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.
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.
Preparations. As I'm sure you'll agree, one of the greatest things about being a consistent fan of music is the wonderful surprises that it continuously provides. Be it a big song from an unknown, a comeback of some sort, a shocking collaboration or ANYTHING, music, like life in general, has a wonderful way of keeping us on our proverbial toes when we pay enough attention to it. Given the nature of Reggae, where the point isn't usually building towards some album or complete project and singles run the show, for the most part, when you do come across that surprising album, it can be a special thing and you know, for someone like me, the first thing on my mind to do is to come and tell you wonderful people all about it. Today I'm going to tell you about such a release from an artist who has CERTAINLY shown a level of talent throughout what has been a distinguished yet, perhaps, underappreciated, career (GENUINELY underappreciated, not in the crazy, overused way Reggaeheads usually talk about), but is also someone who I've mentioned quite a bit throughout the years because he's remained active and prominent. He has very much been someone whose time in the music has seemed to be a GRIND and, in some ways, he seems to have enjoyed the fruits of his labour but, hopefully, more is to come. Of course I'm talking about the Kingston born, heavy voiced chanter, Spectacular who has provided us with some excellent material over the years. When his name comes up, the first thing that generally goes through my mind is the productivity that the link with label Irie Ites. Along with a small handful of others such as Chezidek, Ras Mac Bean, King Lorenzo and someone else who I'll tell you about later (I'll give you a hint, it rhymes with Hoot & Syah), Spectacular has become a favourite of the France based imprint and artist and label have made some truly brilliant material together and, presumably, will continue to do so, going forward. Apart from that, Spectacular has found the true source of his popularity (again, like a few others) on Reggae-crazed European soil, working with, amongst others favourites of ours, Oneness Records, ReggaeLand, Little Lion Sound and the once mighty Minor7Flat5. Earlier, his developmental years would see him drawing the attentions of big Jamaican labels such as Xterminator (crazy tune Spectacular had for Fattis called 'Blast Dem') and Buju's Gargamel.
You would have thought (and you'd think it still that Spectacular's opus would likely come via Irie Ites. Were they ever to work on an album and include both old and new material, that would surely be a big project and would be a legacy enhancing type of release, potentially. However, such a thing has yet to materialize and, after all of these years, one would presume that is unlikely to (GO AHEAD AND MAKE A FOOL OUT OF ME, IRIE ITES!) (I DARE YA!). Instead, the first two albums of Spectacular's career have come from two different European outlets. His debut, 2005's "Find Yourself", came via DHF from out of Germany, while his sophomore set, "Salvation" from eleven years on, was delivered via Carabeo Music who, like II, operate out of France. It was the first of the two which was his strongest in my opinion; carrying, amongst others, the OUTSTANDING '50 Push Up' ["DO FIFTY PUSHUPS! HUNDRED SKIPS!"], which is one of my favourite Spectacular songs still (and in the conversation for being THE best, actually).
2005 & 2016
Apparently, the link with Carabeo has remained quite strong in the nine subsequent years since "Salvation" because Spectacular & Carabeo now bring forth the former's third studio release to date and something I have really wanted to tell you about since I laid full ears on it, "Stay Up". When I heard this album and started to figure things out and work on it in my head, I was HAPPY for Spectacular. That was the dominant thing on my mind. I was so happy for him because of its quality and I look at him as someone who could surely use that type of a big and breakout release and I don't think "Stay Up" is likely to have much reach in terms of introducing to him such a giant new fanbase but I am DAMN confident that those tried and trusted lot of us who came to listen (because we ALWAYS do) will be thrilled by what is here. So, maybe in Reggae circles (and ONLY in Reggae circles) (and then again, maybe not), "Stay Up" can have that type of resonating impact with the masses. Along with reuniting with Carabeo, the new album also finds Spectacular working alongside the Forward Ever Band from Spain (great name). As far as I can tell, there's is a relationship that dates back half a decade to 2020's 'Seat Tight' which was a very nice single on the Modern Times Riddim and they've also made music with Luciano, Earl 16, Jah Mali, Loyal Flames, Ras Tewelde and even Gappy Ranks! So if the FEB is a new one to you, their credits prior to "Stay Up" says that they've more than earned the opportunity. Actually hearing it sends you off.... somewhere else. I did not get very far AT ALL into "Stay Up" before I realized that I was listening to something extremely strong and, again, as someone who basically CHEERS for Spectacular (and I cheer for just about everyone) - DAMN DID THAT MAKE ME HAPPY! I did, honestly, hesitate in reviewing it because, as small as it is, "Stay Up" is kind of EP-ish but... shit, I make the rules around here, I can do what I want! LET'S TALK ABOUT IT!
