The ages. The older I get, the more appreciative and respecting I become of the adage 'you don't know what you've got until it's gone'. Things change so often and so unendingly that it seems so many times that, once you've gotten used to something and maybe have started to enjoy it, that thing is gone, outdated and we've moved on to the next. Theoretically (and actually too since we can't do anything to stop it), this is just fine. Things should evolve and progress (or regress, depending on your point of view) in order to not stay stagnant and this couldn't be more apparent than when you apply it to music. Different generations of people produce different sounds. If you say it like that, it makes perfect sense and it kind of hobbles (even more) the old man on his soapbox talking about, 'well back in my day...', telling the youth how shit their vibe is. They should be different. They behave differently. They speak differently. They dress differently and they should enjoy and make a different type of sound. That being said, however, when you are on the end of things where you are supportive of the outgoing trend... well, it's kind of fucked up and I find myself there these days when it comes to Dancehall. I try only to lift up what it is that I miss instead of stepping on what I hear these days (out of fear of being that old man that I just talked about) (no one wants to be him) but damn do I miss 90's and 2000's Dancehall. There was a clear and obvious sound there which differentiated it from any other in the entire world, to the point where you could play a riddim behind an artist from another, from anywhere in the world and what they would come up with would be described as 'Dancehall infused' or 'Caribbean infused', something like that. You'll STILL hear that description, in fact, if it happens with an older riddim but, outside of that, you're normally only going to get that if you literally have a guesting artist from Reggae. In the current sense. It's gone... but, like I said, I'm not going to step on anyone in this review. The riddim 'culture', in general, is largely a thing of the past and I've heard several individuals lamenting the change over the years (biggup Red Rat). As far as the sound, what we have these days is far more akin to what you'd hear in Hip Hop circles (don't love Hip Hop, never will love it) and that infectious, hypnotic, thudding bounce that once characterized the entire sub-genre has become so frustratingly rare and difficult to find.
Once upon a time it was inescapable. Perhaps, a very easy way to quantify just how prevalent riddims were would be to look at one of the genre's most popular compilations ever, the once mighty Riddim Driven from VP Records. Way back in 2000, the series began with its very first edition, The Chiney Gal & Blazing, and would spend the next decade or so bringing together some of the Dancehall's and Reggae's biggest riddims before concluding in 2010 with The Classic. Coincidentally, at literally the exact same time, VP's biggest competitor at the time, Greensleeves Records, was busy with a series of their own, the Greensleeves Rhythm Album Series (original, I know). The difference between VP and Greensleeves, at least for me, was that Greensleeves would deal with a bit more in the way of... GRIMEY kind of Dancehall music and, right up until the near end of the series (which actually went Reggae), I found myself rarely surprised by which riddims would end up on the GRS and it definitely had something to do with how the pace was initially set and by whom... with what.
Ward 21 & Greensleeves
The very first installment of the Greensleeves Rhythm Album series would also arrive in 2000 and it would go on to do some serious damage of its own and also showcase the prodigious behind-the-scenes talents of its creator. I don't even know what's the very first thing that comes to the minds of most fans when they hear the name Ward 21 these days but I'll tell you what I'm thinking about when they come up: DANCEHALL. Even all of these years later, the Ward's Andre 'Suku' Gray remains one of the very few maestros on whom you could fully depend on to deliver genuine Dancehall music, via his Misik Muzik label. Way back in da day, the Ward was working on making their name and building their reputation in doing a lot of work for the immortal King Jammy and, of that early union, was born a legend (probably more than one if you really think about it, but one in particular), the indomitable Bellyas Riddim. Within the conversation of the single greatest riddim of all time, in my opinion, the Bellyas has a seat at the table. It's in there somewhere and with good reason. The Bellyas is dark. It's heavy. It's THICK. It's a lot to deal with and it especially promotes SKILL. It isn't the easiest riddim to dig into and deal with, which is always a great quality because you can literally hear certain artists struggling to find a melody in their delivery against others who do so effortlessly. It also helps when you manage to pull in what is undeniably one of the GREATEST DANCEHALL SONGS OF ALL TIME from one of its most gifted of champions on your riddim as well. Looking back, though the Bellyas has gone into a catalogue full of damaging creations from the Ward (alongside others from the time such as the Bada Bada, the Volume, the Da Joint ["It no matter if you have yuh friend dem fi defend you. From you dis The King, dat mean a hell man ahgo send you"] (biggup Determine), the ALL CONQUERING Trilogy and a few others), it probably stands out as THE best track they've done to date still (though the Trilogy does run it very close). Ward 21's catalogue represents a bit of a golden era for Dancehall music for me. Their work, at their most active and best, was downright thrilling, looking back and I MISS IT! At the time, of course, you think it's going to go on forever but now you realize how venomously BRIEF it really was. Most fortunately, there's nothing at all that says we can't go back and relive just how DAMN NICE it was. Let's talk about it.
