The Vault Reviews: I Am Rastafari by Harry Mo

Old friends. During our several year hiatus from writing about music, unfortunately I missed quite a bit of things that I would have, otherwise, definitely talked about normally. I've always prided myself on being someone who seeks out the experience and the challenge of covering things that either no one else [at all] does or that very few people were likely  to, in addition to the more obvious works that are more widely appreciated and examined. Because of that, one of the things I'm happiest with in regards to this blog can be found in the Labels section: Aima Moses, Ambush, Empress Cherisse, Fefe Typical, Jah Defender, Jah Turban, Jahmings Maccow, Nahyubi Joseph, Mischu Laikah, Revalation.... and I could really go on and on [Little Guerrier] as examples of names that, in no way, are of the 'household' variety but are well talented individuals who we've metioned [Sydney Salmon] at least once over the years. So sure, I missed writing for projects from the likes of Akae Beka, Jah9, Damian Marley and all of the other big names who released projects while we were away, it was even more the case with that next other group who may've produced BIG material and the internet hasn't done its best job of keeping track of such things. I don't have as much time as I once did (well I kind of do) and I'm old as hell, so writing these things isn't as easy as it once was but, somewhere in the back of my mind, I'm thinking that if I stick around for another year or two, I can at least somewhat make up for lost time, while managing to stay at least relatively current. I distinctly made it a point to write about an album called "Break The World", which was Fay-Ann Lyons first (and, subsequently, only) album for VP Records that I THINK I could recall waiting for while I was still active. I'm sure that album got a decent amount of attention (going to tell about the one she did last year, too, one of these days), for what it was, and I'm just as sure it went completely around the attentions of msot Reggae heads who're more likely to spend any time around here. I made a similar point for Lutan Fyah's "Music Never Dies", "Rebel With A Cause" from Pressure Busspipe and, over that same span of time, works from the likes of King Lorenzo, The Arkaingelle, Lloyd Brown and others which would have definitely gotten my excitement up as something being just a little off center and slightly out of the spotlight (with respect to Lloyd Brown, who probably doesn't belong in that group, but I'm including him anyway) and attention of most fans. Today, we not only take a look at someone who most certainly does fit into that group but is also, personally, a favourite of mine and someone who's always been very nice to us throughout the years. 

While your listening travels may not often take you to Dominica as a Reggae fan, when you do get there, you're likely to recall what you heard. Surely the biggest name to ever emerge from the Nature Island is the EXTREMELY well-regarded (and extremely well-retired) Nasio Fontaine. I never fully got on board there --though I will say that I appreciate his music more now than I ever have-- but, once upon a time, Nasio had some of THE most passionate and loyal fanbases in the entire genre. It wasn't quite there, but calling it "Benjamin-esque" wouldn't be terribly out of line, in my opinion. You also have the aforementioned Aima Moses, Nelly Stharre and, whether you realize it or not, the great NiyoRah was also born on Dominica. Still, when we talk about Dominica and Reggae music, it is IMPOSSIBLE for me to do so without mentioning a longtime and grizzled favourite of ours, the well esteemed Harry Mo.

The wonderful works of Harry Mo

Harry Mo is a very curious one. On one hand, you could definitely do him justice by saying that he makes Roots Reggae music - plain & simple. There's nothing wrong with that at all and I'm going to tell you about some of that in just a moment. Still, if you wanted to tell a more complete story, you'd also say that Mo, at his absolute best, embodies some of that colour and diversity that his homeland is most well known for (and if you don't know anything at all about Dominica, you should know that it is, EASILY, one of the most diverse places on the planet. If you are looking for a race of green people, I'd tell you to start on Dominica because, if they exist, SURELY at least one of them would be there). So his brand of Roots can come with a 'flare' or a 'drift' from what you will often see in the genre. I would compare his style, somewhat, to that of the great Tuff Lion and, again, Harry Mo goes on to add his own, special blend to things (as does Tuff Lion who is, of course, a genius with the guitar). While we were out, in 2020, Harry Mo would release his latest creation, "I Am Rastafari", which would follow excellent sets "Runaway Slave", "On My Way", Roots & Lovers" and "Back To Africa". Although all were/are of a certain qualiy level, 2008's "Back To Africa" ["Jah will help me find my way!"] reminds his opus in my opinion and Mo would also give us the VERY interesting "Thank You Jamaica" which I don't want to mention too much of because, I will hopefully getting around to dealing with it in a heavier level someday (I may actually just start writing that one with I'm done with this one and save it for later), a decade after "Back To Africa", also during our hiatus. I chose to focus on "I Am Rastafari", specifically, because of its fairly unique sound and this.... ultra-impressive sense of a humble-confidence that I heard in it. I'm making it sound complicated, I'm sure, but it really wasn't. The album seemed to often make its bread on the very basic thought that when one is doing the right thing and THINKING the right things that "one" has very little to worry about. That's where the confidence comes in and it was DELIGHTFUL to hear in this form. I'm probably not going to go through the process of ranking this one in direct comparison to what came prior to it from Harry Mo but I can tell you right now, "I Am Rastafari" was pretty much excellent.

I alluded to it, briefly, but we have actually had brief contacts with Harry Mo back in da day. I believe he once sent a message telling us of his new album (which may've been "On My Way" (could have been "Roots & Lovers" though) and I even remember giving him a critique on one of the albums (which actually may've been "Back To Africa") and he agreed with me (Zacheous Jackson did the same thing in regards to his most recent set, "Levite"). He's just a very nice person and he even thank us in the liners for "On My Way" if I recall correctly. I should probably return the favour and the thanks for "I Am Rastafari" which animates with its MAMMOTH title track. 'I Am Rastafari' is about as simple and basic as it could possibly be.... and it's also kind of brilliant.

