud' and he definitely does his mama proud. The song is surprisingly on the heavy side and it is the vibe of such an offering that signals any type of individuality (it can be strong lyrically as well (and it is) but it's pretty difficult to make a Reggae song about MAMA incredibly unique) and everything clicks with 'Mama Proud' to my ears. It goes both broad and direct and is a LOVELY song for the most powerful person on the planet. Speaking of vibes, check the DAMAGING 'Justice' which absolutely SOARS!
"Then by the bullet, or the ballot or the gun
One way - dem seh justice haffi come
Pass mi mi kette, mi bass and mi fundeh drum
Gimme mi shake, and mi shake dem dung
Run injustice, mi seh justice ah come
Wisdom, knowledge, overstanding di words from mi tongue
Free up di bank, mek good water run
Now clear di way and mek Jah Jah, HIM, touch down
I play Nyabinghi inna di middle of the street
Play Nyabinghi because it sound so sweet
Play Nyabinghi because it was ordered-
By the Honourable Marcus Garvey
Then mi tired of dem ism, schism
And all dem socialism
And all dem capitalism
And all dem racist-ism
Yow, a pure ism, schism
And all dem pirate-ism
Dem ah fight over gold and oil
Kill off di people dem and ah laugh and ah smile"
'Justice' comes through as a call to action and you will feel like activating SOMETHING while listening to it! If it does not move you in some way, I regret to tell you that you probably passed away somewhere along the way. WE HAVE LOST YOU! BOOM! The song is also the longest on "Stay Up" by more than forty seconds as a golden chunk of it is given primarily to the Forward Ever Band who DAZZLE musically with the riddim... and I am now heavily reconsidering my choice of my favourite song on this album. Also, big credit goes to the delightful backup singer/s who really add another facet to things on 'Justice'. There's a track here that I'm going to pay its respects in a different way by the name of 'The System'. It is, essentially, a social commentary (to be expected from the title) and it is EXCELLENT. Were you to pluck if off of "Stay Up" and drop it on "Salvation" or "Find Yourself", 'The System' instantly enters the discussion of best tune on either one of them. It is that good. HERE?? It ain't even close! I hear at least four songs that are stronger and I could probably make the case for another one! That's how strong "Stay Up' is; when you listen to a selection like 'The System' and fully LOVE it but are ranking it CLEARLY in the album's bottom half. The closer, 'Heart Mind and Soul' is somewhat of a changeup, given its direction but it compliments some of the other sounds you'll find here very well. It is almost entirely spiritual (which Spectacular doesn't do too often, actually. I find that he usually tends to hit the tangible in some way in his lyrics) and in a good way, with the riddim behind it being this lumberingly LUSH vibe. It did take awhile but, like pretty much everything else on "Stay Up", after awhile, I was hooked.
I do want to, very quickly, revisit something of Spectacular's style of writing, in general, which is one a thrilling display on "Stay Up". I write these reviews and I like to give a lot of credit to good writing and usually when I do that it's in appreciation of artists who're largely very specific and detailed in what they do. Spectacular deserves an immense amount of praise as well even though (and maybe even because) he thrives on being more broad. He'll talk about three or four different things on a single song and sometimes he'll tie them all together and sometimes he won't even bother but the level of writing he displays when he's at his best -- and he is at his VERY BEST here -- is POWERFUL. When you combine that with his typically fiery delivery, I give a level of respect to this set LYRICALLY that I typically reserve for artists with styles much different than Spectacular's.
Overall, as I said, if only "Stay Up" were a bit longer.... as it is, it nearly reaches the lofty levels of the name of its creator. To my opinion it is, far and away, THE finest display of his talents thus far and if someone were new to the music of Spectacular, I'd set it up as a PERFECT entry point to get familiar. "Stay Up" is fantastic and it comes from someone who was just DUE to have such a release. I'm not saying that it's "landmark" or "life-changing" or anything of the sort, but it is of an obviously higher level than what he's done to this point, which is saying a lot. "Stay Up" figures to be the best case scenario for Spectacular. It is an outstanding, albeit brief, showcase of someone that may have been overlooked by too many up until this point. HOPEFULLY it informs us all as to exactly WHO we're dealing with as one of the genre's 'fittest' talents shines like never before. OUTSTANDING!
