'Welcome Back!': A review of the Trippin Riddim

You're stuck with me. As I'm sure I've said at some point in the not too distant past, I'd like to think that one of my best qualities as far as being a fan of someone's is my loyalty. I'm hard to get rid of. It's going to take a lot more than dropping a few bad tunes or a long spell of inactivity or poor promotion to completely turn me off and you also aren't likely to have much success in using some type of ointment, special lotion or old family remedy either. Once you have me, you're going to have me for a long time. For example, he can continue to make dozens and dozens of less than stellar and certainly not live up to his IMMENSE potential, but I'll be an eighty year old man telling anyone unfortunate enough to have to listen to my old and craziness how amazing Turbulence is when properly motivated because of songs he made more than half a century ago by that point and I don't care. I'll be happy to do it. The same could be said for not only a great deal of other artists and albums and riddims and everything. If I truly love them and one day they end up with just a single fan - it’ll be me. Fortunately the situation with which we deal today isn't anywhere near as drastic as that and, instead, it's more along the lines of someone returning to… recapture what is rightfully theirs and me being in a full on hurry to give it to them. It seems like much longer than a couple of years or so, but it was only then when a burgeoning label from out of California had really caught a great deal of my attention and, really, a great deal of the entire Reggae listening world by virtue of making EXCELLENT music and having, at least for me, all the designs and signals of someone who was going not only be sticking around, but impressing at every stop along the way. That label, of course, was the wonderful Itation Records. It wasn't as if they were overwhelming in terms of their prolificacy or anything like that, but Itation had become one of my most anticipated 'stops' along the way in terms of their creations, which were varied, but centered around producing some really serious music and never disappointing with their output really. And when they were doing big things, without a doubt, they were one of the biggest and, again, personal favourites of ine… but it seemed as if they took break which was just too damn long! 

Itation Records' productions

So what exactly did they do? Well, like I said, Itation Records pushed some really serious riddims. Pieces such as the Higher Mediation, the Show Love, the Clearly and the Ifficial riddims all showed a huge level of proficiency and skill and that wasn't all either. The label would also have their hands in the "Vizionary" album from Ras Batch, which remains one of his finest records to date ["wi nah lose!"] and they were also the generators of the very eye-opening "Good Profile" set from the now FLAMING Delly Ranx. And all of that would happen between 2007-2010. The last riddim album they did (at least to my knowledge), the Ifficial, came late in 2010 and while they haven't completely vanished, they weren't jumping in every few months with a new track and that's unfortunate and was so in 2011. If you read my work to any degree, it's almost seemed as if the same attention that we now give to the WICKED German imprint, Oneness Records (and you know how much I love those people and their music), is along the same lines of how we used to talk about Itation Records.

"Vizionary" by Ras Batch [2008] & "Good Profile" by Delly Ranx [2009]

But we can start talking again. Following a 2011 which, at least to my knowledge, was very thin in terms of releases (though they did do a sublime tune in 'Never Keep You Waiting' by Yogie) (in stores now) and a 2012 which appeared to be headed for the same fate, Itation Records has returned [!] and they've brought with them something which helped to make fans out of you and me five years ago, a GIANT riddim. The Trippin Riddim becomes the first riddim album from the label in a couple of years, but it does not, AT ALL, fail to live up to the ridiculously lofty standards set by its elder 'siblings' form a few years back and while you do wish it had come last year, as I said, even if it had come twenty years on, my excitement for it wouldn't have diminished in the slightest. If you're a newer fan and I haven't made myself clear - this is a really big deal. Itation is really top class and the work they do has always been evidence of that. You may not like every song on every track on every album, but you always get the feeling from their work that they've paid attention to every detail and have put forth the best project that they can which is a quality that obviously survived the break. The Trippin Riddim also continues to show what had become a staple of Itation's in a major way (the aforementioned Oneness is also brilliant at that) - the assemblage of a very colourful and unique group of vocalists (and one major musician as well, more on that in a second). I can remember, after a couple of their riddims, just really getting energized and excited to see with whom they would work next and of course I'm a nerd, but I do these things quite constantly and I listen to so much music that when I notice something like that actually happening, it goes to be a very large testament to the work and work ethic of the label which, again, was really one of my favourites and, as you can see, there is an abundance of reasons why (and I haven't even really gotten into this thing yet). But now that Itation is back you know they can't rest and ride on their past successes (yes they can) and it's back to business as usual for one of the most consistent and high-quality labels going today. Let’s take a listen.

As for the riddim, itself, the Trippin Riddim has a very interesting sound. It has just a dash of R&B blended into one SWEET Roots track and, as is so important and as I alluded to (just a "second" ago) also has a nice piece to it. That piece is a saxophone contribution from the legendary Dean Fraser and I was so happy that not only did the label choose to include him, but they also chose to feature him so prominently so as to give him a credit on the album cover even ahead of the vocalists. He deserves it and the riddim is excellent. The first to take the new riddim release from Itation Records, the Trippin for a run is the always interesting Winstrong with the riddim's title track. The chanter, originally from out of Suriname and while I don't speak on/of him very often, I should make the mention that Winstrong, by far, is one of the most colourful artists around today in terms of the different sounds he mixes into his music. This tune is no different as it is a very R&B-ish (and I think it may even have an R&B song in mind at the chorus, because it sounds familiar) type of love song and in this case, I'm not complaining. It's a nice way to get started in showing the obvious dexterity of this track. Next in is a giant with a nearly just as sizable selection, 'See The Light' - Luciano. I love this song and although it is just a bit understated, at least for the most part, it builds throughout itself so nicely as 'The Messenjah' delivers his typical beautiful spiritually steered and originated social commentary (I could probably never get tired of hearing this man sing these type of songs). And wrapping up the initial group of tunes on Itation's Trippin Riddim is a song which now comes through as pure candy to my ears (I'll have to talk about this one for a minute or two). 'Disya Time' is a song which originally appeared on a fantastic album from just a few years ago by the name of "I-Meditation" from the great Mr. Goodwin, Ras Attitude. The first time I heard the Trippin and knew it as the Trippin, it sounded SO familiar to my ears and I knew that I knew it from somewhere. I even had lyrics in my head and it seemed like one of those points (which happens everyday) where you just ultimately can't remember where you know it from, but I actually looked at the tracklist (DUH!) and found where I knew it from. The original didn't have the saxophone, so maybe that threw me off, but regardless of the version, just as it was on the "I-Meditation" album, 'Disya Time' is an amazing song and it is the best song I hear on this track altogether. 