There was a time when I can recall being downright frustrated at just how often or in-often Greensleeves would actually release albums by artists. In comparison to feeding their riddim series, for several years in there, it was a rare occurrence at times. Ward 21 was a favourite of theirs also. The group would supply the label with three of the first five tracks from its rhythm album series (and, subsequently, go on to release their first two albums there as well in 2001 and 2003, respectively) (both of those albums, "Mentally Disturbed" & "U Know How We Roll" have aged excellently, btw). That includes the very first edition of Greensleeves Rhythm Album series, the Bellyas, which gets going with what is, CLEARLY, its greatest moment 'Who Dem' by Capleton. I'd likely go as far as to make the claim that 'Who Dem' ranks as one of the finest modern Dancehall tracks EVER and it's the best song the Bellyas backs, as it was also the best on Capleton's opus, "More Fire" (...and probably any other album that you'll find it on as well); but you knew all of that already. The unfortunate task of following 'Who Dem' FORTUNATELY fell into the most capable hands on the Bellyas, the Ward themselves, who check in with the first of a pair of offerings, 'Model and Pose'. Though the lesser of their two, 'Model and Pose' is still a pretty good time albeit one which strives and almost revels in how basic it is (especially for a W21 tune). Later, the Ward returns with the stronger and significant (in an entirely ridiculous kind of way) 'Blood Stain'. While 'Who Dem' is THE best song on this riddim, 'Blood Stain' holds a serious claim to being #2. This song is madness and it wholly exemplifies what Ward 21 does when at their best: Along with allowing Suku, the "Deep Voice God", to do what he does, the others create chaos around him but it's still fairly centered. I think it says much that, between 'Model and Pose' and 'Blood Stain', only one of them was featured on the Ward's subsequent album, "Mentally Disturbed", and 'Blood Stain' was the one chosen. Although cringy (with all that damn moaning), Mr. Vegas''Two Minutes More' actually proves to be relatively solid, in retrospect. It makes its way based largely on being pretty clever, lyrically, and Vegas also sustains well (there's a term here that is popular, "flow", I kinda hate that word but that's what I mean by "sustains"). I wasn't much of a Vegas fan at the time (am moreso now but still not a HUGE fan) but credit goes where it is deserved. Speaking of sustaining, Beenie Man provides a heavy dosage (biggup the doctor) of sustenance all over his cut of the Bellyas Riddim, 'Skettel Tune', which features the handiwork of Angel Doolas as well. I hate to say it but in the name of transparency (whatever the hell that is), I've always felt that 'Skettel Tune' would have been better if it were sans Doolas. Typically, I think his presence is well welcomed but not this time. His offerings are kind of awkward while Beenie damn near shines. Moses completely sparkles the next time we hear from him on the Bellyas with another track that could very well be #2 and is, AT LEAST, its second most recognizable selection, the brilliant 'Heights of Great Men'. You listen back to it now and it kind of represents a brief golden era in Dancehall when giants Beenie Man and the aforementioned Capleton were having a bit of a spat and 'Heights of Great Men' was a large part of Beenie's public offense on the subject ["So tell mi how di hell you go sign to Def Jam"]. Chasing the album's first combination, 'Skettel Tune', is its second, this time featuring a triumvirate of Dancehall regulars from the era: Elephant Man, Lexxus & Kiprich; who team up on 'Ghetto Youths'. None of the three offer what I consider to be their absolute best effort but, at the same time, none of them necessarily struggle either. 'Ghetto Youths' was, ultimately, an OKAY tune and it still is but its most remarkable (at least to my ears and maybe only mine) is that it appears to receive an ever so slightly more enthused version of the Bellyas than pretty much everyone else. Lexxus also gets another run out on the Bellyas (yes, I'm about to end this big ass paragraph) with his second piece, 'Halla Halla'. Again, there isn't much to see on this one. While I won't call it annoying and it does have its moments, 'Halla Halla' wasn't a standout in its day and it doesn't carry much weight in 2026 either. Fuck it, I'll mention 'Naah Go Switch' here as well, Kippo's solo track. This tune goes unexpectedly hard for what you may've been expecting. It's full pre-warbot Kiprich and it's fun but it isn't stellar in any way. Kiprich would later show his class on such songs but 'Naah Go Switch' wasn't quite there (this is probably THE longest paragraph I have ever written).