Plus one. There is something very powerful about making a strong first impression. In almost any type of situation that I can think of, if you get someone's attention in a positive way and impress that person and give leave with something to remember you by, you have potentially done something special and laid a very important foundation for what is to come. You (YOU sitting right there) can think of situations where you've experienced such a thing. Maybe some of the best people you've ever met or some of your best friends are so because something they did or said right around the time when you first met them (then there's that one you have that has made awful impression after awful impression but you just love them for some reason) (biggup Loa). The obvious direction here goes to the position of a musician making a big tune and grabbing the initial attention of a listener and, at least potentially, making a lifelong fan out them. If you do that enough times it can help you immensely in not only widening your reach but also.... it's going to put some money in your pocket, which is always a good thing. On more simpler and personal terms I can think of a very nice group of artists who, from around the very first time I heard from them (and maybe even of them) managed to display some level of talent that, at the very least, went a great way in making them a name that stayed on my radars for quite some time. DEFINITELY the most interesting of this lot would be Turbulence and the very rocky 'relationship' that I have had with his music over the years. Turbulence is one of the most gifted artists in Reggae music that I have EVER heard. Period. He has a GREAT singing voice. He can chant. He is powerfully lyrically. He can literally do it all and that has been the case over the past quarter-century plus. He has, unfortunately, spent the better part of the last.... decade and a half or so (it's probably more like seventeen, eighteen years at this point) CONSISTENTLY making these uneven love songs dominate his catalogue and if he makes ten of them, maybe I'll enjoy one; maybe not. Still, because of what he showed so early on, I am convinced and will likely ALWAYS be convinced of his abilities, so whenever Turbulence makes new music, I'll be paying attention (new tune, 'Cut Off The Serpent Neck', w/Makaru) (good song) and hoping for the best. I could run through several names of artists who've impressed me through the years with some of the very first output that I heard from them (Pressure Busspipe would be another good example) and have remained at least interested in many years later and today we get an opportunity to take a long awaited look at another.
2009
You don't come across Belize too often in your 'travels' as a fan of Reggae music. I could name a few off the top of my head but really at the top is but a couple of names (unless I am REALLY forgetting someone). One would be the sweet voiced Eljai, who we don't hear from nearly enough and consistently churns out at least SOLID material. The obvious other and, arguably the most popular, is the esteemed Ras Indio of whom I'd like to think I spent quite a bit of time 'back in da day' doing my absolute best in trying make people aware. Why? I'd heard a few singles of Indio's (one in particular, 'Healing of the Nation', his cut of the MASSIVE Show Love Riddim) (biggup Itation) but a large portion of my attraction to his sound came via a very large (literally) album Indio did by the name of "Jah Bless Us". TO THIS DAY, "Jah Bless Us" holds a very strong (and strange) place in my affections as, although I'm not going to tell you that it is one of THE best albums that I've ever heard in my life - it was absolutely fantastic. Loaded full of wonderful songs (and familiar names) (including Turbulence) (as well as Lutan Fyah, Luciano, Chezidek and even Ras Attitude), "Jah Bless Us" was one of the very few sets that I've come across that, thought clearly overstuffed -- twenty three tracks -- it was NOT too long. Its signature and title track is likely one of the best... hundred or so songs that I have ever come across and it is just a beautiful piece of work. That album reached way back in 2009 and it made a fan out of me as I have been sure to keep an eye on what Ras Indio had been working on ever since.