"Food nah eat and di place, it dread

[In this time]

Man ah get bucked and ah lose dem head

[In this time]

Wi still haffi hide wid di herb just to get a one red

[In this time]

Political corruption, unnecessary bloodshed

I & I caan believe inna dis ya time

The place red so and the place dread so

I just wanna free my mind

Mi waan fly away, as far as I can go

I'M hurt inside -

Fi si di biggaheads ah move like john crow

Police in di place with cameras and chips, satellite dish

What do you expect of this?

Dem ah boost more war, fi create world crisis

RASTA BOOST LOVE, THAT CREATE MORE NICENESS!

Wi ah bun dem all down, dem nah like it

All oppression - Rasta ready fi fight it!"

BOOM! Call it a social commentary, at its core, and 'Dis Ya Time', at least in my opinion is one of the better tunes of its kind from the modern era. It is also the signature track from a big album and now a big riddim likewise.  

Much like they still are keeping things apparently hot on the production and musical end, Itation Records have also kept a good eye and ear in terms of who they choose as the vocal artists as the Trippin Riddim, easily, features one of the finer roster of artists from any riddim this year (which is saying a lot). Definitely not the biggest name here, but I have to say, personally, I was REALLY happy when I saw track #13 on the Trippin, 'Sweet Jamaica' because it features an artist that I've liked for years (who also is a twin for my favourite aunt), Penthouse veteran Sweet C, who appears on the tune in a clever duet style alongside Gideon. Biggup Sweet C, biggup Gideon and biggup whoever from Itation made the decision to have on the track. The song is excellent. And speaking of combinations and longtime favourites - check 'We Overcome' which links a pair of my favourites in Messenjah Selah (anytime with that new album Selah) along with the man himself, Sizzla Kalonji. The tune isn't their very first together as the duo also united on a tune called 'Joy', a big tune from Selah's debut album, "Whosoever Will". This song, another winner, is a praising and uplifting piece and really you wouldn't have expected anything less with such a link between two major talents in this way. 

"Kalonji - I'm feeling the next level thing

Yeah! No media critique 

No mek di devil drink you like a cup of tea

Any thing mi sign, that must set mi free

Remember, you are The Most High property

So keep yah fyah blazing free

And elevate it mentally

Soon the world shall see:

Good always overcome inequity!" 

And on the other combination, the Trippin Riddim brings together Jah Sun and Stevie Culture on the stirring 'Pray For The Best'. It took a few spins through, but this song eventually won over my tastes and is a solid offering. 

Ras Indio's was another name I was very happy to see again on an Itation production and the Belizean chanter hits one of the biggest moments on the whole of this riddim with his wicked 'Hold Di Faith'. Indio has, "longtime", been someone who I've felt had that talent and style to take himself to the proverbial next level, as far as popularity and turning in material like this song is only going to help him and hopefully he can "turn in" a new album sometime in 2013. Have I told you about this great artist who used to go by the moniker Turbulence??? At his best, he's one of the most talented artists the genre of Reggae music may've EVER heard from (hopefully you caught what I did there). He too appears on the Trippin Riddim, and in a good form, with 'More Life'. Vintage level Turbulence WILL return one day and remain when he does, I'm confident, and this beautiful track is even more fuel for my point of view. I was also really happy to see Fantan Mojah on the Trippin as well. Mojah has come such a long way in his career that I think people have gotten so comfortable with him being there that they may not have noticed that he's just as strong today as he's ever been. His piece here, 'Rastafari Bless', has to be considered amongst the very best the riddim has to offer. He's always been someone who, almost like Messenjah Selah, always has this really powerful and LOUD presentation of his music and the results, at his best, are always these songs which sort of leap out at you and stand out so far from the pack as being so unique and of his own creation. This song is one of  the better ones I've heard from him this year also. Big, big. And you know if Fantan Mojah is around, he always brings the flash. The excellent singing and terribly underrated former 'Mr. Flash', Zareb, is also on the present with 'Ruff Time'. The singer is another artist who is going to find it hard to get rid of me as a fan because just about every time he has a new song, it's a great one and while he doesn't make nearly enough of them to my liking, in his case it proves quality over quantity every time. This song is another inspirational one and one of my favourite on the riddim as well. And the aforementioned Delly Ranx also returns to the studios of Itation Records to drop his nice tune 'Chant Me A Chant'. 

"Almighty God, HIM a The King of Kings

Don't put yah trust inna no car and rims

Don't make di devil bwoy tek weh yah tings

Cah even di winds caah wash weh yah sins

Praise The Most High and just joy that bring

Jah Jah is the Ruler, wid HIM you fi cling

Songs of praises, a dat you fi sing

Lock it inna yard and foreign

So mi sing -

Chant mi ah chant!

Chant mi ah chant!

Mi haffi bun down babylon inna di dance

Chant mi ah chant!

Chant mi ah chant!

Mi Afrikan family no live ignorant

Chant mi ah chant!

Chant mi ah chant!

Di devil and him friend dem nah get no chance

Chant mi ah chant!

Chant mi ah chant!

So wi haffi bun dem inna di dance

Mi haffi read a book of Psalm everyday

Mi haffi mek di devil and his friends run away

Wicked man vex when di righteous ah pray

Because dem know wi nah go di devil way

The Lord is my Leader, dem fi know dat

And HIM neva eva treat me like no floor mat

HIM give me di best knowledge and understanding

That's why Delly Ranking ah praise HIM" 

And even after all that, the well packed Trippin Riddim still offers more big tunes from big and talented names  (it's almost like Itation was making up for the lost time). Ask Kali Blaxx 'what's that in your palm' and  this time he'll tell you ["it's a medicine to keep my nerves calm"] (WHAT!) (BOOM!) (I digress) it's a strong song in the name of holding firm and maintaining oneself properly on 'Hold Your Crown'. TEARS! 