The Bellyas also featured the infamous 'Skin-A-Slap' by Red Rat. I don't know if I ever had a great emotion (of any kind) towards this one but, all of these years later, I can recognize only the positives. 'Skin-A-Slap' is absolutely hilarious:
"....my yute, yuh cellie
'Tell dem fi call back'
But my yute, a Kelly
Mi nah tell her nothin, better you come tell it
MI NAH KNOW HOW YOU AH SHH... SO LONG AND MI NAH SMELL IT"
I can remember quite a few people (I think even Beenie Man) having a problem with 'Skin-A-Slap' and although I can see the (hear) (not SEE) (thankfully)(...no one wants that) the source of the controversy, the song featured the underrated (including by me) rodent on a creative and entertaining pillar. I was never the biggest fan of Red Rat's and I was even less of a fan of Alozade back in da day (there were a few of them back then who just never did much for me and he was one of them) (Buccaneer was another one) and it was kind of sweeping, for the most part. I can't name a single one of his songs that I even sort of enjoy and his cut of the Bellyas, 'Prowler' most definitely isn't the exception. I won't dwell on it for long but the chorus on 'Prowler' is... challenging, there's way too much of it and I'll leave that there. A contemporary of the Rat and Alozade's challenges W21's "Blood Stain' for the champion of the second quarter of the Bellyas Riddim album as Spragga Benz delivers the absolutely blistering 'Praise'. Spragga dazzles on the Bellyas in a way in which is a little deceptive (and I mean that in a positive way). He meets the aggressive track in a way that sounds as forceful but it isn't. This is a masterful matador with a bull and, easily, one of the most skillful displays on the whole of the Bellyas (arguably, THE most) (not the BEST song but the most adroit). Someone else who definitely hits the target is the Ancient Monarchy, Frisco Kid, who checks in with 'Wash Pan'. Although kind of funny at times, the women-empowering cut is a strong display of one of the more overlooked and undervalued talents of the times (I have a very healthy appreciation for what Frisco Kid was able to do with his career these days and he's still out there). Madd Anju may not necessarily appeal to everyone (no one does though) but I've always appreciated his skills and the characteristic 'Dat Nuh Mek It' didn't detract from that appreciation at all. Generally, there's a comedic value to his work and that's found all over this one:
"Gal weh have baby like puppy
DAT NUH MEK IT
Big big man weh fraida duppy
DAT NUH MEK IT
Man weh have stinkin foot
DAT NUH MEK IT
Gal weh too hype and can't cook
DAT NUH MEK IT"
For me, as I've said in the past, Anju is one of the most inventive artists the Dancehall has ever produced and, when he's anywhere near his best, it is a FULL JOY to listen to his work. I also have to mention Mega Banton, who I'm also a fairly big fan of, who went in a controversial direction with his tune, 'Tight Pants'. Songs like this one have an obvious baggage to them these days but I have a very large level of respect for for Mega's talent but if you don't, I do understand why (...if this is the only tune you've ever heard from him and ONLY if this is the only tune you've ever heard from him) (otherwise, you have no excuse at all). Goofy (Mr. G) (I think either name is fine with him these days) does just fine with his piece on the riddim, 'Naah Heng Out'. Goofy (like Red Rat) was a member of the once mighty Main Street crew, helmed by Danny Browne (the most talented of which was General Degree) and he had some very nice songs. 'Naah Heng Out', which cleverly combines more typical/terrestrial Dancehall topics with more substantial ideology (primarily being anti-abuse of women) would have definitely been on the higher end of Goofy's releases in my opinion. You'll find a slightly stronger tune featuring the two on the aforementioned Badda Badda riddim (and they've also had another one since these two) but 'Live Up' is another very high level selection linking together Bushman & I Lue. Their other track, 'Send Dem Come' is a near personal classic for me but 'Live Up' holds its own and interjecting a well received bit of excellent consciousness into the madness here. In retrospect, I'm actually kind of surprised that things didn't turn out better for I Lue. He is incredibly gifted (and still out there, just had at least one big new single a couple of years ago, 'Love Rastafari') and though the stars never seemed to quite align for him to reach a level of stardom, his catalogue is well worth going through, even today (also had a big tune on one of my favourite compilations ever, "Culture Dem", called 'The Sabbath').