And 2025 has brought us very nice news. Though he's been remained fairly active over the years, it'd been awhile from the last time we'd heard from Indio in any type of full way. To my knowledge, "Jah Bless Us" remains his most recent album, but a decade ago, he did give us "One of A Kind", a love-centric EP which was probably better than you recall (and by "you", of course I mean me). There's been a bucket of singles as well, including 'Love & Inity' a HUGE track from just last year, done alongside the aforementioned Pressure Busspipe. I was hopeful -- I'm always hopeful for such things -- but I had no actual reason to believe that forthcoming was any type of new album from Ras Indio but look what we have here! 2025 has been a fun one so far and it goes even higher, courtesy of "Voice Of The People", the long awaited brand new album from Ras Indio! BOOM! Credited for production is a David L Smith (who is probably Ras Indio) and the same Indigenous Productions (also likely Ras Indio) that releases all of Ras Indio's work and I've also seen our friends at DaVille credited with its distribution as well (biggup ReggaeVille). I have to say that the feeling when I found out that Indio had FINALLY done a new album wasn't quite to this level, but it was awfully close to what I felt in 2023, when the incomparable Queen Omega ended the drought and delivered "Freedom Legacy": I WAS SO DAMN HAPPY! For someone who you try to make it a point of to 'check on', at least semi-routinely, when you come back to them and notice that they have an album, in general, is a very big deal (any day now, Reemah), but when it's Ras Indio, for me, it was a special feeling and maybe I'm the only one saying it but "Voice Of The People" IMMEDIATELY became one of the most anticipated sets of 2025. When I got my first taste of what was to come, it was magnified and all of that was even before we got to how good the actual album even was.
Ras Indio's style is a subtly interesting one. On its surface, it is fairly straight forward modern Roots Reggae chanting and if that's how you want to describe it, that is fine and accurate. However, when you dig into just a bit more, his methods do open up just a bit. He has a very strong command of melody but it isn't a sound that you would call 'loose' or 'wild' to any degree. What results is a very entertaining brand of Roots music, via kind of 'gruff' and clever delivery. You won't actually get your first taste of that on Ras Indio's new album, "Voice Of The People", until the second and title track because the first is an Intro, which appears to be a part of an interview, where Indio declares himself one of the people ["How can I be the voice of the people, if I am not a part of the people?"]. On 'Voice of The People', he formalizes matters. This song actually turned out to be, lyrically, nothing like what I expected. After its beginnings, it basically drifts into a VERY general direction where Indio goes through pretty typical topics for the genre. I was looking forward to something far more specific. Of course, that doesn't mean that the 'Voice of The People' is a bad song necessarily (it is not) but given what happened the last time, the title track for a Ras Indio album had VERY large shoes to fill. One third of the twelve tunes here are combinations and we get the first of the lot on the excellent 'Strong Everywhere', which taps the golden vocals of Jamaican singer Ginjah, displaying his talents alongside Indio. This is actually a remix of an old tune of Ginjah's, which now features Indio. Presumably, the Belizean was a fan and wanted the song for his album and while Ginjah largely dominates (as you would imagine. That man's voice can literally be OVERWHELMING at times) but Ras Indio makes his presence known in adding a colour to what was already a big piece of work, in tribute to the all-powerful, ever-present nature of Rastafari. Later on, Indio is joined by a pair of Hip-Hoppers from out of Belize (I THINK), Big Bang Manifest (cool name) and Kassa for 'Bang Bang' (with a helping hand [SAMPLE] from Eek-a-mouse). I have never much of a fan of Hip-Hop and this song won't change that at all but I do not hate it and the anti-violence creation definitely does has its place on an album such as "Voice Of The People" in my opinion. No less than FIVE other artists join in on 'Time Is Now', King Siege, Wonder Boy, Fobi, World Foe (who is the only one I'm confident in saying that I've heard of) and Fuego. This one is also kind of leaning towards more of a Hip-Hop side and, as you would expect with so many names on board, it's sort of all over the place. It is VERY animated and made for ears other than mine although you definitely give credit to Indio for putting together such a tune, giving exposure to other artists to people like You and I; providing them with a chance to make a fine first impression of their own. I'll also add, right here, a later track also of a more of a Hip-Hop sound, the rather solid 'Bad Mind'. Musically speaking, 'Bad Mind' doesn't do much for me at all but it damn near SOARS when you actually tune in what Indio is saying ["Certain thing wi just nah go tolerate yah. As a Rastaman, it's just my Rasta nature"]. Song won't change your life and you've likely heard dozens like it beforehand (probably with the exact same title), but some of the things said on an otherwise largely nondescript track are not to go overlooked.
If you've spent anytime at all around here, you won't at all be surprised to know that 'No Curse' is my absolute favourite song on this album. Why would that be so obvious?? Well, 'No Curse' just so happens to feature Norris Man who's also been a favourite of mine, particularly in recent times. This song just makes me SMILE! It's about being upfull, having a positive attitude and treating others well (even when they don't reciprocate) (.... ESPECIALLY when they don't reciprocate).