"I just ah keep it positive and still a gwan hail The King 

Cah wi don't know what tomorrow may bring

Even though t he livity so tough

Wi ah trod it through the rough

Cah wi don't know what tomorrow may bring

A little money start turn 

Save some of what you earn

You don't know what tomorrow may bring

Trouble no set like a cloud

Yeah, be focused, hold yah crown

Wi don't know what tomorrow may bring"

Someone, somewhere has to get to work on a full album from Blaxx. He's too talented not to have one. I say so! Ishi Dube could do that (he produced the aforementioned "I-Meditation" album and appeared on it, as did both Jah Sun and Winstrong) (AND… Attitude, Winstrong and Jah Sun all appeared on Dube's most recent album, "Lion Camp" as well) (small world), but in the interim he's making music of his own as he also reaches the Trippin in a big way with the fun 'Rebel Music'. I usually don't like the kind of 'spelling' tunes, but this one works for me. Ishi Dube is someone who has this great quality of being able to interject his own personality in a song and not come across very mechanical and lumbering, which is the complete opposite of this track, one of the most original and just BEST songs I heard here. Dynasty Records veteran and staple, Bobby Hustle, is also here with a sweet lover's tune, 'Words To Say' and Ras Ijah pushes the same with 'Still Loving You'. As I said, the riddim is very open to these type of compositions and both do very well on the  track. And rounding out the album are efforts from two artists I don't know a great deal about Soul Medic and Vidagua. The former brings 'Be All', which is actually very good if you give it awhile to grow on you. Medic actually was way back on the Higher Meditation Riddim and I think I may've heard one next tune from him, but he does have some skill, a fact which is apparent here. Vidagua is interesting because if I get it correctly, it is a group of two girls. I've only heard one or two songs of theirs as well and I didn't catch their effort here, 'Music Wash', in its original 'state' as it appeared on and opened their self-titled album from earlier this year. They do fantastically on this track which gets this really nice intro and vibes which Vidagua uses to propel a big song, which is one just giving thanks for the music, itself. It's very clever how they write about it in a way where what they are doing, indirectly is to make the listener aware of just how many places you go daily where there is this type of orchestrated sound and being thankful for it - in all of the various 'channels' in which music actually exists. It's brilliant! I've heard dozens of songs like this and so have you, but rarely, if ever, has it sounded so well done and I think I will have a listen to that album now. 

"When the beat hits my feet, I can't help but I'm moving

When the sound fills my heart and the melody's so soothing

Voices in harmony sounding oh so sweet

Music wash over me and bring me peace

Ever since I could remember you've been there for me in my times of need

Even when I could barely speak, I could feel your beat -

Surrounding my soul and in you I've grown -

To be the woman that I am today

Without you I'd be lead astray

I hear you whisper in the wind

Sometimes stumbling thundering

Flowing, rolling down the stream

While the birds sing in the trees

Leaves are rustling through the breeze

Hear you buzzing with the bees

You make life sound so sweet

I can't help, something comes over me

Peace of my mind good for my soul all the time

Washing over me like sweet water, divine

Bringing love to me and to all mankind

Your sweet sounds, they are so good for my mind

So thankful for the gifts that you bring to our lives

Your life-filling up of love, I taste in the nights

Helping us through our love, our pain, our sorrow 

Bringing us through to a brighter tomorrow 

Feel the rhythms of Batá, to the sounds of Samba

Add a little bit of Soul and some Reggae Rockaz

Some good R&B and a Folk melody

And a little Rock & Roll just to change up the beat 

Feel the hit of the drum and the strum of guitar 

A stroke of the keys can uplift your heart"

And closing things out, perfectly, is a clean version of the Trippin Riddim, so you can try it for yourself. It's absolutely gorgeous alone and preceding it are so many nice vocal tracks on this big riddim album.  

Overall, you won't find too many riddim albums, at least not in my opinion, from 2012 which rank higher than the Trippin, but really that is something to be expected. This is 'simply' what Itation Records does. They make really great riddims and I don't care if they took the next ten years off as a break (a very long break), in 2014, when they returned, I'd be listening and I'd be just as confident in their ability to do so then as well and I'd hold them up to the highest possible of standards. As usual, they leave me with a bit of 'homework' and in this case, I simply have to have more of a listen to Vidagua. That was very impressive. Also, moving forward, perhaps this starts a nice stretch where some of our not so active favourites, such as Bizzarri and Philadub and Rumble Rock and Greensphere come back and start doing big things consistently. As for Itation Records, however, the Trippin Riddim hopefully brings them back to stay and it gives me what I wanted - Another reason to tell you just how good Itation Records is. One of the best riddims and riddim albums of the year. Well done. 

Rated: 4.5/5

Itation Records 

2012

Digital

Review #405

Check It #44: In General

"African Glory African Story" by Mikey General [Qabalah First Music]

A really big deal - So Bredz (biggup Bredz) let me know that he had something coming which I was going to be really interested in and… as usual, he was correct. "African Glory African Story" is to what he was referring and it is the brand new album from Achis Reggae favourite, the most esteemed Mikey General. The album comes via the General's own Qabalah First imprint and, from early listens, finds the outstanding vocalist in a fine form and I cannot wait to hear the full set. "African Glory African Story" also features combinations with the likes of Toussaint and even Lutan Fyah. Looking around at the moment I can't see an album forthcoming in the next three weeks or so that I am more interested in hearing, so you can well expect a review of this one sometime next week. Pick it up for yourself as well - I have a very good feeling about this one. 

CD + Digital

"Continental Universal" by Jah Mason [Gussie P]

Also on tap this week was a project that I was sure was an old album that just never got around to materializing (and it may still be, because I do remember a couple of these songs) - it's another big deal as Jah Mason pushes with a brand new album via veteran producer/engineer Gussie P, "Continental Universal". You might recall the WICKED title track as well as a next piece in 'As The Wind Blows', from a few years back or so (I'm also almost sure that I remember a song called 'Gwan Choose Joy') and now they're both packed together with so much other material on an album which also features quite a few dubbed versions of the song. I don't know yet what I'm thinking here, but I am also looking forward to hearing the full thing here and, again, you can expect a full review when I get my hands on it. 

CD

The Downtown Riddim [TransAmazoniennes]

Next we have a sweet, SWEET Roots piece via TransAmazoniennes (which is a label, if I recall correctly, that is full on global - stretching from Guyane to Canada to France), the Downtown Riddim. The same label has quietly been experiencing a nice growth in the past couple of years or so and, along with a an album or two (most notably from Little Guerrier), I would definitely say that the Downtown is probably their biggest set to date. Also on board is Riddim Wise, from out of Canada who, I believe, actually built the Downtown. Big credit goes to both here because this riddim is NICE, with just a hint of both old school and new school textures combined to make one fine composition and definitely one of the better of its kind in this part of the year. Of course, a big riddim doesn't go very far on its own, it needs big tunes and the Downtown is afforded some of the most capable of names in the vocal department as it features selections from the likes of Sizzla Kalonji, Lutan Fyah, Turbulence & I Shenko, Perfect Giddimani, TransAmazoniennes artist Prince Koloni, the aforementioned Mikey General and others (like King Shadrock). Big riddim and album here. 