The remaining trio of selections on the Bellyas are by veterans and name from the era who I don't feel really hit the mark with their selections. The bottom of them is likely 'Tight It Tight' from Jack-a-Diamond. This one is about exactly what you think it's about and it just isn't very good and it's non-imaginative. J-a-D is someone else who I never really caught on to but I have seen a number of interviews with him and find him to be a very impressive human being, for whatever that's worth... in a music review. Slightly ahead of 'Tight It Tight' would be 'Mix Up Time' by Hawkeye. I was never a fan of Hawkeye's either (he had a tune called 'Twingy Twang' which had a pretty good run. I fucking HATED that song) (and I just listened to it and I STILL FUCKING HATE IT) for some reason and this tune, at least for me, never really got off the ground. And lastly, 'Wi Like It' also didn't do much for me but neither did its creators, Tanto Metro & Devonte. The derivative (of a song from the 1980's by the name of 'Tom's Diner', by American singer, Suzanne Vega) chorus of 'Wi Like It' is painful. It is tough to get through and it comes off as a really cheap way of trying to find a melody on the Bellyas and it did not work at all for me (though the rest of the tune isn't anything special, it's far better than its chorus).
The very fact that the Bellyas album (like most of the Greensleeves Rhythm Series albums) even existed in the way that it did is a rather large statement on the state of those times. It was too damn long. It just was. Checking in at north of seventy minutes, spread over twenty tracks, you got ALL of the Bellyas that you wanted and so much more. The very fact that they did this at a super-consistent rate FOR YEARS (which, obviously, means that they were happy with the revenue that they were receiving from them) definitely speaks to the strength of an unfortunately long gone time in Dancehall music. And I also have to mention that Bounty Killer NOT being present on this track is one of the most regrettable situations of particular artist missing particular riddim that I can think of (Lady Saw, Ce'cile or Tanya Stephens would have been nice as well)... and there not being a clean version of the riddim included is also kinda criminal (thankfully, however, the internet masters have remedied that).
Overall, no, the Bellyas Riddim ALBUM wasn't the greatest riddim album from Greensleeves (if you're looking for the pinnacle of the series, check the later editions, which would go Roots and tracks such as the Diwali and the Masterpiece, from Lenky, where the riddim changed many times over the course of the overstuffed album) but.... DAMN, WASN'T IT SO MUCH FUN! It still is and, listening back to it now, it has not only a nostalgic appeal to me but also one which (almost certainly because of its rarity these days) almost sounds revolutionary. It sounds like something that could set a trend. That is a credit to the riddim's creator, Ward 21 and the lasting quality of their work. Now, when you place it in the context of, again, an album that is... admittedly downright exhausting at times what you ultimately end up with in the Bellyas Riddim album a quarter of a century later is a celebration of a classic and absolute juggernaut of a track. One of the best Dancehall riddims of all time.
#10. "Dub Of Serenity" by Marcus Gad & The Zion I Kings [Lustre Kings Productions]
I was debating on whether or not I would slap a review on this album prior to placing it on this list and I ultimately decided against it (although I did start to write it, so you may get it at some point in the first few months of this year) because I thought that it would speak more to the overall quality of it were (like one more entry here) the VERY first time I ever said a word about it declaring it one of the best albums of 2025. "Dub Of Serenity" is a dubbed out version of a five year old album ["Rhythm Of Serenity"] that, to be completely honest, I wasn't thrilled with. It was OKAY but absolutely nothing that I would call special or anywhere near special. HOWEVER, "Dub Of Serenity" STUNNED. Some of the music on this album was flooring and it's gotten to the point for me that "Dub Of Serenity", on the rare occasions when I'm not really listening to anything, is WHAT I'M LISTENING TO. If I need noise - this is it. It shouldn't come as a surprise, given the fact that the music comes via the lock-reliable Zion I Kings (who you'll see again here at a very high position), but what they were able to do here, with Marcus Gad's old album has to be considered some of their finest Dub work to date. You won't see this album on any other such list (and, normally, I exclude dubs and instrumentals from my list as well but I HAD to include this one), of that I'm sure, but I don't give a damn. This thing was gorgeous.
#9. "Sibusiso [Blessings]" by Perfect Giddimani [GIddimani Records]
Much like the first entry on this list, the MUSIC on "Sibusiso" was fantastic and it, too, would spawn a Dub version (literally, like a couple of weeks later) and with good reason. The Sinky Beatz guided set spoke nearly as much to the power of its producer as it did to the most unusual gifts of its most peculiar star, Perfect Giddimani. The presences of top notch peers, Lutan Fyah (may or may not be hearing from him again, later) & Anthony B only added to the soaring vibes of "Sibusiso", as did Perfect reaching with tunes such as the fantastic opener, 'Another Marcus Garvey', 'Jah We Pray', 'Selassie White Horse', 'Him Presence' and the MAMMOTH, ALL-CONQUERING 'Africa Mother Land' ["Mi chop off di chain but mi nah cut di African link"].