Since I just alluded to it, let's get the biggest critique here out of the way right now. Comprised of just nine selections, spanning only thirty-eight minutes, "Stay Up" is too short. It just is. Even just one or two more songs of the same quality as the first nine would have went a considerable way in adding to things but, just judging it for what it IS, "Stay Up" is fantastic. Getting us up and going is what is EASILY one of the album's finest offerings altogether, 'Jump Ina Fyah'. BOOM! The opener is POWERFUL!
"Nuff a giant
Nuff a dem a dwarf
Nuff a whale
Yow, nuff a shark
Some act like dem tough
Wi know seh dem soft"
The song is fairly broad and pretty much all over the place but it serves as the PERFECT opener, just to grab attentions and make sure you're well paying attention. Charged with holding your attention is the also very free-flowing 'Hardcore', with its golden bounce. I'm pretty sure Spectacular planned this song out and rehearsed it (or whatever he typically does) - it does not sound like something he just came up with off the top of his head and went with, but it almost has that type of feel of it (none of that makes any sense, I know, but I think you sorta/kinda get what I'm trying to say). 'Hardcore' is, effectively, a musical celebration where Spectacular declares that he has his style ["Mi gi dem it HARDCORE!"] and pays respect to those of us who have ears to hear it and the ability to receive it and IT is EXCELLENT (and we appreciate it!). The album's first of a pair of combinations is in next, the title track, which brings in respected veteran vocalist, Lymie Murray. Murray is one of those people that tend to have more of a dedicated fanbase than you probably give him credit for. His releases, as far as I can tell, tend to garner a fair amount of attention and you'll be doing something fine for yourself in laying a bit of yours in the direction of this wonderful tune. 'Stay Up' KIND OF practices what it preaches and I mean that in a good way: The VIBE of this one is subtly infectious. It is a track about staying persistent , staying the course and keeping a good attitude during challenging times but 'Stay Up' is not, AT ALL, what you'd call a happy song; it also goes through the struggle and, in its pacing, acknowledges that what it is asking of you is most certainly not easy. Later on, is 'Farmer Man', the album's other song featuring another artist. This time, Lutan Fyah joins Spectacular on a, upful, hard-working effort that is sure to get head bobbing and fingers tapping. The two also came together on the heavy 'System Dread' from the aforementioned "Salvation" set (and that was not their first tune together. Spectacular was even on "Justice", seven years before "Salvation" and more than fifteen years ago now) and have, obviously, been around one another quite a bit through the years. The result, unsurprisingly, is a lot of musical chemistry being developed which is crystal clear on 'Farmer Man'.
For all intent and reasonable purposes, 'Stay Up' is the best song on the album named after it but.... something else catches my ear and earns top honours from me as our obligatory ganja tune, 'Bag A Weed', is downright addictive.
"Mi no si nobody love weed like mi
When you si mi, you call mi di Weed OG
I wanna tell yuh something about this tree
Mi know seh yuh bound fi agree
I tek a seed and mi guh put it inna di soil
Water and when it grow, mi nurture it just like a child
Groom it up, prune it up, so it no grow wild
MEDITATION STYLE!"