Digital

The Angel Eyes Riddim [Train Line Records] 

You might remember, from earlier this year, a very interesting and ultimately intoxicating Soca-fied piece called the Bing Riddim (with its just as interesting cover). The creators of that track, Train Line Records, now deliver their latest offering, the Angel Eyes Riddim. This is a more Roots oriented and geared piece and it too has very strong old school inclinations and it sounds just as fit in the hands of people such as Pressure Busspipe, Hopeton Lindo, Teflon and others. 

Digital

The No Joke Riddim [Royal Warriors Muzik] 

Next in is the latest from Royal Warriors Muzik from out of Nina, still basking in the glow of their solid album release, "In My World" (I think that they used our review as part of the press release for that album, which is fantastic, biggup Royal Warriors) from Jah Van I just a few months back is back with another new riddim, the almost completely old school-ish and Dubbish, No Joke Riddim. It's interesting because between the album and this release, RWM also did a track called the Nah Joke Female Riddim and, although I am terrible at these type of things, the two seem fairly similar to my ears (which likely means that they aren't at all and probably aren't even in the same actual genre). Unsurprisingly, you won't find any members of the female gender on board this one, but you will find, along with JVI, Djama Keita, Kulu Ganja and, of course, Bhy2R. 

Digital 

The Ruff Time Riddim [Brick House Records]

Brick House Records is up next and taking a bit of a detour, at least from what I know them for, in putting up their very nice Roots track, the Ruff Time Riddim. The label, to my knowledge, has almost exclusively dealt with Dancehall to date, but things are different this time around. In only five tracks the Ruff Time manages to impress not only musically, but by the names it attracts as well. Lutan Fyah, I-Octane, a flaming Norris Man (had a big year), Erup and Nature all take turns on the piece and all produce winners of varying degrees to my opinion. 

Digital

The Melodical Fyah Riddim [Union World Music]

Union World Music, from out of Austria [I THINK], has been receiving a nice amount of deserved attention on the strength of their own new production, the mighty Melodical Fyah Riddim. I wasn't very familiar with that label outside of an album that has… a nearly unforgettable cover (which I don't think I ever actually listened to, which should indicate just how recallable the cover actually was), but the Melodical Fyah ensures that I won't soon forget them. This, as its title would portend, is a riddim which is very cool, but can create a bit of an edge when necessary. Entrusted with the responsibility of making it sound good is a big roster of artists pinnacling with Sizzla Kalonji (alongside Neiman), Perfect Giddimani, Ginjah & Danny English, the scalding Kabaka Pyramid and even Ilements. Really nice work on this one and it's already proving to be quite popular, so check it out for yourself. 

Digital

Di Genius Productions 

Following the recent release of the… NASTY Face Off Riddim (and I mean that in a good way), Stephen McGregor and co. are back at work, releasing digital tunes again (not that they ever stopped) and lately they've put out a noteworthy pair of tracks via Dancehall stars Agent Sasco and Mavado. The former delivers the very colourful and typically creative 'Material Girl', which takes more than a while to do so, but does actually grow on you (or it doesn't, your choice), while the latter just does something else. The typically quiet, unassuming and reserved Mavado (who I just didn't listen to very much in 2012) chimes in with the official release of a song from a month or two ago, the quiet and unassuming and reserved 'This Morning'. I did like this song, but I don't know if it was because… I did like this song or because that riddim is just so much madness. BOOM! Of course, McGregor also has other tunes constantly running (including another from Mavado, 'Special Kinda Gyal') and you know what you're dealing with, so you can generally expect the quality which almost always shows up. 

Digital

"Skillmatic" by Skillinjah [Ganjah Records]

I still don't know a lot about Skillinjah, but I thought that I'd mention the fact that he does have a new album running (which may actually be his third) because, most notably, the album, "Skillmatic", actually contains a song which you should remember from the ReggaeVille Riddim, 'Call Of Duty'. That actual track does not appear on the album -- it is an acoustic version of the song -- but if you liked it, and you may've check out the his new album. 

Digital

Coming Soon 

"Free Indeed" by Midnite [Higher Bound Productions]

And lastly we look ahead to an album I know very little about, but was actually expecting. Surely you didn't think that Vaughn Benjamin & Midnite would just allow you to make it to the year 2013 without giving you something and they're doing it now twice. Besides the dubbed out version of "Children Of Jah", which we are still waiting for, there's also another forthcoming album, "Free Indeed" via Higher Bound Productions. This album becomes the third Midnite album for the imprint following 2007's "Bless Go Roun" and "Ark A Law" three years on. Those aren't two of the most well-regarded Midnite albums, but they were at least solid and, presumably, "Free Indeed" would follow along those same lines, although it'll be hefty task, more importantly - following up on the work from earlier this year in the form of two exceedingly good albums from 2012 - the aforementioned "Children Of Jah" and the disturbingly underrated "In Awe".

CD + Digital [I THINK]

'Step Forward': A review of "Check Your Words" by Reemah

Blooming. I'm always looking for and listening for new things and, specifically, new artists to add to my 'regular' listening rotation and although that is something which can very much be a complicated process, at times, it is almost always worth it. So, hopefully I won't live to see myself as this kind of stale, jaded and just irritating type of fan who is stuck in their ways to the point where they can't even listen to something new, whether the deviation from their usual habits is great or virtually non-existent - I may not like it when I hear (and I usually don't) - but there's always room for new things which are good and new people with talent, wonderfully. If you keep up with Reggae music today, this is something which has been completely constant in this era and, looking forward, I like to think that one of the, if not the, most significant development/occurrence in this current era of the music is that it opened wide the proverbial gates and EVERYONE came running in. By far one of the most significant areas which has taken advantage of this, of course, is the Virgin Islands who continues to churn out not only GREAT [and an unconditional level of greatness] vocal artists, but great producers, albums, songs, musicians and just a substantial amount of music which has come to help, at least partially define a generation. Going deeper, is it not so interesting to anyone else how, even when it seemed, just a few years ago, to be a great dearth of actually skilled and dominant female artists and particularly of the Roots Reggae style before the emergence of Etana and the prime of someone like Queen Ifrica (anytime with that new album Ifrica), the VI just continued to produce them. We look at people today like Dezarie who probably has some of the most passionate fans and is amongst the most respected of artists - in the entire genre, regardless of gender. And along with her are names such as Mada Nile who we recently looked at (big new album, "Dream Big", in stores now), people like Sistah Joyce, Lady Passion, Jahdesta (yep…), the Positively Nelsons, Empress Nyingro and others who, at this point, have established themselves as artists to watch in varying stages of their careers, respectively. Well we now have to shift them around, and shift everyone a bit, to make room for someone who has just so adroitly added to her name to that list and added their music to my playlists, Reemah.  