"I am Rastafari

I chant for Jah Most High 

I man hail King Selassie I

All might King of Kings and Lord of Lords

Said I am Rastafari 

I & I work for Jah Most High

Defend what is true and right 

What is true and right in Jah Most High sight

With Jah love will our way

When Jah call, we must obey

The pain and joy, yeah, it's really worth a bag of love & righteousness

And we spreading through the earth

Got no time for the timid

Hotta fyah pon di wicked

We've got to clothe up the naked

Let the hungry be fed

The aged be protected"

If you've heard five or six Roots Reggae songs in your entire life [like, literally, EVER], there's a pretty solid chance that 'I Am Rastafari' isn't going to say anything with which you are unfamiliar at all. What differentiates this one from the thousands of others built on a similar foundation is how well it is situated. It reaches not only a personal level, with Harry Mo just talking about himself and his views but, in doing so, it also touches in a way which personifies (and BEHAVIOUR-IES) the teachings of Rastafari. Essentially saying, 'I am Rastafari... and this is what I do. This is what I stand for'. It is very subtle but it stood out clearly for me and it also is a fine example of what I was referring to when I talk about the "humble-confidence" of "I Am Rastafari" as a bona fide GEM gets it started. Things head in the direction of social commentaries with 'Trouble on Jah Earth' and does so, again, with a very attractive simplicity. Mo writes a lot of his work in a way that is very matter-of-factly. He says things that may be opinionated but they're very difficult to disagree with or to find fault in. When you do something like that, it makes your music very easy to identify with and also, DELIGHTFULLY, allows your to do more things musically when you know the core of the work is so solid. 'Trouble on Jah Earth' is a fine example of that (and it also SOUNDS REALLY GOOD!). Next is the first sign of flames, in the form of highly infectious 'We See Dem Coming'. I never expected what would become of this tune as, following the fairly terrestrial beginning, 'We See Dem Coming' ascends into this... almost Dancehall type of delivery which dazzles. 

"So now you know wi nah go par wid dem

Wi nah go sit down, nah go reason, nah go blar wid dem

Wi nah go ride inna no van, inna no car wid dem

WI NAH GO CLOSE, WI NAH GO NEAR, WI NAH GO FAR WID DEM!

Wi nah go eat, wi nah go drink, wi nah go bar wid dem

No tek wi chalice, nor a spliff, wi nah waan draw wid dem

Inna no dance, inna no show, wi nah waan star wid dem

And if it was another day, wi woulda war wid dem!"

Call it a bit of SPICE while we're still warming up on "I Am Rastafari" but you don't see 'We See Dem Coming' coming (yep, that's what I'm sticking with) and it sneaks up on you in a FANTASTIC way. You have to bookend it, so also check out, fittingly, 'Deh See We Coming', which puts the listener on the opposite side of 'We See Dem Coming' which forecasts the coming of negativity. 'Deh See We Coming' sees POSITIVITY and RIGHTEOUSNESS in the offering and, unfortunately, some don't like that. 'Deh See We Coming' gets the language flip as well with Mo colourfully showing off something distinctly Dominican to fine display. Sandwiched in between the two Comings is, EASILY, one of the best songs on the entire album, 'Son of a Brave'. This fine creation takes several courses with, perhaps, the most prominent being the pride route. Harry Mo is directly and indirectly proud of his heritage ("indirectly" being even the perception of his ancestry. He's proud of how they are viewed) and it becomes crystal-clear here. The song also provides "I Am Rastafari" with one of its many signature lyrical punchlines to my ear:

"I am just the son of a runaway slave

Freedom songs in my head"

I took something GRAND from that. I don't know Harry Mo's story. I don't know his family. I don't know if he's the first musician or anything. That statement, to me, says that his work is, essentially, putting instrumentation and form to songs and ideas that have been in his bloodline for generation. THAT IS GORGEOUS and a powerful aspect to one of the most beautiful songs he has ever made that I've come across. 

In order to not end things on a low-point, I'll mention what I do NOT enjoy about "I Am Rastafari" here as it is, wholly, centered around just a couple of tracks, 'Running From Love' and 'Caught up in a Blight'. The former is... tough. I can hear a decent song in there but it's hard to overlook that it isn't the greatest delivery and there almost seems to be a disconnect between the vocals and the riddim (which is quite nice, actually). It just isn't very comfortable and such a trait is imperative when it comes to a love song, in my opinion. For its part, 'Caught up in a Blight' is much simpler - it just isn't very good. It's kind of a Hip Hoppish type of tune, featuring a rapper, Mundo (who I know nothing about), and it's really just not for me at all. I do appreciate people, on albums, making songs that change up the vibes and not always doing the same thing and this is definitely one of those instances, but they do not always work well. If you want something to steer you back in a nice course, definitely head in the direction of 'Push on Thru'. The riddim on this song...... it is a DIVINITY! It is a gift straight from the Most High! Sounding like he's singing right in front of a live band in recording this one, Harry Mo absolutely dazzles with a delivery on 'Push on Thru' which registers somewhere between singing and almost Spoken Word at times. What results is definitely one of the finest offerings that you will find on this album, altogether. And have I mentioned how nice that riddim is??! The very next selection following 'Push on Thru', 'Singing Songs for Jah', keeps the music here exquisite and adds to it a message that, once again, shines for its simplicity. 

"Who protect I for the night, wake me up this morning to see the light of a new day?

A Jah

Who bless I with love, strength and light - same one who always hear me when I pray?

Jah Jah

And who is gonna guide my steps, clear my way, trodding through this wicked babylon today?

Jah Jah

And who do I turn to when the wicked set their devices and traps and ah run dutty play?

A Jah

That's why I sing a song, I sing a song for Jah

I'm always singing songs and singing songs for Jah

Rastaman sing a song, come sing a song for Jah

We're always singing songs, we're singing songs for Jah

Who bless I with the most loving friends, bredrens and sistrens, blessed children?

Jah Jah

AND WHO SHOWER I WITH BLESSINGS SO BOUNTIFUL BADMIND COULDA NEVER COMPREHEND?

Jah Jah

And who expose the folly, show me the true friend from the frenemy dem?

Jah Jah 

NOT TODAY OR YESTERDAY, WE PRAISING JAH JAH FROM WAY BACK WHEN!"

'Singing Songs for Jah' is pure 'message music'. It is a vehicle to deliver a point and even with Roots music, as plain as that may sound, it isn't always the case and it can be refreshing, as it is here, when you come across it in its most 'primitive' form (and I mean that in a good way). I wasn't crazy about 'Running the Track' the first few times that I heard it (and I still wouldn't say that I LOVE it, even now) but it has grown on me somewhat, LARGELY due to the riddim. As is the case with several of the songs that we've discussed from "I Am Rastafari", the musicianship on 'Running The Track' is soaring. This one, in particular ( at least to me) has an almost... 1980's sound to it?? There's something very old-school 'flashy' to its delivery but that riddim behind is TIMELESS and Harry Mo uses it for a solid moment but one which might require more effort on the part of the listener full absorb. The vocals on 'Burning Bridges' aren't the greatest (not in terms of how they're sung but as far as how they're recorded) but that is my sole complaint about that tune. This song has a very fascinating aspect to it because, on one hand, it has an element of being exactly what you think it is from its title -- don't burn your bridges; be careful how you treat people, because you may need them in the future -- but on the other it MOST CERTAINLY DOES NOT.