"Wi neva do dem no harm
Neva bring dem no hurt
ALWAYS PRAY FI DEM FI BE BLESSED
Never bring dem no curse"
The full vibes from this one are just so powerful and attractive, making for the signature moment of "Voice Of The People" in my opinion. Desire you another winner? Check the album's obligatory ganja tune, 'I Blaze'. 'I Blaze' is just a COOL song. It has some slightly more aggressive elements to it but, for the most part, it comes through as a very chilled herb tune and I have to mention how Indio seems to combine a couple of different older songs in his lyrics. I (and maybe only I) hear an ode to a personal favourite of mine, 'Bun It' by Mr. Vegas and Ele, but regardless of its possible inspirations, 'I Blaze' is excellent. On a similar level is the tune chasing 'I Blaze', 'Me Against the World'.
"For He is all I need, throughout my times of tribulation
He's all I need, to keep me from those devil temptations
Jah is all I need, to give I & I a daily inspiration
JAH IS ALL I NEED, THE AIR I BREATHE, WHILE DEEP INNA MI MEDITATION
So in tims when you are down and feel like no one's there
Search and He's all around
Always keeping you safe and sound, oh yeah
In times when you're in need and the rocky roads still ah get steep
Put your faith inna The Most High
My forever Guide and Shield"
This song is a praise, wrapped up in a vibe dealing with perseverance and determination, with the lasting sentiment being that when you're in a bad place in life, Indio is saying that it may not be as bleak as it seems because SOMEONE always has your back, should you seek HIM out.
If you didn't get enough fire, Ras Indio has you covered between two songs helmeting (just make ANYTHING a verb. "Helmeting" = 'at the beginning of') the second half of "Voice Of The People", 'Rise & Fall' and 'Hotta Fyah'. Both are pretty mid-level and fun Dancehall (I mean real Dancehall) tunes, with the latter being the better of the pair. I was very happy that both of these songs were on the album because it kind of gives the project more of a balance. You have Roots and then you have some Hip-Hop. The PERFECT stop between the two is definitely Dancehall and, coming from someone who is obviously and admittedly biased towards one side, the Dancehall tracks are CLEARLY better in every way than the Hip-Hop on "Voice Of The People". Lastly, and I hate to say it but I can explain myself is a song with which I was VERY disappointed: An acoustic version of version of the aforementioned 'Jah Bless Us'. Initially, when I saw this included I got super excited because the original version of the tune begins with an acoustic sound before developing into that... chunk of diamond that thing was (it is SO beautiful), so I thought this version would just be an expansion on the first half or so of the original. It isn't. This is an entirely newly sang tune and it just isn't as good. It isn't BAD but I was expecting a slightly more streamlined cut of the original and, again, that is not what this is.
Overall, obviously it goes without saying that this album does not quite reach the levels of "Jah Bless Us" and that's fine. I wasn't expecting it to and would have been shocked if it did. However, "Voice Of The People" is still an entertaining and compelling piece of work and I think that much of the crowd that began listening to Ras Indio because of that earlier masterpiece will find at least something here to enjoy. I do wish it were a bit more Reggae-centric (and so do you) and maybe more consistent but I'm not disappointed, wholly, with "Voice Of The People". Regardless of how it registers, there's nothing that I've experienced here which will shake me from whatever it turns out that Ras Indio releases next. It is the case when you make such a fine entrance. Maybe a more varied type of fan will have that moment with this album, more Reggae heavy listeners, look to get on where I did.
Okay so, something a bit peculiar occurred to me a week or two ago while I was looking through upcoming releases.... actually that's wrong: What it did was to reinforce something that I'd noticed previously as being some rather strange behaviour.
A month ago (almost exactly to the day), we told you about "Oath Of Akae", the big new album from VI veteran chanter, Ancient King. That album came through Trinity Farm Music & Go A Chant Productions, who work together frequently (and may actually be the same group, who knows). Here's the most interesting part. If you've followed Ancient King's releases over the past couple of years or so, you may've noticed that he's released a couple of singles for GAC, exclusively, NONE OF WHICH appeared on "Oath Of Akae". Going back to 2023, there was a solid combination with Abja, 'Frankincense'.