"Break The Soil" by Bambú Station [2006]

An interesting thing happened on my way to Reemah. Like so many of her talented peers, the first time you heard of the St. Croix born Reemah was likely on her work alongside Bambú Station. The chanter would appear on the group's very well received "Break The Soil" album from 2006, guesting on an excellent track by the name of 'Chance To Grow'. Clearly so impressed with her work, Bambú Station would also go on to produce an EP from Reemah, "No Questions" in 2008, and really set her course in motion to an inevitable album and while it probably took a little longer than anyone (including you) had hoped, it got here. 

I actually received Reemah's brand new debut album, "Check Your Words", a few months back - maybe sometime in August… ish. And I gave it a quick and cursory listen before moving on to a few other things that we've done lately and I got busy in general (meaning I stopped pursuing my black belt in the ancient art of procrastination). It had, basically, become one of those albums that I'm sure everyone has, where it just kind of slipped through the 'cracks' and I'm sure I would've come back to it eventually, but up until quite recently, it seemed like a perfect future candidate for a 'vault review'. What changed that??? I have great readers. One of our favourites, JP, linked us and was extremely passionate about a new album he had recently picked up… which was called "Check Your Words" by someone named Reemah or something like that. He was wondering why I hadn't mentioned it yet and if I had heard it at all, because he thought it was excellent. He was right. Even in a brief listen, Reemah can (and she did) make a fine impression for so many different reasons. First of all is her delivery. She's part singer and part chanter, but completely LYRICAL. In terms of style (not sound), I would say that her closes comparison would be to someone like the unearthly gifted Queen Omega, as they both have this sharp and ever-present 'edge' to their style and where Omega will, occasionally just seem to get ANGRY and go after a track, Reemah will do the same and when she does the results are booming. Also, you don't get to hear it too often, but Reemah also seems to either have or has the beginnings and hints of a top notch singing voice, because she has this very LOUD sounding affect to her voice. There also appears to be a slight bit of influence of the great Vaughn Benjamin in her. I'm probably the only one who'd make that connection, but the way this woman has this tendency to go on these lyrical tirades is somewhat reminiscent of the lyrical extraordinaire frontman of Midnite (there's also a Midnite-ish cover on this album). All of that goes to make one very interesting figure, regardless of who she/he would be and also someone I'm somewhat disappointed that I didn't musically delve into a bit further back, because she would have definitely become part of that constantly mentioned group I like to refer this year (biggup Sara Lugo) (biggup Toussaint) (biggup Mark Wonder). She's fantastic. But how good, exactly was "Check Your Words" and can I actually write this review without word checking it (I can and I will!). The album proves to be, easily, be one of the finest debut sets I've heard in quite some time and, if you had any doubts remaining at this point, Reemah well figures to be someone sticking around for the long ride and is a welcome addition to the genre as well. Let’s do it!

'War'

Feel Line Records takes credit for this album, but heavy listeners are sure to find some familiar moments sprinkled in, musically, throughout the album and it's always nice to hear how different voices and different minds take on some of your favourite riddims, still going strong. Reemah manages to give them a second-wind of sorts and, simultaneously, she's also sure to breathe of a bit of life into your collection should you exercise a bit of common sense and pick up, and then actually listen to, her debut album (biggup Achis), "Check Your Words". Getting us going is a HEAVY piece in 'Hypnotize'. Like many songs on the album, in one way or another, the opener is a social commentary. This song also happens to be divine from a sonic point of view. It's a really nicely vibed song and it brought a smile to my face as soon as I got into it. I'm confident it'll do the same to you, but definitely pay attention to what is being said as well. Next up is the very familiar 'Better Way', which happens to utilize the Grasslands Riddim, with which you should be well acquainted already from it having 'grown' all over the MAMMOTH shot that was the "Joyful Noise" album from a few years back and birthed several big tunes ["redddddddd hot!"]. Reemah uses it to deliver a spiritually geared look at the tangible world today and she hit's a level of brilliance in the process. 

"Somebody ring di alarm cause more body come

Everybody warring - tell me is it worth it?

And it's a far cry, but we got to try

And I pray that one day, we realize that this isn't working

Majority caan escape the poverty, oh Lord this is a tragedy

Why does it hurt like this?

Can't fight the feeling, to see how everybody grieving

The world is in a crisis

This is to the people out there

We've got to find a better way

Got to break free, have no fears

Let's find a better way

Everyday, another youth blood running cold, inna plain view

Somebody please make a rescue 

And some a di parents not even old enough to pay rent

Lord we need a breakthrough

Looking out at society - so many broken dreams, what does it say to me?

Emptiness, Lord please feel the vacancy

HOW CAN THEY SAY THEY CARE AND STILL LET THIS BE?"

This was really the first indication I got on "Check Your Words" that I was dealing with a truly superior talent in terms of writing and it didn't stop there. Next up is a boom and a signature track from the album, the COMPREHENSIVE 'War'. This song… It made me sing with it and then it made me concentrate and it made me feel good - it's just an absolute JOURNEY of a song which examines war in society in obvious and not-so-obvious channels. As it develops, the tune well takes on something Benjamin-esque and Reemah just begins damaging!