"What if it's gonna take you to a place named Malice, near the Vampire Palace?

I say let it burn to the ground..."

Some bridges are not only useless but their existence is a negative thing. In a more applicable/tangible setting (presuming there is no bridge from your neighbourhood to the Vampire Palace) (if there is then you can just ignore this part here) - if there is someone in your life who you have some type of connection to but they're negative people and they bring no good to your life, let it go! If you're working a job that you hate and it's draining your happiness, you find a new job! Things like that, I think, are examples of burning bridges in a good way and I think that's the very powerful sentiment behind this very interesting take on 'Burning Bridges'. There's the downright hypnotic 'Work to Do', which finds the singer lacing up his boots, rolling up his sleeves and getting down to business. It also comes with this excellent.... almost rapping style just to change things up, but it's also very melodic and very pleasing to hear. On top of that, Mo's form of work to be done is a general one, from doing a better job in raising children, to helping those who're down on their luck and struggling and doing better in spreading the word of Rastafari, Harry Mo is ready for it all and, hopefully, we are as well after hearing 'Work to Do'. Finally, unsurprisingly the album ends with the nyah drum heavy CHANT 'Do Good' (this used to be a fairly active practice on albums, if I recall correctly). 'Do Good' is not only LOVELY and expected, for what it is, it is a fantastic way to end an album like (and titled) "I Am Rastafari", sending the listener out with a very special and upful feeling going forward. 

Okay, something I really would like to mention in regard to this album because I find myself being more and more critical of it in regards to other projects we review: "I Am Rastafari" is very FULL. It's very satisfying. With its thirteen tunes topping out at nearly fifty-eight minutes (by my surely incorrect math), that puts an average song as nearly four and a half minutes long which is LOVELY! Part of the reason, in practice, why this is the case is because Mo and company definitely give their MUSIC an opportunity to shine and they should. They often give these nice stretches of instrumental or extended choruses to really add to the complete experience of enjoying the album and that is a wonderful touch and one which, again, stresses and highlights a legitimate strength of the release.

Overall, "I Am Rastafari", for the most part, is just a simple and excellent display of what Harry Mo does best as an artist, in my opinion. While it isn't the most challenging of listens, it also isn't one that I think is going to leap out at the newer fans but at the same time it won't be totally tucked away from them as well (the music here would be appreciated by absolutely anyone in my opinion). "I Am Rastafari" well follows into the line of quality set by its at least solid predecessors  and is precisely what I, as a longtime fan, hoped it would be. Harry Mo is someone who I consider myself lucky for having stumbled upon when I did (whenever that was, exactly). His music has found a home in my rotations and DID NOT CHANGE AT ALL during our time away. 

Rated: 4.25/5

Yellow Moon Records

2020

Endless New and Newer from Trinity Farm Music

"Heart Of One" [Trinity Farm Music]

 1. 'Yadding By The Rivers' by Arkaingelle

2. 'Faith' by Dre Z Melodi

3. 'Wadada Today' by Haile Maskel

4. 'Luv Yu' by Hikari Zion

5. 'Take Frontline' by Jah Myhrakle

6. 'Everything Fine' by Ickarus

7. 'Same Family' by Ras Elijah Tafari

8. 'Rastafari Guide The Way' by Isayah

9. 'Moralist' by Kali Wale

10. 'By His Words' by Jah Myhrakle

11. 'Want More' by Xkaliba

12. 'You Can Be' by King Hopeton

13. 'Keep My Health' by Dre Z Melodi

14. 'Depression' by Rob Symeonn

15. 'Refugee' by Noble Culture

16. 'To Africa' by Ickarus

17. 'Hot Hot Hot' by Ras Elijah Tafari

18. 'StrucJah' by Isayah

19. 'Negust Is Ruler' by Haile Maskel

20. 'Natural' by Messenjah Selah

21. 'Not In The Mood' by Noble Culture

Okay so, when we last spoke to [about] the wonderfully prolific people at Trinity Farm Music, they were dealing with yet another release from the equally active Ancient King, following the [other] new album release from the determined chanter (biggup Determine), "Oath Of Akae". Next week, by the time you read this, the label is back with a BIG new compilation with a very interesting roster of vocalists that definitely caught my attention, "Heart Of One".

Who's here, exactly??? Well, there's Rob Symeonn, there's the Arkaingelle, Noble Culture, our old friend Messenjah Selah, RAS ELIJAH TAFARI [!], KING HOPETON, Jah Myhrakle, "Original Nine Fingers" Xkaliba, Star Lion Family veteran, Ickarus, and others! I mean.... that is BRUTAL and I mean that in a great way. TFM has been flaming as of late (and it continues. I'm writing this one Saturday, the 19th and, yesterday, they released 'Africa', a new tune from Abja) and a really big compilation like 'Heart Of One" presumably stacks up to be, is a damn strong addition to their catalogue in my opinion. The label... there's something about them that... I don't know.... There's something really strong about this lot. It almost comes off like their RAN by music fans - if that makes any sense at all. Trinity Farm is making moves and working with individuals that I would work with! 'Let's make an Ancient King album!', 'let's do something with.... Danny I'.

And if you think they're just kind of making cheap stuff and throwing it all against the wall to see what (if anything) sticks, I would point you in the direction of an album they did about a year and a half ago by the name of "Living Testament", by Akae Beka, which was subsequently named Album of The Year 2024 by this blog. They make REALLY good stuff as well. It isn't quantity over quality. 

You can check both quantity (twenty-one tracks in all) and, likely, quality in just a few days on the 23rd of July when Trinity Farm Music returns with "Heart Of One". I will be there and so will you.... it isn't like you have anything better to do. 

Catching Up With Ras Attitude

Okay so, I've been meaning to do something here as he's been doing a lot of nice work as of late, so I thought that we'd take a quick look in on a trio (two minutes ago it was two songs but I just decided to add another one, just because) of relatively fresh and impressive releases from the monstrous talent that is Ras Attitude. HOPEFULLY this is leading to an album of some sort, but even if it is not, there's always room for tracks that sound like THIS.

'They Got A Box' featuring Lutan Fyah [Rebellion City Productions]

Back in April, Rebellion City Productions dropped their GORGEOUS Bongo Rockers Riddim which featured works from the likes of Chezidek, Imeru Tafari, Turbulence and even a combination featuring Pressure Busspipe alongside Bescenta. Also present on the riddim were the Sound Vizion family, Ras Batch [!] and Ras Attitude. The former was joined by some of the up and coming artists from the label  for 'Chanting', while the latter once again links up with the brilliant Lutan Fyah for the excellent 'They Got A Box'. I don't know if these two could make a bad tune if they went into the studio and tried to and that is clearly not what happened here. Big tune on a big riddim, definitely worth checking out. Take a listen.