This tune is brutal! It is tough as all hell to shake (not that you'd want to) and it grabbed me and has yet to let me go! Of course, such pieces are in a ridiculous abundance in Reggae music, but Spectacular's 'Bag A Weed' is one of the finest ganja tunes that I've heard in the last five years or so - without question! Having ticked off one compulsory section, Spectacular later deals with another one in 'Mama Proud' and he definitely does his mama proud. The song is surprisingly on the heavy side and it is the vibe of such an offering that signals any type of individuality (it can be strong lyrically as well (and it is) but it's pretty difficult to make a Reggae song about MAMA incredibly unique) and everything clicks with 'Mama Proud' to my ears. It goes both broad and direct and is a LOVELY song for the most powerful person on the planet. Speaking of vibes, check the DAMAGING 'Justice' which absolutely SOARS!
"Then by the bullet, or the ballot or the gun
One way - dem seh justice haffi come
Pass mi mi kette, mi bass and mi fundeh drum
Gimme mi shake, and mi shake dem dung
Run injustice, mi seh justice ah come
Wisdom, knowledge, overstanding di words from mi tongue
Free up di bank, mek good water run
Now clear di way and mek Jah Jah, HIM, touch down
I play Nyabinghi inna di middle of the street
Play Nyabinghi because it sound so sweet
Play Nyabinghi because it was ordered-
By the Honourable Marcus Garvey
Then mi tired of dem ism, schism
And all dem socialism
And all dem capitalism
And all dem racist-ism
Yow, a pure ism, schism
And all dem pirate-ism
Dem ah fight over gold and oil
Kill off di people dem and ah laugh and ah smile"
'Justice' comes through as a call to action and you will feel like activating SOMETHING while listening to it! If it does not move you in some way, I regret to tell you that you probably passed away somewhere along the way. WE HAVE LOST YOU! BOOM! The song is also the longest on "Stay Up" by more than forty seconds as a golden chunk of it is given primarily to the Forward Ever Band who DAZZLE musically with the riddim... and I am now heavily reconsidering my choice of my favourite song on this album. Also, big credit goes to the delightful backup singer/s who really add another facet to things on 'Justice'. There's a track here that I'm going to pay its respects in a different way by the name of 'The System'. It is, essentially, a social commentary (to be expected from the title) and it is EXCELLENT. Were you to pluck if off of "Stay Up" and drop it on "Salvation" or "Find Yourself", 'The System' instantly enters the discussion of best tune on either one of them. It is that good. HERE?? It ain't even close! I hear at least four songs that are stronger and I could probably make the case for another one! That's how strong "Stay Up' is; when you listen to a selection like 'The System' and fully LOVE it but are ranking it CLEARLY in the album's bottom half. The closer, 'Heart Mind and Soul' is somewhat of a changeup, given its direction but it compliments some of the other sounds you'll find here very well. It is almost entirely spiritual (which Spectacular doesn't do too often, actually. I find that he usually tends to hit the tangible in some way in his lyrics) and in a good way, with the riddim behind it being this lumberingly LUSH vibe. It did take awhile but, like pretty much everything else on "Stay Up", after awhile, I was hooked.
I do want to, very quickly, revisit something of Spectacular's style of writing, in general, which is one a thrilling display on "Stay Up". I write these reviews and I like to give a lot of credit to good writing and usually when I do that it's in appreciation of artists who're largely very specific and detailed in what they do. Spectacular deserves an immense amount of praise as well even though (and maybe even because) he thrives on being more broad. He'll talk about three or four different things on a single song and sometimes he'll tie them all together and sometimes he won't even bother but the level of writing he displays when he's at his best -- and he is at his VERY BEST here -- is POWERFUL. When you combine that with his typically fiery delivery, I give a level of respect to this set LYRICALLY that I typically reserve for artists with styles much different than Spectacular's.