Not only did 'Frankincense' miss "Oath Of Akae", but it also did not feature on "Journey Of Gratitude", Abja's own album on TFM/GAC, earlier this year. A week prior to that album releasing, there was another Ancient King single for Go A Chant, the CONSIDERABLE 'Word Sound and Consequence' (this song is excellent).
"Meditate not upon di ugly-
Of how ugly people is
If you I-ditate on the ugly, then you draw the energy to yourself
And becoming ugly, like the spirit you have in your head"
Also in there (even a bit more perplexing), was 'Be Soulfull', which was a fully Trinity Farm Music & Go A Chant Productions. Ancient King will never be confused for being the most melodically gifted of artists, but 'Be Soulfull' did a good job in showcasing that he does have more immediately pleasing skills while not drifting away from his typical approach at all.
And all of this happened while they still, steadily, presented songs that would appear on "Oath Of Akae". Tunes such as 'Hites', 'Tender Obedience' and the album-topping 'The Earth is Egziabheer' all reached between November and February. And the work is, CLEARLY, not done. Today (literally today, while I'm writing this), Ancient King and Go A Chant have delivered yet another single, 'Egziabheer Feed Us All'.
"Hey, it's a connection
So don't turn your back on the natural food from the land
Remember, dutty food, processed GMO-
Fling dat inna garbage pan"
Hitting on a topic that he also touches on during the brilliant 'Convenient Store Tree' which does appear on "Oath Of Akae", Ancient King takes a heavy look at physical health and nutrition and while you certainly do come across similarly themed tunes from others, I don't know if anyone is currently hitting the topic this hard and definitely not with the passion and detail that Ancient King is. 'Egziabheer Feed Us All' might even be slightly stronger than 'Convenient Store Tree'; I am THOROUGHLY enjoying this tune.
With a release schedule like this, it might make you think that another Ancient King/Trinity Farm/Go A Chant release is in there somewhere, but it may not be. If that is the case, so be it. So far, just about everything that they've worked on together has been BIG and whether they're building towards another project or just keeping current, I will be listening. Just thought I'd let you know. I'm going back to bed.
Fresh off the release of her big and brand new album, "Guardian", Dezarie is already back with a brand new tune, via IzaYoung Boy Production, 'Snaking'...
Frequency. Like in anything else, there were several pros and cons during a not too distant era of Reggae music where there were certain artists who were not only extremely active in producing singles for any number of producers but also in churning out a hard to keep up with pace of albums as well. While personally I look back at those times [increasingly] fondly, I do have to admit that they produced some very awkward moments in retrospect. During a time which probably started in the late 1990's and ran through a nice chunk of the 2000's, people like Sizzla Kalonji, Anthony B and Luciano would routinely release multiple albums per year, months and sometimes weeks apart to the point where, as I've said in the past, the phrase 'new album' from them could mean different things, depending on who you were talking about. It was all confusing as hell, probably not the wisest decision commercially (not only are you competing with someone else's new album for attention, you are also competing with your own) but, DAMN, do I miss those days. On the other hand, what such an odd practice could also do was to increase the likelihood that we were never not too far away from that truly special release or even just something that might resonate with us, personally, on a very high level. I look through Sizzla's catalogue and for every "Black Woman & Child", "Praise Ye Jah" and "Da Real Thing", there were a couple of sets like "Rastafari Teach I Everything", "Hosanna" and "Freedom Cry" which may not (were not) have been as celebrated or as good, frankly, but were just SOLID pieces of work that, in retrospect, received both their fair share of respect at the time and even today. The same era and practice also produced albums such as Anthony B's "My Hope", "Never Give Up" from Jah Mason, "Serious Times" by Luciano and others which have been called modern classics on these pages and had the set of circumstances not existed which materialized that release schedule, look at what we may've missed out on (because these guys would not have lived long enough to produce all of them with more terrestrial periods between albums (even with ones slightly less alien). The main point here and surely the one we're going to be dealing with more today is that, you could make a very powerful argument that you're far more likely to produce something REALLY GOOD (and REALLY BAD, to be fair) if you are active and not having these giant gaps between albums that we've been dealing with lately, in particular, around here (biggup Ras Shiloh, Qshan Deya' and Ras Indio) (Queen Omega as well).