'I Grade' featuring Skunk Dojo [Skunk Dojo]

Attitude was also joined by Skunk Dojo, from out of Argentina, for 'I Grade' (now wouldn't it be SO nice if Ras Attitude made AN ALBUM FOR I GRADE RECORDS??!) (have been wanting that for years) which is exactly what you think it is. The surprise on this one comes from SD's part where we get a bite of Spanish mixed into the vibes - a bilingual ganja tune! The riddim is absolutely towering (it's even better than the next one I'm going to tell you about) as well and I could just listen to that thing play on and on for hours. See how much you like it.

'No Holding Back' [Venjahanze Music]

On the best tune out of the three, 'No Holding Back', Ras Attitude links up with Venjahanze Music (that is a VERY impressive way to spell vengeance) from out of Canada (I THINK). This song is a very basic and broad social commentary with a spiritual footing and there's nothing wrong it that, ESPECIALLY when you put a riddim like this one behind it. I don't know what it's called, if it even has a name or if it's been voiced by anyone else but the track supporting 'No Holding Back' is a brick of gold. It is so damn cool! Attitude plays atop it, going in several directions but never too hard but what results is one sweet tune and probably the single best that I've heard from the chanter in quite some time.

"Jah hear the nation cry: VENGEANCE IS MINE"

Who even remembers when the last time Ras Attitude released an album off the top of their head?? I THINK it was 2020 ["Warrior Status"] but I am going to presume that one is forthcoming. He's been very active as of late and I would think that the Cruzan chanter is building towards something big. HOPEFULLY that's the case because it's been entirely too damn long. Still, even if it isn't, there's no time like now to get caught up with the output of one of Reggae music's most compelling current talent and a longtime favourite of ours.

Triumphantly: A review of The Pon Di Island Riddim

Vintage. Something felt REALLY good and REALLY familiar about this one. Twenty years or so ago, I would have never thought that, in 2025, Reggae/Dancehall music would look and sound like it does today. I would have been downright shocked if I could have had a glimpse of what was to come and that is in no way a critique (my personal opinions being what they are, I still spend a great amount of time enjoying good, NEW music) but I would have been shocked. One aspect, in particular, that has seemed to have declined to some degree -- and maybe not in terms of practice, overall, but definitely as far as how respected it has become on the highest scale -- is that truly BIG riddim. Music will never stop producing stars and generating popularity in that way and it will (HOPEFULLY) never stop producing hit songs but something that Reggae had going for itself, and itself alone basically, was the times when that big and all-conquering riddim would drop and go on to support multiple hits and big songs from a variety of different artists. It may even serve as an introduction to new names who will stick with fans for years to come or maybe just come across with a single hit from an unexpected light but... damn, was it fun! Furthermore (and why we're here today), some of those riddims (not all of them) would go on to work very well in an album form, particularly on the Roots side (I've never been the biggest fan of mixes but if you get the right Dancehall track and just put neverending tune after tune on it, it is spectacular) (biggup Spectacular). Surely, you'll recall a few years when the reigning biggest album-releasing labels of Reggae & Dancehall music both maintained 'dueling' (not really) riddim album series, VP Records & Greensleeves. Of course, you remember Riddim Driven. I bring them up not just for the obvious but when I saw and initially got a listen to the project we're taking a look at today, it brought my mind back to something very brief and even more specific (...and random as hell). In the midst (or maybe slightly after, I don't feel like looking it up) of Greensleeves' Rhythm Album Series, the label would break form and, very surprisingly, release an album for the Triumphant Riddim. It was no shock that they (or VP, or anyone from the time) would have been interested in the track as it was not only beautiful but the Flava McGregor produced piece carried a pair of solid hits in Gyptian's 'Mama' and 'Trodding' by Natty King, as well as efforts from the likes of Luciano, Chezidek, Ras Shiloh, Lutan Fyah, Anthony B, Norris Man & Natural Black (on the same song), Turbulence, Fantan Mojah, Perfect Giddimani.... I mean.... it was absolutely LOADED! 

When I saw & heard the Pon Di Island Riddim and saw that it had been headed to album form, I got all nostalgic! I was thinking that if, by some chance, Riddim Driven was still active and VP didn't pick it up (and they would have), Greensleeves would have likely turned it into one of those COOL projects like they did with Triumphant Riddim. On the surface, it was loaded with big/good names (although not to the degree as the Triumphant), it was excellent, had some IMMEDIATELY interesting firepower (more on that in a second) and it just has that same vibe surrounding it like some of the big projects that I remember from years ago and it feels good! The Pon Di Island Riddim also comes to fruition via some very nice (and marketable set of circumstances) which would have, again, gone on to make it of presumptive potential interest of big labels, back in da' day.

2021

In 2023 a bit of common sense made it into play as "The Kalling" would take Reggae Grammy honours. It's rare that a set lauded by so many fans of the genre actually does such a thing as the award is, typically, seen as a popularity contest/Marley Invitational. The moment would take the album's BRILLIANT star, Kabaka Pyramid, to new heights and help to bring his considerable lyrical talents to the forefronts; beyond the attentions of Reggae faithfuls. "The Kalling" was masterminded by the equally sagacious Damian Marley for his family's Ghetto Youths International imprint, alongside the Pyramid's own Bebble Rock Music. Previously, BRM had worked on several projects, including Kabaka Pyramid's debut album, 2018's "Kontraband" and the EP which preceded it, "Lead The Way" (incidentally, there was also a deluxe version of "Lead The Way", which contained thirteen tracks making it, TECHNICALLY, his debut album, in my opinion). Arguably even more interesting for us today is 2021's release of The Victory Rock Riddim. Just like what I'm about to tell you about, the Victory Rock was GOLDEN and was placed into the more than capable hands of vocalists such as Christopher Martin, Gentleman, Bugle, Romain Virgo, an all-conquering Alaine with the riddim's title effort and others. Given its history, no one should be surprised that Kabaka Pyramid and co. at Bebble Rock Music are back with one of the best produced and situated riddims and subsequent riddim albums of the first half of 2025. If you are familiar with the Victory Rock Riddim, the fact that I hesitate in saying which of the two is the strongest should tell you all you need to know in regard to its quality. The Pon Di Island is chilled to a near perfection with a subtle guitar (I think that's a guitar) and GORGEOUS piano being amongst the standout detailed sounds and a more prevalent horn dominating. While it doesn't change for individual artists (Lenky used to do that, it was special and led to some of his pieces being some of the greatest Dancehall riddim compilations ever in my opinion), all of those different colours and textures, given to different vocalists, make for an incredibly varied experience and, by its end, the Pon Di Island proved to be every bit of the class presentation that I felt it would be, going in. Let's talk about it!