"…Experimental disaster - human/animal chimera

Moving faster long di new wordless order

Ethnic cleansing - blood of humanity spill over

Just look upon di frontline - war and terror" 

You can, without any worry at all, drop in at any point during "Check Your Words" and find something which is big and interesting with the real star, as I said, remaining Reemah's powerful word imagery throughout. Of course, I was very interested in hearing the title track to see in which direction it would go. It took me a couple of spins, but what I finally got out of it was that it was a message from Reemah to some of her peers who may be singing righteous songs, but not living too righteously. This one is DEEP and, for someone like me, a really ripe piece of musical discourse as it can well take some time getting through and I'm still really getting through, but it was long ago that I decided it was a big tune to my opinion. The song immediately following the title song was another title I was looking forward to hearing and it did not disappoint, 'Dominion & Control'. This is a song more addressing the system of corruption and those who fall (and in some cases, willingly and without knowing it) within it. This was just a very intelligent track and one, again, would be very nice to start a discussion surrounding. Speaking of corruption (and intelligence), the BRIGHT 'In Dem Purse' finds Reemah weighing in on people who… do all kind of nastiness for the sake of making money. She takes a big step further than that by directly criticizing and addressing the system which 'creates' people who are like that in a lyrically dazzling display, which pinnacles on the BLASTING second verse of the song. Check the glorious 'Wanderaz', which well sounds, at least at the chorus, like something you'd hear from the aforementioned Dezarie. Here, Reemah goes after the zombie-like and lost people of the world who appear to be like regular people and may even sound the part, but are completely empty inside. 

"While they observin', ready to throw a couple of words in

Ready to tell you about your shortcomings yeah

And still I feel and know is the worst thing -

TO BE LOST WITHOUT EVEN THEIR KNOWING"

The very familiar tones of 'Jah World' which, as its title suggests, tells all to show some RESPECT for the world does not belong to you and I, but to a much greater power. Similar to that song is the fine 'Live In Love', which is a song that I have actually heard prior to this album. Again, while it's more of the mental side of things, this is a tune speaking of how important it has become for people to live more righteous and upstanding lives, if for no other reason, than to show respect to The Almighty ["life is so much more than you're thinking of. Jah dun give enough for every one of us"]. And the final tune on "Check Your Words" also follows along those lines, 'Try Love'. I was actually expecting this song to be more of a 'love song', meaning in the typical sense of that phrase, but it's more of a broader composition and a song which isn't necessarily falling in love (although there're definitely some elements of that here and if that is the conclusion you came to, I wouldn't actually disagree with you), but more about using love as an actual, semi-tangible, force to inject some goodness into yourself and those around you. Beautiful song.

'Try Love'

NOW! With all of that being said, there were three (four, if you include ‘War') songs on "Check Your Words" which really stood out to my opinion and, coincidentally, all three selections, in their own way, feature Reemah showing just a bit more fire and edge, which really makes for such an exciting song as a listener. 'No Questions' which, obviously, was the title track of the EP Reemah did for Bambú Station from a few years back and a golden song.

"Evil in all places

Babylon working overtime, trying to destroy youths mind

Convincing words while they smile

Eradication of all but their own kind

Moral crisis and infanticide

Obsessed over credit, now it gone worldwide

Why won't you show them who you really are under your disguise?

Go to go out and burn down all babylon sign!

So don't ask no question no!

Just burn down babylon

And wid di torch inna hand -

Fire to come burn down all evil one

Don't ask no question, no!

Just burn down babylon

And wid di torch inna hand -

Fire to come purify all di wicked ones"

BOOM! Reemah goes on to outline a whole heap of disgusting-ness taking place in the world today and says that there is "no question" that things must change for the betterment of everyone. I love the urgency behind the delivery on this tune because when you listen to what she is saying, it isn't the type of thing you say with just any type of tone. You get angry and she does that, which gives this song an 'organic performance' type of a feel and maybe even something you'd hear from out of the arena of more traditional Spoken Word. BIG, BIG song. 'Judgement Red' is another piece which really hit me and while the fire may not blaze as hot as it can on this one, Reemah distributes an absolute master class of a piece, again, not sounding so greatly unlike Mr. Benjamin ["open Jah door and enter"]. And finally is my single favourite song on the whole of the "Check Your Words" album, a song which I immediately gravitated towards, the MAMMOTH 'Due Time'. 

"Hear dem out

Hear wah di streets talk bout:

'No justice. No peace', dem shout

One more politician - one more doubt

One man cry represent all bout

Unfair practice dem dun spiral route 

Make sure you feed your mind not just your mouth

Blind repetition cause spiritual drought

Sure, inna these times, the weak weed out

The real, camouflages make-believe

What is on your screen was already conceived

Isn't it ironic how you wipe your plate clean?

What yah gonna do when we level the playing field?

Uh huh

Time fi ease di tension

Inna due time fi ease di tension

Cycle repeat inna slow motion

Renegade style fi shatter the faction

Fi real - time fi ease di tension

Inna due time fi ease di tension

Cycle repeat inna slow motion

Renegade style shatter the faction

Mental slavery -

Dem still ah chain we

Dem waan wi remain ignorant and getting used daily

Religious fanatics, no dem neva speak plainly

On wid dem struggle a di focus mainly

Lost originality

No morality

I chant truth and I chant reality

Supply di work and still ah form charity

Hide underground and dem leave out di majority

What pon di TV, dem get caught, believe me

Living inna world where nothing no come freely

All dem deh loan what dem care bout really 

ALL ON DEM KNEES AND DEM STILL A SLEEP EASY

You feel me?

Truth be told: The pressure coming back tenfold

No amount of money cannot save ya soul

Caan box me in, cah me no on ya payroll

What kinda livity wah dem ah uphold?

Some choose life and some ah choose bowl

Some choose humility and some ah walk bold

Wi no follow fashion cause dem fashion too old

Find truth that's your own cause di strong stand alone

Hey, let me read your prophecy 

Full circle ah come around wid a tenacity

Sabotage life now you come out wid a casualty

No more you plead, it time fi you pay ya penalty"

I mean… just… DAMN! The track rides the same riddim used on 'Rise & Fall' from the "Black Gold" album by Toussaint and featuring Jahdan Blakkamoore and it tops that excellent piece in my opinion as Reemah comes through with a huge track and the best moment on the album in my opinion. 

Reemah

Overall, I don't even know where start here. My only actual critique, I guess, is that it would have been nice to hear Reemah do a combination or two with someone (and you probably could have picked almost anyone and I would have been happy with that, but if you left it to me, easily I would have chosen Queen Omega). I  think that it would have been a very nice change of styles, inherently, and hopefully we can expect some of that on album #2. Until then, however, Reemah doesn't have much to work on at all, she's about as complete of an artist, for her style, that you'll find and is, in fact, already is one of the most naturally gifted female artists from out of the VI and, as we've already established - that is a very big deal. So while it may've (it did) take me way too long to get around to making it happen, "Check Your Words" finds Reemah well making another very passionate and happy fan. Me. Excellent. 