#8. "Treasure Self Love" by Lila Iké [Ineffable Records]
Unless I'm really overlooking something here, Lila Iké's full debut release, "Treasure Self Love" would have been the most purely popular album featured here and that's no surprise. It's star has proven to be a compelling story both in and out of the studio and then there's the matter of the actual music... "Treasure Self Love" GLOWS. Iké's style, inherently is one that makes for a certain beautiful sound (I'm convinced she can probably make pretty much any type of genre and her results would be of high quality. Her singing in the shower is probably better than a few honourable mentions for this list). She did manage to incorporate a few different styles throughout the album but it never drifted too far away from Reggae. A FINE example of this would be 'All Over The World' which featured Protoje (who produces) and 'He Loves Us Both', with H.E.R. They were not alone on the high end. I don't know what the hell 'Sweet' was but it GOLDEN, so was 'Brighter Days' which is probably the best song on this album, 'Scatter' and the delightfully nostalgic 'Romantic' which brought in Masicka and Patra whose 'Romantic Call' was remade sorta/kinda to a towering effect.
#7. "Star Of The East" by Yeza [Rorystonelove + Black Dub]
I semi-alluded to "Star Of The East" previously in talking about "Dub Of Serenity" because I THINK its appearance here will mark the very first time that I've ever mentioned it but the lyrical CLUBBING that Yeza gave to us all on "Star Of The East" was unignorable. Yeza channeled Jah9 (and did so, coincidentally, with Rorystonelove who also helped bring Jah9 to prominence) but turned up the aggression just a little. In doing so, she provided 2025 with its punch in the face. She kicked us all about a bit and we did not complain at all. The fairly straightforward project, basically, served as a platform for which Yeza to display her often devastating talents on and, in that, "Star Of The East" was almost perfect. Yeza SCALDED listeners with the title track, 'Road Runner', 'Ism Schism', 'Piss Up' ["Hotflashes like menopause"], 'Preacher Man' and 'Real Heavyweight' but she also cared for us a bit with 'Edge Control' and, in a strange way, 'Rude'. Yeza announced herself here to stay with "Star Of The East" and it's time we all got used to her being around.
#6. "Just Giving Thanks" by Glen Washington [Tad's Records]
Certified and verifiable VETERAN Mr. Glen Washington essentially did what he always does with "Just Giving Thanks".... he just gave thanks, made some love songs, slapped a cover on it and called it an album and WE LOVED IT! His next album will be exactly the same and so will the one after that. If it ain't broke... "Just Giving Thanks", for as basic and expected as it may have [it was] been did a wonderful job of putting on a full, vibrant display of precisely what Washington does best. You won't find smoke and mirrors on winner such as the title track, 'Heart Attack', 'Dreadlocks Conqueror', 'Square One', 'Seeking Jah Love' and, of course, 'Oh, To Be Like H.I.M.' What you will find instead are quintessential and vintage vibes from one of the greatest to ever do it and someone who has earned their own stripes and, obviously, enough for more than one generation. One of Glen Washington's best albums EVER.
#5. "Worthy 2 B" by Jah Myhrakle [Gold Den Arkc Records]
If Belizean chanter, Jah Myhrakle piqued my interests with his contributions to what turned out to be the second best compilation that I heard last year, "Heart Of One", he full-on made a fan out of me with his album, the weighty "Worthy 2 B". This album, in retrospect, has two very large things in its favour. The first of them is also its most identifiable quality (for me) and that's the fact that it is, EASILY, one of the finest WRITTEN songs of 2025. Myhrakle has a very clever and colourful way of making his points. He takes the proverbial "scenic route" in his writing and absolutely EVERYTHING is available for the sake of analogies so we, as listeners, are best off having some form of knowledge before going in (and he clearly expects that of you, otherwise much of Jah Myhrakle's work probably won't make much sense to you). The other thing that you notice on "Worthy 2 B" that really sets it apart is that there is something SUBTLY and CAREFULLY important sounding about this music. The best of it sounds like exactly what you would think it is: Music for a King.
#4. "Andromeda: Sign Of The Times" by Sydney Salmon & The Imperial Majestic Band [Irie Sounds International + Imperial Majestic Productions]
I'm going to reference #7 on this list in regards to how an album can have such an open and inviting sound to listeners. In that particular case, Lila Iké did combine a few different genres beneath the umbrella of Reggae music. Sydney Salmon & The Imperial Majestic Band, on the other hand, accomplished the same results without stepping a foot 'outside'. On "Andromeda: Sign Of The Times", Salmon & Co. charted a sound which was entirely Roots Reggae of a modern and old school variety - no question about it; but I'd make the case that, as a result, they also made one of the most OPEN and APPEALING albums of the year. Maybe I'm biased (I am, there is no "maybe") but I have a very difficult time imagining how someone is incapable of appreciating something on this album. This is what I would think most people set out to make when they embark on making a Roots album these days: For it to end up sounding like "Andromeda" and being able to find an audience amongst fans of the genre, new and old, and if someone who isn't at all a fan just happened to come into contact with a clip of it in some way, they'd also want to hear more. 'Africans Alive', 'Blessed', 'My Banner', the TWO eponymous tracks... I could go on and on. The entire album is brimming me with BEAUTIFUL 'best case scenario' Roots Reggae music.