Overall, as I said, if only "Stay Up" were a bit longer.... as it is, it nearly reaches the lofty levels of the name of its creator. To my opinion it is, far and away, THE finest display of his talents thus far and if someone were new to the music of Spectacular, I'd set it up as a PERFECT entry point to get familiar. "Stay Up" is fantastic and it comes from someone who was just DUE to have such a release. I'm not saying that it's "landmark" or "life-changing" or anything of the sort, but it is of an obviously higher level than what he's done to this point, which is saying a lot. "Stay Up" figures to be the best case scenario for Spectacular. It is an outstanding, albeit brief, showcase of someone that may have been overlooked by too many up until this point. HOPEFULLY it informs us all as to exactly WHO we're dealing with as one of the genre's 'fittest' talents shines like never before. OUTSTANDING!
Plus one. There is something very powerful about making a strong first impression. In almost any type of situation that I can think of, if you get someone's attention in a positive way and impress that person and give leave with something to remember you by, you have potentially done something special and laid a very important foundation for what is to come. You (YOU sitting right there) can think of situations where you've experienced such a thing. Maybe some of the best people you've ever met or some of your best friends are so because something they did or said right around the time when you first met them (then there's that one you have that has made awful impression after awful impression but you just love them for some reason) (biggup Loa). The obvious direction here goes to the position of a musician making a big tune and grabbing the initial attention of a listener and, at least potentially, making a lifelong fan out them. If you do that enough times it can help you immensely in not only widening your reach but also.... it's going to put some money in your pocket, which is always a good thing. On more simpler and personal terms I can think of a very nice group of artists who, from around the very first time I heard from them (and maybe even of them) managed to display some level of talent that, at the very least, went a great way in making them a name that stayed on my radars for quite some time. DEFINITELY the most interesting of this lot would be Turbulence and the very rocky 'relationship' that I have had with his music over the years. Turbulence is one of the most gifted artists in Reggae music that I have EVER heard. Period. He has a GREAT singing voice. He can chant. He is powerfully lyrically. He can literally do it all and that has been the case over the past quarter-century plus. He has, unfortunately, spent the better part of the last.... decade and a half or so (it's probably more like seventeen, eighteen years at this point) CONSISTENTLY making these uneven love songs dominate his catalogue and if he makes ten of them, maybe I'll enjoy one; maybe not. Still, because of what he showed so early on, I am convinced and will likely ALWAYS be convinced of his abilities, so whenever Turbulence makes new music, I'll be paying attention (new tune, 'Cut Off The Serpent Neck', w/Makaru) (good song) and hoping for the best. I could run through several names of artists who've impressed me through the years with some of the very first output that I heard from them (Pressure Busspipe would be another good example) and have remained at least interested in many years later and today we get an opportunity to take a long awaited look at another.
2009
You don't come across Belize too often in your 'travels' as a fan of Reggae music. I could name a few off the top of my head but really at the top is but a couple of names (unless I am REALLY forgetting someone). One would be the sweet voiced Eljai, who we don't hear from nearly enough and consistently churns out at least SOLID material. The obvious other and, arguably the most popular, is the esteemed Ras Indio of whom I'd like to think I spent quite a bit of time 'back in da day' doing my absolute best in trying make people aware. Why? I'd heard a few singles of Indio's (one in particular, 'Healing of the Nation', his cut of the MASSIVE Show Love Riddim) (biggup Itation) but a large portion of my attraction to his sound came via a very large (literally) album Indio did by the name of "Jah Bless Us". TO THIS DAY, "Jah Bless Us" holds a very strong (and strange) place in my affections as, although I'm not going to tell you that it is one of THE best albums that I've ever heard in my life - it was absolutely fantastic. Loaded full of wonderful songs (and familiar names) (including Turbulence) (as well as Lutan Fyah, Luciano, Chezidek and even Ras Attitude), "Jah Bless Us" was one of the very few sets that I've come across that, thought clearly overstuffed -- twenty three tracks -- it was NOT too long. Its signature and title track is likely one of the best... hundred or so songs that I have ever come across and it is just a beautiful piece of work. That album reached way back in 2009 and it made a fan out of me as I have been sure to keep an eye on what Ras Indio had been working on ever since.