Rated: 4.65/5

Feel Line Records

2012

CD + Digital

Review #404

'The Arrival': A review of "Mental War" by Uwe Banton

I'm ready now. On just about every other aspect of every other subject, I tend to be someone who is wrong farrrrrrrrr more often I am right, but I do still trust my judgment when it comes to music. Although I have had my share of incorrectness over the years (Turbulence was supposed to be king by now), generally speaking I think I do a pretty good job of forecasting quality - be it an album or an up and coming artist - and then, obviously, enjoying it greatly when I am correct (and writing large reviews about it in observance of the occasion). This year has very much offered a fine, and somewhat fitting, example as I will continue, every chance I get [!], to remind you that, for two years, I told you just how strong the next album, whatever it was going to be, from wonderful singer, Mark Wonder, was going to be. When it, "Working Wonders", arrived it was fantastic and I can also say the same thing about "Know Thyself", which turned out to be the 'next album' from Ras Batch. Today we don't have something as clear because the artist in question likely has hundreds of  thousands of fans/supporters more ardent than I have been, but despite the fact that I haven't necessarily been the world's greatest Uwe Banton enthusiast, I knew that whatever he was working on, whenever it reached, would be very sizable. I always like how an artist can kind of reach a point of success in his/her career and achieve a great deal and do so largely outside of my attention or the attention of many Reggae fans while still being so very popular amongst many others, but when you finally do tune in to their music, you immediately hear exactly what so many fans had heard and why they were so passionate about that artist. It's something, at least in my opinion, which has always spoken to the prevailing globalization of Reggae music as, somewhere out there, is an artist you have NEVER heard of who is making a brand of the music you'd LOVE, but they're going to be three or four albums and thousands of fans deep into their career by the time you catch on. And maybe for you the album we look at today will be that type of an eye-opening experience in terms of the German based Uwe Banton, and in a 'semi-formal' sense it if for me as well (this is the first of his albums that I've reviewed), but actually my eyes began to open in this case a few years back. 

Uwe Banton

What happened? Uwe Banton released an album by the name of "Rightful Place". That album didn't 'change my life' or 'take things to another level' or make me sweat (incidentally, should ever you find a song which actually makes you sweat, just from listening to it, please let us know about it!), but it was very strong. It was the moment when I had to take Uwe's as a name to remember and look forward to future releases from because what was on that album showed someone who had either developed to the absolute heights of his abilities or was very near doing so and was just an excellent musician. "Rightful Place" wasn't his first effort either as the chanter had also released an album in 2006 by the name of "JAH Roots", which I still don't think I've listened to completely, but contained a GORGEOUS tune on one of Pow Pow's old riddims, 'Hail The Man', alongside South African star and Achis Reggae favourite, Black Dillinger. 

"Jah Roots" [2006] & "Rightful Place" [2009]

So, like I said, I was well tuned in to what he may be bringing next, and "next" just recently walked in the door as Uwe Banton now brings forth his third studio album, "Mental War". I wasn't frantically looking forward to this album and I hadn't 'circled' it in the way I did the afore-alluded to "Know Thyself" and  the aforementioned "Working Wonders", from even before they had names and actual music, but I was DAMN confident that this was going to be a very nice project and an early listen (more on that in just a minute) only increased that thought. I didn't know a great deal about Uwe Banton (but I did know that he keeps good company, because Bredz (biggup Bredz) sent me a picture showing Uwe alongside a most familiar stranger), but apparently the veteran has a history in Reggae music dating back to almost as long as I've been on the planet and his music also displays that. Uwe Banton is a Roots Reggae artist. There are no huge surprises in listening to his work, you know what you're getting and he is very good at what he does. Also I should mention that, in specific regards to this album, there were three or four people who sent us messages suggesting that I well have a further listen to "Mental War" (one of whom was Daniel, who may actually be the smartest person in the world and another was Markus from Da Ville, who is… just outstanding and always very helpful) after I had mentioned it previously - and you all were correct. The album comes via Rasta Yard Records, which was also on board the "Rightful Place" record, alongside the venerable Al.Ta.Fa.An, who has worked magic alongside so many fine Roots Reggae artists including (but definitely not limited to) the aforementioned Mark Wonder, Sizzla Kalonji and Gentleman and, really, at this point if you are a fan of modern Roots music, their work is likely very familiar to your ears, whether you realize it or not. With all of that behind it, if there remained any question to the actual quality of this album, it is exterminated upon 'sight' as the briefest of listen reveals Uwe Banton's latest piece of work to at least be on par with its predecessor and perhaps (it is) even a step forward. From a listener's point of view, also, this album, although it has spots, has one dominant trait which I found to be so nice and one which isn't always present, even on 'GREAT' albums: It's just nice to listen to! Ultimately, "Mental War", despite its title, proves to be one of the better listens in the genre in a year 2012 which has been magical. Want to know why? I'll tell you (even if you don't want to know!). 

'Work' featuring Mikey General [2012]

Uwe Banton's musical approach is a very straight forward one. Because of this, at least in my opinion, he exhibits a very nice trait and unfortunately quite rare one - every song he makes is about something. That may make no sense to you, but if you listen to enough of these things, you are sure to find hundreds of songs which're almost uncomfortably broad and, ultimately, pointless. But you won't find a single one of those amongst the thirteen from this album. That is evidence of a striving work ethic by the artist, which is something he speaks on directly on the first song on "Mental War", 'Work'. This song was the previous "early listen" I mentioned because I believe it is actually the first single here. And if Ms. Lugo wasn't enough (and she DEFINITELY was), Uwe Banton continues to show that he keeps good company as this song, the first of four combinations on the album, features another of my favourites, fine veteran singer, Mikey General. Again, this song is very uncomplicated and its message comes through crystal-clear as Uwe and the General push a fine display of giving a maximum effort in ones life and using everything that you have to achieve what you want out of it. I do really like this song and I LOVE the idea of Uwe, or whoever, coming to the decision that Uwe Banton and Mikey General on a tune together would be big, because they are. Excellent start. We shift from 'work' in the direct sense to another form of work on the second song on the album, the sterling 'Education'. 