Although it definitely does have a solid number of the bigger names, as I mentioned, the Pon Di Riddim isn't quite as loaded as you might expect. However, what it does lack in supremely massive names on paper is that it sets and maintains a very high level initially from which it rarely ever (if ever at all) dips. Also, specifically concerning the artists here, I found the MIXTURE of talents to be damn interesting. Yes. I am a nerd about such things, but it's damn hard for me to imagine anyone with any type of interest in what's going on here coming away disappointed to any degree. Getting the Pon Di Island Riddim from Bebble Rock Music started is Yaksta who supplies the riddim with its title track. 'Pon Di Island' shouldn't come as a surprise to anyone as far as its direction but what is a very nice eye-opener (ear-opener??) is the vibe of this one. It comes off as a very laidback type of theme but there is a certain STERNNESS behind it, making for an experience much more than just... laying around, enjoying the sun but that element does exist and is celebrated. I don't know if I've ever actually written about Yaksta's work, but he is a well talented individual and someone to keep an eye on, providing a definite highlight on the Pon Di Island Riddim. Next up, lives are endangered and stuff is broken and blown as, RIDICULOUSLY, legendary fireman, Capleton is paired with Cruzan blowtorch, Pressure Busspipe on 'Gunman Town', the single strongest tune here, to the surprise of absolutely no one.

"Gunman town inna gunman town

Gunman town inna gunman town

Inna graveyard every gunman found

This is the problem wi face as minorities

Ghetto youth nuh have no food and don't get no surety

Nuff seh dem are your friend but dem no know what is loyalty

Bwoy seh dem a gangsta and dem don't got no lawyer fee

WAIT!

Don't be a fool to what di system create

Give up your life so easy and go take di bait

He who fights and run away, lives to fight another day

LOOK IN AND LOOK OUT!

Be careful when they step and put a foot out

Gun clown, gun rookie - dem dun rook out

LIKE DEM FORGET SEH THAT THE GRAVEYARD BOOK OUT

CAAN  BELIEVE DEM OWNA FRIEND - DEM DID TOOK OUT

Seh dat him have something weh tall weh chop di bush out

Inna gunman town, nuff a dem get push out

Dem seh dem cold and start di vibes and now di whole a dem goose get cook out!"

BOOM! The tune is a HEAVY anti-violence set that gets brilliantly specific, grinding the subject down to a powdery-like substance. Capleton's older now. He's nearing sixty years old. You cannot tell me, lyrically, that man has lost a step - one of the sharpest minds in the history of Reggae and he and Pressure sets this riddim on fire with one of the strongest selections of the year. Unlike on the Victory Rock, if I recall correctly, Kabaka Pyramid does take on his own creation, with the typically genius 'Jamaica'. This one is all about having pride in being where you are from and, in the case of the Pyramid, he just happens to be from the sweetest place on the planet. 

"Mi fly around

Go whole heap a town

Collect nuff euro & pound 

But dem no nice like Jamaica

Nowhere no home like Jamaica

Been all round di world

Seen whole heap a girl

Ah wear nuff diamond & pearl

But dem no nice like Jamaica

Nowhere no sweet like Jamaica

A what a likkle Island nice!

From di beaches, to di rivers, to di island spice

From wi likkle but wi tallawah

Leader, wi no follower

And every Yard woman no fi whine pon time

Just a dat pon di map still, regardless

Weh you know bout Nanny and di one Marcus Garvey?

World class coffee and cocoa dem call chocolate

AND FRESH JELLY WATA FI WASH OFF MI HEART WITH

Jah know mi love buy mi Clarks dung a Brixton

And mi will travel, go a Brooklyn inna instant

Mi juss shell a one show ova Lisbon

But nuttin no nice like a dance inna Kingston

Uptown man deh so Weddy Weddy now

Boom Sundays ah gwan, so wi heading out

Every night bout three dance ah keep 

AND DI DANCEFLOOR MI SPOT ALL MATTRESS AND SHEET 

The birthplace of Rastafari

Ah wi seh 'look to the east'

Wi gi yuh Bob Marley, Usain Bolt, Shelly-Ann and all now nobody can compete

Mi have whole heap a mango tree so mi no buy a supermarket

Trailerload a ackee so just forward wid yuh basket

Real Jamaican, yuh know wi caan stop

From wi have pure breadfruit and plantain, lawd!"

YES! I felt compelled to write all the lyrics down from the tune (because why not!). Kabaka Pyramid, in my opinion, is one of the very few people who has a case for being THE single greatest lyricist in Reggae today and he consistently proves it to devastating effect. 'Jamaica', easily, goes down as one of his finest builds in recent years. And if you love great writers, immediately following him (and Capleton & Pressure) is longtime favourite of ours, Lutan Fyah (probably going to write out a chunk of this one as well, then I'll give it a rest) (not saying there won't be anymore in this review --THERE MOST CERTAINLY WILL BE-- just not for a minute), also takes on the Pon Di Island Riddim on a vibe we know absolutely nothing about 'round these parts, 'Common Sense'.

"Mi no graduate from Yale

A common sense

Mi no believe inna no fairy tale 

A common sense

Mi never come first in class

Mi took di test and pass

Mi no run dead last

None a dem coulda neva si mi fail

A common sense, just common sense

Mi no deaf, mi no dumb

Mi know mi language and mi psalms

I'm not a calculator, so dem caan shut mi dung

Alla now mi wise and mi did smart from mi young

They looking down at us, now si what wi become

I took a shot from the free-throw line

Things are stepping up, I'm certain, one day I must rise

WEH MI DO BEHIND CURTAIN MI LIVE IT OUTRIGHT

MY KNOWLEDGE COMES FROM THE MOST HIGH"

There is more than one way to come across knowledge is the sentiment behind this one and Lutan Fyah, I would guess, is someone who, though he may or may not have the scholastic accolades to show for it, has spent a considerable amount of time studying both the book and that type of knowledge that only comes with living and learning from life experiences. 'Common Sense' is MAMMOTH and it speaks to the quality of this entire project that it only barely manages to crack its top five efforts.