And 2025 has brought us very nice news. Though he's been remained fairly active over the years, it'd been awhile from the last time we'd heard from Indio in any type of full way. To my knowledge, "Jah Bless Us" remains his most recent album, but a decade ago, he did give us "One of A Kind", a love-centric EP which was probably better than you recall (and by "you", of course I mean me). There's been a bucket of singles as well, including 'Love & Inity' a HUGE track from just last year, done alongside the aforementioned Pressure Busspipe. I was hopeful -- I'm always hopeful for such things -- but I had no actual reason to believe that forthcoming was any type of new album from Ras Indio but look what we have here! 2025 has been a fun one so far and it goes even higher, courtesy of "Voice Of The People", the long awaited brand new album from Ras Indio! BOOM! Credited for production is a David L Smith (who is probably Ras Indio) and the same Indigenous Productions (also likely Ras Indio) that releases all of Ras Indio's work and I've also seen our friends at DaVille credited with its distribution as well (biggup ReggaeVille). I have to say that the feeling when I found out that Indio had FINALLY done a new album wasn't quite to this level, but it was awfully close to what I felt in 2023, when the incomparable Queen Omega ended the drought and delivered "Freedom Legacy": I WAS SO DAMN HAPPY! For someone who you try to make it a point of to 'check on', at least semi-routinely, when you come back to them and notice that they have an album, in general, is a very big deal (any day now, Reemah), but when it's Ras Indio, for me, it was a special feeling and maybe I'm the only one saying it but "Voice Of The People" IMMEDIATELY became one of the most anticipated sets of 2025. When I got my first taste of what was to come, it was magnified and all of that was even before we got to how good the actual album even was.
Ras Indio's style is a subtly interesting one. On its surface, it is fairly straight forward modern Roots Reggae chanting and if that's how you want to describe it, that is fine and accurate. However, when you dig into just a bit more, his methods do open up just a bit. He has a very strong command of melody but it isn't a sound that you would call 'loose' or 'wild' to any degree. What results is a very entertaining brand of Roots music, via kind of 'gruff' and clever delivery. You won't actually get your first taste of that on Ras Indio's new album, "Voice Of The People", until the second and title track because the first is an Intro, which appears to be a part of an interview, where Indio declares himself one of the people ["How can I be the voice of the people, if I am not a part of the people?"]. On 'Voice of The People', he formalizes matters. This song actually turned out to be, lyrically, nothing like what I expected. After its beginnings, it basically drifts into a VERY general direction where Indio goes through pretty typical topics for the genre. I was looking forward to something far more specific. Of course, that doesn't mean that the 'Voice of The People' is a bad song necessarily (it is not) but given what happened the last time, the title track for a Ras Indio album had VERY large shoes to fill. One third of the twelve tunes here are combinations and we get the first of the lot on the excellent 'Strong Everywhere', which taps the golden vocals of Jamaican singer Ginjah, displaying his talents alongside Indio. This is actually a remix of an old tune of Ginjah's, which now features Indio. Presumably, the Belizean was a fan and wanted the song for his album and while Ginjah largely dominates (as you would imagine. That man's voice can literally be OVERWHELMING at times) but Ras Indio makes his presence known in adding a colour to what was already a big piece of work, in tribute to the all-powerful, ever-present nature of Rastafari. Later on, Indio is joined by a pair of Hip-Hoppers from out of Belize (I THINK), Big Bang Manifest (cool name) and Kassa for 'Bang Bang' (with a helping hand [SAMPLE] from Eek-a-mouse). I have never much of a fan of Hip-Hop and this song won't change that at all but I do not hate it and the anti-violence creation definitely does has its place on an album such as "Voice Of The People" in my opinion. No less than FIVE other artists join in on 'Time Is Now', King Siege, Wonder Boy, Fobi, World Foe (who is the only one I'm confident in saying that I've heard of) and Fuego. This one is also kind of leaning towards more of a Hip-Hop side and, as you would expect with so many names on board, it's sort of all over the place. It is VERY animated and made for ears other than mine although you definitely give credit to Indio for putting together such a tune, giving exposure to other artists to people like You and I; providing them with a chance to make a fine first impression of their own. I'll also add, right here, a later track also of a more of a Hip-Hop sound, the rather solid 'Bad Mind'. Musically speaking, 'Bad Mind' doesn't do much for me at all but it damn near SOARS when you actually tune in what Indio is saying ["Certain thing wi just nah go tolerate yah. As a Rastaman, it's just my Rasta nature"]. Song won't change your life and you've likely heard dozens like it beforehand (probably with the exact same title), but some of the things said on an otherwise largely nondescript track are not to go overlooked.