"When I think about the youths today

I know the children need good education

To give them what they need in life

To cope with ever-changing situations

Teach the youths the truth, cause that's the only way to build a better nation

And let them make good use of what they learn for all the coming generations

The only way to guarantee for equal opportunity

Encourage creativity, fulfill responsibility

So let them know their history

Their roots and their identity

One God, One Aim, One Destiny -

The only way we can be free

Cause knowledge is power!

PASS IT ON!

Every minute, every hour

PASS IT ON!

Give them the right books to devour

PASS IT ON!

So more blessings can shower

PASS IT ON!!" 

This tune is beautiful - if you listen to it in the dark, your ears will glow - and I think it has a bit of 'hit' potential because it combines a great cause and excellent lyrics with a vibe that is downright intoxicating on easily one of the best tunes on "Mental War". And rounding out the opening of the new album is another winner, the big praising tune, 'From Yuh A Walk With JAH'. TEARS! Love this song! It may be slightly stronger than either of the songs preceding it and it caught me the first time I heard it (and every time after that as well). It's a beautiful song, a very smart one and the chorus there may just be the finest on the album. 

Along with Mikey General, Uwe Banton taps a nice lot of artists to make appearances on "Mental War". 'Better To Know' is a nice song featuring the talented Cornadoor, also from out of Germany (had an album a couple of years back, "Without Restrictions", with an EXCELLENT song on it by  the name of 'Here I Am') and those two make a good pairing, leaving the significant punchline, "it's better to know than to believe". Jahcoustix joins in on the stirring spiritually-themed social commentary, 'No Control'. This song is another favourite of mine as it combines such a lively and moving feel with a crucial message, which can be said throughout the album on various songs. 

"Why can't they see that the children deserve better?

More faith and courage to become a trendsetter

What did they have in mind, when they gave the permission -

To build more bombs and guns and so much ammunition?

But right now is the time, to break with that tradition 

So listen to my lyrics and my composition

Cause every child needs good education

No more bombs to cause more devastation" 

The other combination on "Mental War", the album, is 'Mental War', the song and it features Uwe Banton alongside the legendary Luciano (yes, he has songs featuring both Mikey General & Luciano) (WHAT!). I was very curious to hear the direction of this track, especially considering how the rest of the album plays out and it is, essentially, a social commentary, but it is a STRATEGIC social commentary. The sound here is nice, but the arrangement of the song and what is being said just of these kind of dueling philosophies between good and bad and righteous and unrighteous, stimulates the brain in so many ways that I'm going to call this one my absolute single favourite song on the album named after it. There's just so much intelligence here that while it may not make your body move as much as some of the others, trust me - your brain is your skull dancing and smiling the entire time. BOOM! 

"Mental War" continues to impress without Uwe Banton's companions on board and shines brightly in spots as well. Such a moment would certainly be the album's obligatory ganja song, 'The Roots Of It [Cannabis Song]', which has this charming 'sing-a-long' quality to it which might make you (like it did to me) laugh at some points and is just a nice song to make you feel good. The same thing can, and is going to be, said in reference to 'Love Sweet Love', which actually chases the title track here and turns things up very quickly. This one is just kind of an ode to LOVE in all of its various forms and how the world would be so much better if it received a love boost - like this song. 'Love Sweet Love' also has a remix which closes "Mental War" which is syrupy sweet just as good as the original. 'Thought I'd Let You Know' is the actual (in more traditional terms) 'love song' on the album and on it we find Uwe missing his special someone as he travels the globe performing his music. When I first heard this tune, my attention immediately went in the direction of that riddim which is a diamond. It's fantastic [!] and the song wrapped around it takes a minute, but it grows on you as well. Check a special pair of antiviolence tracks in 'Can't Forget' and 'Put It Down'. The former is somewhat complex as it relays an encounter Uwe had with a woman "standing on the roadside, begging for a dollar", whose family and life had been destroyed, yet so many people walked by her. I could go in so many different courses with this one about how this woman is a metaphor for so many different people and situations, but I'll leave that to you. What I will say, however, is that it's another of the highest ranking tracks here and I also see a nice route from it straight to the album's title. For its part, 'Put It Down' is a sweet acoustic piece which may actually require a lighter in-hand to listen to. It is that kind of slow building and subtlety JARRING type of piece and, when it hits its stride, it also becomes one of the album's most entertaining pieces alongside the message (I told you I could say that often here). 

"All of di gunman, mi beg unuh

Fi put it down!

All of di gunman, mi beg unuh

Fi put it down!

It don't serve no good purpose -

Taking your brother man's life

Making families live nervous

And no institution has the solution

SAVE YOUR STRENGTH FOR REVOLUTION" 

And lastly check the sublime 'Ithiopian Ites', which is a piece I took as one just trying to inspire people to clean up themselves in every way. The obvious detriment in failing to do so is to be deprived the presence of His Majesty and while I wouldn't, at all, call this a HARSH or condemning type of piece, Uwe Banton makes it abundantly clear that you do not want that and neither does he on another fine selection from the album. 

Overall, I told you a long time ago (it actually wasn't very long ago, this was a very easy review to write) that this was going to be such a solid album and I think it may be even better than I thought before digging into for the sake of this review. If you listen to Uwe Banton's style, alone, I don't think that you'd come to this conclusion, at least not initially, but I found "Mental War" to be such a REFRESHING album. And it isn't like listening to an album from someone like a Toussaint or a Sara Lugo where so many different things are organically compiled to come up with a sound which is, almost inherently, invigourating and breathtaking when at its best (those two can't help it, almost, when they sing, that is just what occurs) - like I said, Uwe Banton is a ROOTS REGGAE ARTIST and this is a Roots Reggae album from beginning to end. But it becomes refreshing to, firstly, listen to someone so clearly knowing what they are doing, having a musical purpose and a command of how to meet that purpose and secondly, someone who doesn't go about doing those things by linking together… downright tattered Reggae clichés, which aren't to be found on this album at all. "Mental War" is an exceptional album from an artist in Uwe Banton who, for me, had displayed everything I needed to hear to know he was capable of such a thing and while I certainly have arrived late to his 'party' - watch how hard it is to get me to leave. Delightful and I knew it would be. 

Rated: 4.45/5

Rasta Yard Records/Al.Ta.Fa.An

2012

CD + Digital 

Review #403