Dre Island comes through with the very entertaining and Jr. Gong-esque 'Cold World'. I've always thought that the Island to be reminiscent of Damian Marley and, if you haven't, I'd definitely recommend you take a listen to 'Cold World' (...even if you have, still hear this song); that being said and regardless of its stylistic inspirations, Dre Island absolutely DAZZLES here ["HOW YOU FI TELL MAN BOUT PEACE WHEN A YOU AH MEK WAR? TELL YOUTHS BOUT HEAL, BUT YOU NEVER GET SCARRED?"] as he asks the world for just a little compassion and understanding for others. I've never been the biggest Demarco fan, I never will be and his effort on the Pon Di Island, 'Don A Yard' does not rank anywhere near my favourites on the riddim.... but it isn't bad at all! This one doesn't hit in the way that relatively similarly vibed present pieces like Kabaka's 'Jamaica' or the title track do but that does not mean that it is dull. 'Don A Yard' is a beautiful ode to the culture which gave birth to it and everything you're going to hear on this album. I'll also mention one of the two remaining combinations (trying to get most of the biggest names together, then we'll talk about the surprises), 'Real Vibez', which pairs Qraig [from] Voicemail and well grizzled big-voiced veteran, Singer J. Singer J (has a new album out this year, the Gospel vibed "Grateful". Qraig's on that album as well) has literally been making music for over thirty years and I don't think that we tend to properly acknowledge his contributions because they have been numerous. Let's start here! The two come together under the umbrella-ing idea of being aware of those who may come into your life with not the greatest of intents in their thoughts, while giving credit to people who're true to you. 'Real Vibez' is fairly direct, but it does a very nice FEEL to it, particularly at the chorus and it is well worth several spins.

Hopefully, you'll come away from the Pon Di Island Riddim with a few names that are either completely or relatively new to you and you'll be impressed enough to, perhaps, follow their work going forward. Such a candidate might be bouncing Spaniard, Irie Souljah, who does reach amongst the highest of heights here with 'Bout Ya'. Call it INFECTIOUS, 'Bout Ya' (and 'Common Sense' would be another one), is the type of song that forces this riddim to 'change'. Whether it does, actually, or not is not even important but with his delivery and the backing singers and everything going on here, it sounds like such a different and CAPTIVATING display from every other song. I'm dying to write lyrics here but I will refrain and, instead, tell you to really focus on what Irie Souljah says because you'll miss a few GEMS if you do not ["Mi and mi empress take a ride up on di hill and ah talk bout di one bad house wi waan fi build"]. Impressed? If so, you can check "World Citizen", the new album from Irie Souljah (which does feature 'Bout Yah'), when it releases on the 1st of August, 2025. Maybe (you're crazy as hell) Irie Souljah doesn't do it for you. If so, check the burgeoning Jah Lil with the, arguably, even stronger pure social commentary 'Hold Corner'. Lil is a multia-talented/faceted artist and you will encounter it all on vibrant display on this tune which is an examination of ghetto life in its most basic sense. It also develops slightly around that with the suggestion that people who go through the struggle may come out stronger because of the tough experiences Jah Lil is the exact type of person I was thinking of that may earn quite a few fans from appearing on this type of project. There're many people who will hear him here for the first time and will remember the name. While Ras-I doesn't quite mine gold with his 'Do The Right', he does come close with the solid piece (which does take a step up during its latter stages as the chorus seems to intensify and the delightful backing singer/s take more of a presence. Check the final vocal track on the riddim, it's obligatory ganja number, 'Pon Plane', courtesy of Jah Izrehl (great name). This one does DAMAGE! 

Izrehl has a very free-flowing and organic style. It seems like it comes so naturally to him (he does have a new album, "Kippy Fyah Red", which I have listened to. I cannot recommend it though, it isn't very  good) but he doesn't run from STRUCTURE, which is kind of unusual (and I mean that in a good way). 'Pon Plane' IMMEDIATELY becomes one of my favourite songs ever from the Kingston native. I would have complained had 'This I Know' not been on the Pon Di Island, saying that the riddim lacked a significant female presence (more on that in just a second.... literally the next tune I tell you about) but not only is that NOT the case, Kabaka Pyramid tapped one of the greatest female voices going today, the outstanding Khalia. 'This I Know' is golden. It is a LOVELY song, centered around the idea of going through the trials and tribulations of life and coming out better for it on the other side (with a spiritual inclination, of course). Such pieces are in abundance but they rarely have the purely sonic appeal that 'This I Know' does. Khalia's isn't the only woman's voice you'll hear on this riddim as (along with backing singers), Iyansa brightens up 'Jah Sound' which features an ABSOLUTELY SCALDING Queen's son, Imeru Tafari.

"Rifle dem ah lock a town

Body drop a ground

Wonder why di father not around?

It's a shotta zone

Likkle juvie get a proper crown

Bodies scattered round

GWAN GO LOOK INNA YUHSELF AND TRY FI LISTEN JAH JAH SOUND

Rastaman is not a clown

Siddung pon a throne 

Responsibility - dem heavy than a pound

Give thanks ah gimme everything a Jah alone

That's why a everywhere mi wave di banner proud

He that dweleth in the place of The Most High 

Tell dutty babylon dem seh fi don't try

Abide under di shadow of The Almighty

The inner city, it so cold until it icey

One time mi could afford fi live but now it pricey

Di youth dem nah no upside, now dem get so grimy

CORRUPTION CLEAR COULDA EVEN MEK DI BLIND SI

Ghetto youth unuh bodda tek it lightly" 

You don't even hear from Iyansa until well into the song's final minute but she does make the most of her time. I do wish that she did have more of a presence but Tafari absolutely lays waste to everything he touches on this track. 'Jah Sound' is FIRE and, again, if you are unfamiliar with with either Imeru Tafari or Iyansa, you've now become acquainted! Also included, thankfully, is a clean version of the Pon Di Island Riddim... because to not do so is just dumb. The instrumental is gorgeous and one of the nicest moments on its album - as is generally the case on these things.

What's wrong with the Pon Di Island Riddim? It's too damn short. I don't necessarily mean in terms of the total length here (I just clipped the screen off, I don't even know how long it is) but with all but three being in the 2:50ish range (and the other three are only ten seconds longer), I would have liked to see more done with the development of some of the material here, with the prime example definitely being 'Jah Sound'. Just looking through the tracklist also gives you that kind of... bad nostalgia that was so frequently associated with Dancehall - with that sort of 'cookie-cutter'/'one-size-fits-all' type of approach. Would have loved to have seen someone kind of break out of that and do something more.... organic and improvised because you can listen to it and KNOW that the opportunities were there. 