#3. "Stay Up" by Spectacular [Carabeo Records]
When everything is finished and all of the scores have been tabulated, I'm not expecting to see Spectacular's "Stay Up" on too many lists such as this one, despite that I'm ranking it so highly. This album has a large and glaring issue and to ignore it would be irresponsible, AT BEST. "Stay Up" is too damn short. It just is. It's nine track and not even forty minutes long. So by the time you REALLY fall into it... that's about it. You've already heard the entire thing. What it manages to achieve in its brevity, however, is... yeah. It's spectacular. Spectacular's style can be one that's somewhat difficult to adjust to. He can be aggressive to an almost overdone degree at times (I'd reference UT Ras but there is no way in hell you're familiar with UT if you don't know who Spectacular is) (Jah Thunder would be another one). He can be HARSH but when you find a vibe that suits him, like the Forward Ever Band does throughout "Stay Up", you can mine gold! Try the brilliant opener, 'Jump Ina Fyah' or the downright exhausting 'Justice' ["I play Nyabinghi inna di middle of the street. Play Nyabinghi because it sound so sweet!"] (or both of them) as FLAMING examples of this. Want more? 'The System' might do it for you and so might the SMOOTH 'Hardcore'. More still, Lutan Fyah (who dat???) and Lymie Murray show with contributions and I haven't even mentioned 'Bag A Weed', which is the album's single finest tune altogether.... ALL OF THAT IN JUST NINE SONGS. Were it just a bit longer, no position on this list would be outside of the reach of "Stay Up" but that's just my opinion.
#2. "Guardian" by Dezarie [Dezarie]
Dezarie brought her spellbinding and dazzling form of Roots music to 2025 in the form of her brand new album, "Guardian", and accordingly, awakened her legions of most passionate and loyal fans and certainly made some new ones as well. "Guardian" was as THICK and HEAVY as you knew it would be but, despite also being a relatively brisk (and for the sake of comparison, "Guardian" is one song and one minute longer than "Stay Up" and it is rated ONE spot ahead of it), this album has the feel of a much longer release. In my opinion, even scratching the surface of the gifts "Guardian" has to offer requires at least three or four listens, on the lowest of ends. If you want to receive EVERYTHING?... I'm still working on that and I'll let you know if I ever feel like I've accomplished it (I will not). Tunes like 'Back To The Future', 'Criminal', the EPIC 'Immortal Combat', 'Lion Is Lion', the title song and several others (I say "several others" after naming five songs on an album with only ten) (....so pretty much the entire album) develop more and more as you tune in what Dezarie is actually saying. In 2025, Dezarie demanded that we all step up our game and if you did, you realized the absolute GEM that she left for us in "Guardian".
#1. "Strength & Resilience" by Lutan Fyah [I Grade Records]
It's the Zion I Kings who are bookending this list with Marcus Gad at #10 and crowning it with the second album they've done with the great Lutan Fyah, "Strength & Resilience". CLEARLY something is happening here as the first time artist and producers collaborated for an album, on 2017's "Music Is Life", the results were also special (and likely would have been the best album that year from us, were we not on hiatus at the time) but I'd argue that they even outdid themselves there as "Strength & Resilience" reached and IMMEDIATELY headed for the stars. I'm partial and biased in both cases. I've been a fan of Lutan Fyah's from, basically, the first time I heard his music and I've also enjoyed the work of the ZIK, collectively and individually for maybe even longer (coincidentally, the first time I heard the "K", Lustre Kings Productions, was probably on a compilation album by the name of "Culture Dem" and WHO HAD THE VERY FIRST SONG ON "CULTURE DEM"????) ["All man on earth should know, who is King Selassie I!"] (BOOM!) and I don't want to overly-dramatize the matter but years and years of chemistry was crystal clear throughout "Strength & Resilience".