Recent from Glen Washington
That overactive era is long gone and, most likely, it won't be coming back but there're certain individuals who are still striving and doing so in a way that shows that being active, again, just might bring something very powerful to listeners should they be paying attention. Of course I'm going to mention a current favourite, Norris Man (Chezidek would have been in this discussion a couple of years or so ago), the interesting I-Octane (whose new album, "God & I" (which is about a month old as of this writing) is SOLID. The one prior to it, "Dancehall Gift", was absolute trash), Bugle and I'm even going to mention Sizzla for a different reason as he's been dependable over the past few years to deliver a single project... but they've all been average at best. Still I'm hoping that he can give us one more big one before too long and him being active PRESUMABLY makes the chances of that happening (seriously, how can he not AT SOME POINT!). Someone else who definitely ranks within that pack in a very cool way is the truly esteemed Glen Washington who has been on a quiet ROLL as of late if you haven't been paying attention.
Five years and a month ago, there was "I'm Livin Well" for Willie Lindo & Heavybeat. A couple of years on, Studio One re-released an album by the name of "Wandering Stranger". 2022 also saw Washington link up with Spider Ranks and co. at Love Injection Productions for the second time in five years (following 2017's solid "Time Of My Life" ["Oh yes, I've seen the writings on the wall. What I would like to see? Freedom and justice for all"]) for "Mr. Washington" (actually surprised he hadn't had an album with that title before 2022). The next year, he also reunited with the Zion I Kings for the first time since 2012's aptly named "Masterpiece", for a lovely EP by the name of "JAH Children" and just last year, the Clarendon native was back at work, this time with LTK20, on "Feeling Irie". Glen Washington is like anyone else, musically. He has his ups and downs. However, his style isn't one that is on the 'riskier' side of things AT ALL. He pretty much always sticks to what works for him: Singing love songs and Roots music. Because of that (and that wonderful voice), it is very rare that you will come across an actual MISS from the singer. If you are capable of appreciating his style (and woe unto you if you are not), chances are pretty good that you'll respond well to a very large percentage of his output. The exception to that most certainly DOES NOT come in 2025 with a brand new album from Glen Washington, "Just Giving Thanks". If being active is a good sign for labels as well (and how could it not be) then you'll be thrilled to know that the new set comes through Tad's Record. Tad's deserve their flowers! They've given the genre some OUTSTANDING material in their time and their style --heavily straightforward Reggae and Lover's Rock-- matches Washington's PERFECTLY! I, literally, would have a difficult time coming up with someone with whom he has never worked that I would prefer Glen Washington to make an album (Stingray would be another good one, but I'd still favour Tad's in that comparison). When I SAW who was working on "Just Giving Thanks", I was pleased. When I started taking a listen to some of the actual music... I had an idea that we may've been dealing with something better than the already GOOD, typical work from Glen Washington and, again, perhaps without him being as prolific as he has been lately, maybe we don't such a release from a nearly seventy year old Glen Washington. So, does it pan out? Is the new album as good as I thought it had a chance to be???
Yup. I got one right for a change! If you were anticipating any type of shift in focus from Glen Washington on this one (you have some SERIOUS issues!), no, you will not suddenly find him changing things up after almost half a century of making music on album #whoknowswhat for Tad's Records.... called "Just Giving Thanks". If, instead, you've come for more of what probably made you a fan of his RICH music in the first place, I can guarantee that you will not walk away from this one disappointed and you're probably going to think it one of his finest releases, certainly in recent times. Getting things going is a song that is otherwise very good but contains a very odd lyrical... misstep is what I'm going to call it, 'Sweet Loving and Affection'.
"All I need is your sweet loving and affection-
All over my lower mid-section".