Overall, the Pon Di Island Riddim is outstanding and its album, for the most part, is as well. Riddim albums, in my opinion, provide such a wonderful opportunity to compare performances, ideas and such things as you can really see the different ways different artists approach the same music. The tunes can float around the same areas or be completely very different at times. What stands out in this particular case, however, isn't such a grand deviation between tunes but, instead, REALLY big performances. As I said, I hope that you might come away from it with someone new in your mind to listen to, going forward, but the ones with whom you are already familiar SHOW UP as well. The biggest guns on the Pon Di Island shine just as bright as you would hope. Going in, I had such a beautiful nostalgic feeling about this one and, as it turns out, Kabaka Pyramid has delivered yet another one for the time capsule. Very well done. 

Rated: 4.4/5

Bebble Rock Music

2025

Breakthrough: A review of Stay Up by Spectacular

Preparations. As I'm sure you'll agree, one of the greatest things about being a consistent fan of music is the wonderful surprises that it continuously provides. Be it a big song from an unknown, a comeback of some sort, a shocking collaboration or ANYTHING, music, like life in general, has a wonderful way of keeping us on our proverbial toes when we pay enough attention to it. Given the nature of Reggae, where the point isn't usually building towards some album or complete project and singles run the show, for the most part, when you do come across that surprising album, it can be a special thing and you know, for someone like me, the first thing on my mind to do is to come and tell you wonderful people all about it. Today I'm going to tell you about such a release from an artist who has CERTAINLY shown a level of talent throughout what has been a distinguished yet, perhaps, underappreciated, career (GENUINELY underappreciated, not in the crazy, overused way Reggaeheads usually talk about), but is also someone who I've mentioned quite a bit throughout the years because he's remained active and prominent. He has very much been someone whose time in the music has seemed to be a GRIND and, in some ways, he seems to have enjoyed the fruits of his labour but, hopefully, more is to come. Of course I'm talking about the Kingston born, heavy voiced chanter, Spectacular who has provided us with some excellent material over the years. When his name comes up, the first thing that generally goes through my mind is the productivity that the link with label Irie Ites. Along with a small handful of others such as Chezidek, Ras Mac Bean, King Lorenzo and someone else who I'll tell you about later (I'll give you a hint, it rhymes with Hoot & Syah), Spectacular has become a favourite of the France based imprint and artist and label have made some truly brilliant material together and, presumably, will continue to do so, going forward. Apart from that, Spectacular has found the true source of his popularity (again, like a few others) on Reggae-crazed European soil, working with, amongst others favourites of ours, Oneness Records, ReggaeLand, Little Lion Sound and the once mighty Minor7Flat5. Earlier, his developmental years would see him drawing the attentions of big Jamaican labels such as Xterminator (crazy tune Spectacular had for Fattis called 'Blast Dem') and Buju's Gargamel.

You would have thought (and you'd think it still that Spectacular's opus would likely come via Irie Ites. Were they ever to work on an album and include both old and new material, that would surely be a big project and would be a legacy enhancing type of release, potentially. However, such a thing has yet to materialize and, after all of these years, one would presume that is unlikely to (GO AHEAD AND MAKE A FOOL OUT OF ME, IRIE ITES!) (I DARE YA!). Instead, the first two albums of Spectacular's career have come from two different European outlets. His debut, 2005's "Find Yourself", came via DHF from out of Germany, while his sophomore set, "Salvation" from eleven years on, was delivered via Carabeo Music who, like II, operate out of France. It was the first of the two which was his strongest in my opinion; carrying, amongst others, the OUTSTANDING '50 Push Up' ["DO FIFTY PUSHUPS! HUNDRED SKIPS!"], which is one of my favourite Spectacular songs still (and in the conversation for being THE best, actually). 

2005 & 2016

Apparently, the link with Carabeo has remained quite strong in the nine subsequent years since "Salvation" because Spectacular & Carabeo now bring forth the former's third studio release to date and something I have really wanted to tell you about since I laid full ears on it, "Stay Up". When I heard this album and started to figure things out and work on it in my head, I was HAPPY for Spectacular. That was the dominant thing on my mind. I was so happy for him because of its quality and I look at him as someone who could surely use that type of a big and breakout release and I don't think "Stay Up" is likely to have much reach in terms of introducing to him such a giant new fanbase but I am DAMN confident that those tried and trusted lot of us who came to listen (because we ALWAYS do) will be thrilled by what is here. So, maybe in Reggae circles (and ONLY in Reggae circles) (and then again, maybe not), "Stay Up" can have that type of resonating impact with the masses. Along with reuniting with Carabeo, the new album also finds Spectacular working alongside the Forward Ever Band from Spain (great name). As far as I can tell, there's is a relationship that dates back half a decade to 2020's 'Seat Tight' which was a very nice single on the Modern Times Riddim and they've also made music with Luciano, Earl 16, Jah Mali, Loyal Flames, Ras Tewelde and even Gappy Ranks! So if the FEB is a new one to you, their credits prior to "Stay Up" says that  they've more than earned the opportunity. Actually hearing it sends you off.... somewhere else. I did not get very far AT ALL into "Stay Up" before I realized that I was listening to something extremely strong and, again, as someone who basically CHEERS for Spectacular (and I cheer for just about everyone) - DAMN DID THAT MAKE ME HAPPY! I did, honestly, hesitate in reviewing it because, as small as it is, "Stay Up" is kind of EP-ish but... shit, I make the rules around here, I can do what I want! LET'S TALK ABOUT IT!

Since I just alluded to it, let's get the biggest critique here out of the way right now. Comprised of just nine selections, spanning only thirty-eight minutes, "Stay Up" is too short. It just is. Even just one or two more songs of the same quality as the first nine would have went a considerable way in adding to things but, just judging it for what it IS, "Stay Up" is fantastic. Getting us up and going is what is EASILY one of the album's finest offerings altogether, 'Jump Ina Fyah'. BOOM! The opener is POWERFUL! 