Two guesting artists being two of the greatest of all time for me certainly didn't hurt things either, Queen Omega lent her monstrous talents to 'Days After Summer', while the immortal Vaughn Benjamin added to the infectious BOUNCE of 'Just The Time' ["BUT I CAN FEEL IT NOW!"]. Also present was a gentleman, in a very good form, by the name of Chronixx who delighted on 'Freedom Sound'. The album also featured extremely high caliber instrumentation (DUH!), which goes without saying on a ZIK release but (I have a point I'm making so give me a second. It'll all make sense) I don't know that I can recall a single album where the music was as.... all-encompassing as it is on "Strength & Resilience". There is a genre here. This is truly modern Roots Reggae music; but there isn't a centering sound, necessarily. It covers EVERYTHING. It's moody & brooding ['Pieces of Broken Soul', 'Strength & Resilience', 'Tomorrow From Today'], it's vibrant and lively ['Protect Your Energy', 'African Children'] and it's also everywhere in between ['Drain The Swamp', 'Leader Before Me']. In terms of an actual artist's album and not a Dub album, which they're very fond of making (as we've already established today), "Strength & Resilience", MUSICALLY, may be the single greatest piece of work that I have EVER heard from the ZIK, in retrospect.
For his part, Lutan Fyah meets and matches the might of his maestros with a magnificent lyrical display (DUH AGAIN!) and, again, you have to qualify that because he's ALWAYS in a fine form, lyrically, for me (the standing critique of Lutan Fyah is that he doesn't have the greatest command of melody -- and he does not and he never will -- but his craft with words has long been beyond question for me) (not REALLY, if he started speaking nonsense, I'd say so). What he manages to do on this album, however, as a complete body of work has a seat at the table in the conversation of being his greatest performance as well. "Strength & Resilience" was also THE greatest performance from anyone last year and THE BEST REGGAE ALBUM OF 2025.... and all negativity banish from within.
The Africa Movement Riddim [Conquering Lion Records - 2026]
1. 'Faith' by Quan Nelson 2. 'Hail Adonai' by Jelliss 3. 'Guidance' by T'Jean 4. 'Wisdom Over Hype' by Dahvid Slur 5. 'Amharic Verse' by Daweh Congo 6. Africa Movement Ridim
Okay so, I had mentioned this one (sorta/kinda) in a review that I did a week or two ago because I'd had my eyes and ears on it already for a few minutes ahead of its release but the Africa Movement Riddim from Jallanzo The Dubwizard and Conquering Lion Records has now been released and it is thriving mightily at least on one front (but more like a couple, actually). While all of the tunes are at least solid, there're a couple of standouts that I think you should REALLY be paying attention to.
"Propaganda dem ah spread but it can't change di facts-
That the first man and women dem was one wid locks
A di same bloodline run deep in us
Melanin inna mi skin like a burning pot
Wid hair like wool and foot like burning brass
Everybody haffi hail The Negus Negast"
The first of them is definitely the mighty 'Hail Adonai' by Jelliss. Jelliss has been coming on over the past couple of years or so (downright EPIC love/ganja tune he had, 'Medication') but he also had a few big tunes that I've run into throughout the years, particularly one called 'Back To Reality' (which sounded like something from out of the ZIK catalogue) that well caught my attention, so I am aware that he possesses a certain level of ability. Were I not aware, however, 'Hail Adonai' would have certainly remedied that.
"WICKED SHALL BLOW AWAY, JUST LIKE A TRASH"
The other song here that you'll be doing yourself a favour by donating a whole heap of time to is the ABSOLUTELY MAMMOTH 'Amharic Verse' by Daweh Congo, the single best tune on the Africa Movement Riddim and... probably one of the best songs that I've heard in a minute (I seriously have difficulty NOT playing this record).
Also appearing on the riddim are Quan Nelson & Dahvid Slur, with tunes that are at least decent, like I said, with the latter, with 'Wisdom Over Hype', being quite strong, actually (Slur sounds a bit like Chronixx at times). The talented T'Jean also checks in with 'Guidance', which is also good but is a delightful listen. As I song, I wouldn't place it ahead of 'Wisdom Over Hype' but for pure sonic appeal, 'Guidance' is lovely. And you also get a LOVELY clean version of the riddim itself with a bit of effects added in, making for an almost Dub-like experience. Golden.
Be sure to check out the brand new and GORGEOUS Africa Movement Riddim because it isn't like you have anything better to do.
First up this week is something that comes as a bit of a disappointment as Eesah recently dropped his brand new (and well anticipated by me) album, "Success", for Evidence Music. Though I'd heard some of the clips of the music and had an idea of what to expect, I guess it didn't hit me, fully, as to what I was listening to until I had the entire thing in my hands. "Success" isn't at all BAD necessarily and it does showcase the ample talents of its star but it's about half Reggae/half R&Bish and, again, I guess I shouldn't have been surprised but... damn I was hoping for a big Reggae album to close 2025 out on. There is still material here worth listening to, even on the non-Reggae end ('Rise My People' is actually pretty decent) but it isn't the album I was looking forward to hearing - at least half of it isn't.