HUH?! I'm going to presume Washington through that in for a bit of comical relief; to just lighten the mood a little (in which case, it isn't a misstep). It made me laugh! Apart from that, 'Sweet Loving and Affection' is a fine love song. It has a lovely vibes to it. It hits a bit off-center for a spot in two (which is always a nice twist on these tunes) and it is very well delivered. DUH! Next up is a fine song with a bad title, 'Love Will Never Run Away'. I know what you're thinking and you're right. I agree. Yes. That title is kinda sappy. The song named after it, however, is GORGEOUS and it isn't your stereotypical, straight up, love song either. It also has a very nice and jovial vibes to it which almost gives it the feel of a Gospel moment to a degree and you'll find yourself moving SOMETHING at some point during its four minutes, without a doubt! 'Better Than Before' is the first single from "Just Giving Thanks" (I THINK) and it's kind of a stranger choice, in my opinion, at least on the surface. I would think that classic track behind it swayed a few votes at Tad's but 'Better Than Before' is a little awkward and takes a bit of time to adjust to. No such a gestation period is necessary on the 'Goodness and Mercy' which follows. 'GOODNESS AND MERCY' IS A REALLY GOOD SONG. That's it! It was at this point where I started to get the feeling that "Just Giving Thanks" had something a bit extra to it and that sentiment continued to snowball on what is EASILY one of the album's finest, 'Heart Attack'.
"Dis yah one will give dem heart attack
Trying to con mi and put mi off-track
They bound to get a heart attack
Saying bad things about me behind my back
Dis yah one will give dem heart attack
They're going to be in for a great, big shock
The wicked gets a heart attack
Judgment has come and the weak all flop
So many men try to put me down
Put mi under the ground
But it's the love of my Father, that's keeping me around
The innocent people they slay everyday
But Jah goodness and mercy will fade dem all away!
Many may falter in the valley of decision
Others will lose their way, caught up in worldly confusion
BUT SUCH IS LIFE WHEN THE WORKS YOU DO IS BUILT IN STRIFE
Everyone's got to pay for the evil games that they play"
BOOM! Judgment is coming and if you are living nasty you will not like the side you fall on is the heart of 'Heart Attack' as Washington, in a very controlled and mature way, casts his version of flames to negativity on a cut of the always nice They Gonna Talk/Just Be Good Riddim.
Despite its more than solid beginnings, "Just Giving Thanks" actually manages to rise noticeably higher in its middle portion, serving up several top tunes, including THE album's finest altogether in my opinion. The two love songs you'll find here, 'Loving You Forever' & 'Love Knows No Shame' (neither do titles. This is awful) (but it's a pretty good song) are decent, with the latter shining brightest between the two. 'Loving You Forever' is catchy, it's infectious and you will find yourself singing that chorus loooong after you've started listening to something else. For its part, 'Love Knows No Shame' has more of an ATMOSPHERE to it and it covers more ground than the stereotypical track of its kind. Then you check a song like 'Chant Them Down' and.... BOOM! What a BEAUTIFUL vibe this one creates. Take a really good love song and apply that same type of sound and pacing to a Roots song and you end up with is something that's probably A LOT like 'Chant Them Down'.
"When peace, like a river, attendeth my way and sorrows like sea billows roll
I GIVE THANKS AND PRAISES TO JAH EVERYDAY, FOR BLESSING AND CLEANSING MY SOUL
In my heart, in my mind, to the depths of my soul-
All the blessings of Jah will control
Jah knoweth the ways righteous
THE WAYS OF THE WICKED IS LEFT IN THE COLD
Yes, we come to chant dem down
Wi come to burn wickedness from their mind
Rasta come to chant dem down
And in our hearts only Jah love we'll find"
There's a certain... frailty and vulnerability to his voice -- more than usual -- that's, literally, humbling to hear. It's how someone talks when they're emotional but in a good way (like that tremble that might be in your voice when you ask someone to marry you) and it makes for one AMAZING song! Yet, somehow there's an even better song on this album, which just happens to come in next, 'Oh, To Be Like H.I.M.'. You want to talk about something that is "humbling", you listen to this song. No. I mean it. Seriously. LISTEN TO THIS SONG!