"Nuff a giant

Nuff a dem a dwarf

Nuff a whale

Yow, nuff a shark

Some act like dem tough

Wi know seh dem soft"

The song is fairly broad and pretty much all over the place but it serves as the PERFECT opener, just to grab attentions and make sure you're well paying attention. Charged with holding your attention is the also very free-flowing 'Hardcore', with its golden bounce. I'm pretty sure Spectacular planned this song out and rehearsed it (or whatever he typically does) - it does not sound like something he just came up with off the top of his head and went with, but it almost has that type of feel of it (none of that makes any sense, I know, but I think you sorta/kinda get what I'm trying to say). 'Hardcore' is, effectively, a musical celebration where Spectacular declares that he has his style ["Mi gi dem it HARDCORE!"] and pays respect to those of us who have ears to hear it and the ability to receive it and IT is EXCELLENT (and we appreciate it!). The album's first of a pair of combinations is in next, the title track, which brings in respected veteran vocalist, Lymie Murray. Murray is one of those people that tend to have more of a dedicated fanbase than you probably give him credit for. His releases, as far as I can tell, tend to garner a fair amount of attention and you'll be doing something fine for yourself in laying a bit of yours in the direction of this wonderful tune. 'Stay Up' KIND OF practices what it preaches and I mean that in a good way: The VIBE of this one is subtly infectious. It is a track about staying persistent , staying the course and keeping a good attitude during challenging times but 'Stay Up' is not, AT ALL, what you'd call a happy song; it also goes through the struggle and, in its pacing, acknowledges that what it is asking of you is most certainly not easy. Later on, is 'Farmer Man', the album's other song featuring another artist. This time, Lutan Fyah joins Spectacular on a, upful, hard-working effort that is sure to get head bobbing and fingers tapping. The two also came together on the heavy 'System Dread' from the aforementioned "Salvation" set (and that was not their first tune together. Spectacular was even on "Justice", seven years before "Salvation" and more than fifteen years ago now) and have, obviously, been around one another quite a bit through the years. The result, unsurprisingly, is a lot of musical chemistry being developed which is crystal clear on 'Farmer Man'.

For all intent and reasonable purposes, 'Stay Up' is the best song on the album named after it but.... something else catches my ear and earns top honours from me as our obligatory ganja tune, 'Bag A Weed', is downright addictive.

 

"Mi no si nobody love weed like mi

When you si mi, you call mi di Weed OG

I wanna tell yuh something about this tree

Mi know seh yuh bound fi agree

I tek a seed and mi guh put it inna di soil

Water and when it grow, mi nurture it just like a child

Groom it up, prune it up, so it no grow wild

MEDITATION STYLE!"

This tune is brutal! It is tough as all hell to shake (not that you'd want to) and it grabbed me and has yet to let me go! Of course, such pieces are in a ridiculous abundance in Reggae music, but Spectacular's 'Bag A Weed' is one of the finest ganja tunes that I've heard in the last five years or so - without question! Having ticked off one compulsory section, Spectacular later deals with another one in 'Mama Proud' and he definitely does his mama proud. The song is surprisingly on the heavy side and it is the vibe of such an offering that signals any type of individuality (it can be strong lyrically as well (and it is) but it's pretty difficult to make a Reggae song about MAMA incredibly unique) and everything clicks with 'Mama Proud' to my ears. It goes both broad and direct and is a LOVELY song for the most powerful person on the planet. Speaking of vibes, check the DAMAGING 'Justice' which absolutely SOARS!

"Then by the bullet, or the ballot or the gun

One way - dem seh justice haffi come

Pass mi mi kette, mi bass and mi fundeh drum

Gimme mi shake, and mi shake dem dung

Run injustice, mi seh justice ah come

Wisdom, knowledge, overstanding di words from mi tongue

Free up di bank, mek good water run

Now clear di way and mek Jah Jah, HIM, touch down 

I play Nyabinghi inna di middle of the street

Play Nyabinghi because it sound so sweet

Play Nyabinghi because it was ordered-

By the Honourable Marcus Garvey

Then mi tired of dem ism, schism

And all dem socialism

And all dem capitalism

And all dem racist-ism

Yow, a pure ism, schism

And all dem pirate-ism

Dem ah fight over gold and oil

Kill off di people dem and ah laugh and ah smile"

'Justice' comes through as a call to action and you will feel like activating SOMETHING while listening to it! If it does not move you in some way, I regret to tell you that you probably passed away somewhere along the way. WE HAVE LOST YOU! BOOM! The song is also the longest on "Stay Up" by more than forty seconds as a golden chunk of it is given primarily to the Forward Ever Band who DAZZLE musically with the riddim... and I am now heavily reconsidering my choice of my favourite song on this album. Also, big credit goes to the delightful backup singer/s who really add another facet to things on 'Justice'. There's a track here that I'm going to pay its respects in a different way by the name of 'The System'. It is, essentially, a social commentary (to be expected from the title) and it is EXCELLENT. Were you to pluck if off of "Stay Up" and drop it on "Salvation" or "Find Yourself", 'The System' instantly enters the discussion of best tune on either one of them. It is that good. HERE?? It ain't even close! I hear at least four songs that are stronger and I could probably make the case for another one! That's how strong "Stay Up' is; when you listen to a selection like 'The System' and fully LOVE it but are ranking it CLEARLY in the album's bottom half. The closer, 'Heart Mind and Soul' is somewhat of a changeup, given its direction but it compliments some of the other sounds you'll find here very well. It is almost entirely spiritual (which Spectacular doesn't do too often, actually. I find that he usually tends to hit the tangible in some way in his lyrics) and in a good way, with the riddim behind it being this lumberingly LUSH vibe. It did take awhile but, like pretty much everything else on "Stay Up", after awhile, I was hooked.

I do want to, very quickly, revisit something of Spectacular's style of writing, in general, which is one a thrilling display on "Stay Up". I write these reviews and I like to give a lot of credit to good writing and usually when I do that it's in appreciation of artists who're largely very specific and detailed in what they do. Spectacular deserves an immense amount of praise as well even though (and maybe even because) he thrives on being more broad. He'll talk about three or four different things on a single song and sometimes he'll tie them all together and sometimes he won't even bother but the level of writing he displays when he's at his best -- and he is at his VERY BEST here -- is POWERFUL. When you combine that with his typically fiery delivery, I give a level of respect to this set LYRICALLY that I typically reserve for artists with styles much different than Spectacular's.

Overall, as I said, if only "Stay Up" were a bit longer.... as it is, it nearly reaches the lofty levels of the name of its creator. To my opinion it is, far and away, THE finest display of his talents thus far and if someone were new to the music of Spectacular, I'd set it up as a PERFECT entry point to get familiar. "Stay Up" is fantastic and it comes from someone who was just DUE to have such a release. I'm not saying that it's "landmark" or "life-changing" or anything of the sort, but it is of an obviously higher level than what he's done to this point, which is saying a lot. "Stay Up" figures to be the best case scenario for Spectacular. It is an outstanding, albeit brief, showcase of someone that may have been overlooked by too many up until this point. HOPEFULLY it informs us all as to exactly WHO we're dealing with as one of the genre's 'fittest' talents shines like never before. OUTSTANDING!

Rated: 4.75/5

Carabeo Music

2025