'Pull D Pin' by Machel Montano, Skinny Fabulous and Lil Natty & Thunda [Monk Music - 2025]
Of course, we're nearing the most magical time of the year and music from some of the biggest stars of Soca has already began to steadily come out of Trinidad (and other places) and amongst the very best tunes that I've heard thus far has been this MASSIVE combination shot featuring frequent collaborator Skinny Fabulous with Lil Natty & Thunda alongside the great Machel Montano. When I got what was going on here, I was actually a little surprised that no one (that I know of) had taken this angle on a Soca song before because it works to perfection as, once again, Montano links with Skinny Fabulous; this time bringing in big-voiced Lil Natty (hardly ever talk about Lil Natty & Thunda (a duo) but Natty's voice is fantastic for what he does with it) and Thunda from Grenada to drop a grenade all over Carnival.
'We Doh Play' by Destra [Krazi Music]
Also getting the season started on a good note is the incomparable Queen of Bacchanal, Destra, who tells all the absolute obvious with 'We Doh Play' (as if we haven't known that about her from looooooooooong time). Love the horns on this one and how it sort of bubbles below total chaos for the most part but, in a glimpse or two, it crosses that threshold and makes the dust raise. Hopefully we get an album this season from Destra; as she's already dropped a couple of nice tunes and it's looking like another stellar Carnival from the greatest to ever do it for me.
'Pass Di Chalice' by Cali P [Cali P (song has three different labels on it)]
Seems a minute since last we heard from loooooooongtime favourite, Cali P (hasn't been too long at all. He had an album just last year) but he's back with a SWEET ganja tune, 'Pass di Chalice' for Mouthwatering Records (I THINK). Cali P's been trying a few different things in recent years in terms of his style but this one settles on ultra-familiar, downright sugary terrain. More of this from Cali P in the new year wouldn't be too bad a'tall.
"No gimmi nuttin else, a di chronic a fi wi choice
Tell mi what's di cost, cah mi ready fi pay di price"
The Volume Riddim [Greensleeves Records - 2000]
I'll wait until next week (probably) to tell you exactly how a random quarter-century old riddim has made its way back on my players but right now I'm just going to suggest that you join me and go diving in the vault of Greensleeves riddim albums because you too may stumble upon a GEM like I did in this Ward 21 produced piece, the Volume. As was the norm at the time, the Volume was absolutely LOADED with big names as, appearing alongside the Ward themselves (they had two tracks, one, 'One More Start A War', was a combination featuring Ele & Wayne Marshall. Ele also had another solo tune, 'Fake Man', while Marshall had two other combinations, with Harry Toddler and Baby G, respectively)) were the likes of Bounty Killer, Mad Cobra, TOK, Kiprich, the oft-brilliant Madd Anju, Mr. Vegas, Lexxus and Beenie Man who, arguably, reigned supreme as he absolutely SLAUGHTERED the Volume with the stellar 'Moses Cry'.
The ages. The older I get, the more appreciative and respecting I become of the adage 'you don't know what you've got until it's gone'. Things change so often and so unendingly that it seems so many times that, once you've gotten used to something and maybe have started to enjoy it, that thing is gone, outdated and we've moved on to the next. Theoretically (and actually too since we can't do anything to stop it), this is just fine. Things should evolve and progress (or regress, depending on your point of view) in order to not stay stagnant and this couldn't be more apparent than when you apply it to music. Different generations of people produce different sounds. If you say it like that, it makes perfect sense and it kind of hobbles (even more) the old man on his soapbox talking about, 'well back in my day...', telling the youth how shit their vibe is. They should be different. They behave differently. They speak differently. They dress differently and they should enjoy and make a different type of sound. That being said, however, when you are on the end of things where you are supportive of the outgoing trend... well, it's kind of fucked up and I find myself there these days when it comes to Dancehall. I try only to lift up what it is that I miss instead of stepping on what I hear these days (out of fear of being that old man that I just talked about) (no one wants to be him) but damn do I miss 90's and 2000's Dancehall. There was a clear and obvious sound there which differentiated it from any other in the entire world, to the point where you could play a riddim behind an artist from another, from anywhere in the world and what they would come up with would be described as 'Dancehall infused' or 'Caribbean infused', something like that. You'll STILL hear that description, in fact, if it happens with an older riddim but, outside of that, you're normally only going to get that if you literally have a guesting artist from Reggae. In the current sense. It's gone... but, like I said, I'm not going to step on anyone in this review. The riddim 'culture', in general, is largely a thing of the past and I've heard several individuals lamenting the change over the years (biggup Red Rat). As far as the sound, what we have these days is far more akin to what you'd hear in Hip Hop circles (don't love Hip Hop, never will love it) and that infectious, hypnotic, thudding bounce that once characterized the entire sub-genre has become so frustratingly rare and difficult to find.