There exists someone else. This individual is SO great that THE GREATEST JOY OF MY ENTIRE LIFE is praising them. I have found nothing on this planet that makes me happier than praising His Majesty: That is what you get from 'Oh, To Be Like H.I.M.' and, on top of that, with that classic riddim behind it (which is also given its time to shine for the song's final minute or so), it is syrupy sweet and it is one of the best songs that I have ever heard from Glen Washington! Another outstanding piece of work that you will come across in the middle of "Just Giving Thanks" is the all sorts of interesting 'Square One'. 'Square One' is a song about revolution and progress and development and sparking change - all of those things ["When tyranny is law, revolution becomes the order"]. It's about improving yourself and your situation so that you can uplift yourself (and others). In that respect, it's easily amongst the deepest efforts on this album and one of the best, altogether, as well. Even though I should probably save it for the next paragraph, I'm also going to mention the towering 'Dreadlocks Conqueror' here (because, why not). "Just Giving Thanks" has hit full stride at THIS point. It is SOARING! The fact that there is any question about 'Dreadlocks Conqueror' NOT being its best song should probably tell you all you need to know about the quality here cause, TEARS! It's another praising track but it is equal part chill, jovial and just generally outstanding!
"Just Giving Thanks" reaches its end via three more top notch selections which may go overlooked to some degree, but really do a great deal in solidifying in my appreciation of it. The first and, arguably, the strongest of the three is 'Seeking Jah Love' which sits perfectly right after the aforementioned 'Dreadlocks Conqueror' (...as do all three of these songs, actually) in terms of its direction and purpose.
"I have gotten to the point of making a serious decision
If there's a bump in the road, Jah will help me to take me overload
Remember how we used to be when we were free
There were no pains, just peace and harmony
Now we're hurting ourselves
Hurting everybody else-
When we should really be seeking Jah love
We all should seek Jah love!
Now I have gotten to the point of making a conscious decision
As for me and my house, we'll give ises and praises to Jah
Remember how we used to be in Africa
We never bowed, we were artical African soldiers
Now we're playing ourselves
Hurting everybody else-
When we should be really seeking Jah love!"
I really enjoyed the way 'Seeking Jah Love' is structured -- with the "I have gotten to the point" phrase, basically being the punchline -- and it is wonderful seated in that old school riddim. Clearly Tad's understood what they had on their hands with this one as well as they also give it an extended playing to the tune of 'Seeking Jah Love' being the single longest track on this album by nearly twenty seconds. 'A Change Is Gonna Come' keeps the levels well high and taps a version of the durable Queen of The Minstrel Riddim to help it along. 'A Change Is Gonna Come' is, essentially, a social commentary with a spiritual core. It is also SUBLIMELY written, providing the album with one of its signature lyrical moments when Washington utters in this song centering around the idea of revolution:
"Very soon our sorrows will be over"
It is SO DAMN simple, yet so powerful and all-encompassing, really capturing an idea and a movement which seems bigger than this one tune. Finally (finishing this review a lot sooner than I thought I would) is 'Are You Ready', another highlight from "Just Giving Thanks". Another one with an almost Gospel-like feel to it (with a very distinguishable Reggae BOUNCE to it and I don't mean only in the riddim), 'Are You Ready' is just CANDY. Listening to it will make your ears (and probably the rest of you as well) feel good! Glen Washington is looking for some capable men and women who're ready to make a difference in the world for the positive. He's looking for people who can help in any way possible and by the end of a song that sounds like this I'm sure there will be no shortage of volunteers!
Something that I thought was really interesting that I notice from scrutinizing this album for the sake of this review that I didn't notice from a more cursory listen is the way the album is vibed. What I mean is: Normally I'd say that Glen Washington's music sits somewhere between that of Beres Hammond and Luciano. "Just GIving Thanks" is farrr more Messenjah than Legendary Leather Hat.
Overall, "Just Giving Thanks" is excellent. It is a very strong release and one which I'm thinking is not only going to satisfy the long and weathered listener but also be quite open and inviting for newer fans as well. I think that is a WONDERFUL quality that most of Washington's music possesses when he's at/near his best. This was just easy work for him. It was 'low hanging fruit' as Tad's Record serves up a bag of old riddims and Washington does what's expected of him throughout. Maybe it would have always been that case but with him touching so often these days, delightfully, it makes the presence of something especially potent even that much sweeter. "Just Giving Thanks" is the best Glen Washington album in over a dozen years.