If you've spent anytime at all around here, you won't at all be surprised to know that 'No Curse' is my absolute favourite song on this album. Why would that be so obvious?? Well, 'No Curse' just so happens to feature Norris Man who's also been a favourite of mine, particularly in recent times. This song just makes me SMILE! It's about being upfull, having a positive attitude and treating others well (even when they don't reciprocate) (.... ESPECIALLY when they don't reciprocate).
"Wi neva do dem no harm
Neva bring dem no hurt
ALWAYS PRAY FI DEM FI BE BLESSED
Never bring dem no curse"
The full vibes from this one are just so powerful and attractive, making for the signature moment of "Voice Of The People" in my opinion. Desire you another winner? Check the album's obligatory ganja tune, 'I Blaze'. 'I Blaze' is just a COOL song. It has some slightly more aggressive elements to it but, for the most part, it comes through as a very chilled herb tune and I have to mention how Indio seems to combine a couple of different older songs in his lyrics. I (and maybe only I) hear an ode to a personal favourite of mine, 'Bun It' by Mr. Vegas and Ele, but regardless of its possible inspirations, 'I Blaze' is excellent. On a similar level is the tune chasing 'I Blaze', 'Me Against the World'.
"For He is all I need, throughout my times of tribulation
He's all I need, to keep me from those devil temptations
Jah is all I need, to give I & I a daily inspiration
JAH IS ALL I NEED, THE AIR I BREATHE, WHILE DEEP INNA MI MEDITATION
So in tims when you are down and feel like no one's there
Search and He's all around
Always keeping you safe and sound, oh yeah
In times when you're in need and the rocky roads still ah get steep
Put your faith inna The Most High
My forever Guide and Shield"
This song is a praise, wrapped up in a vibe dealing with perseverance and determination, with the lasting sentiment being that when you're in a bad place in life, Indio is saying that it may not be as bleak as it seems because SOMEONE always has your back, should you seek HIM out.
If you didn't get enough fire, Ras Indio has you covered between two songs helmeting (just make ANYTHING a verb. "Helmeting" = 'at the beginning of') the second half of "Voice Of The People", 'Rise & Fall' and 'Hotta Fyah'. Both are pretty mid-level and fun Dancehall (I mean real Dancehall) tunes, with the latter being the better of the pair. I was very happy that both of these songs were on the album because it kind of gives the project more of a balance. You have Roots and then you have some Hip-Hop. The PERFECT stop between the two is definitely Dancehall and, coming from someone who is obviously and admittedly biased towards one side, the Dancehall tracks are CLEARLY better in every way than the Hip-Hop on "Voice Of The People". Lastly, and I hate to say it but I can explain myself is a song with which I was VERY disappointed: An acoustic version of version of the aforementioned 'Jah Bless Us'. Initially, when I saw this included I got super excited because the original version of the tune begins with an acoustic sound before developing into that... chunk of diamond that thing was (it is SO beautiful), so I thought this version would just be an expansion on the first half or so of the original. It isn't. This is an entirely newly sang tune and it just isn't as good. It isn't BAD but I was expecting a slightly more streamlined cut of the original and, again, that is not what this is.
Overall, obviously it goes without saying that this album does not quite reach the levels of "Jah Bless Us" and that's fine. I wasn't expecting it to and would have been shocked if it did. However, "Voice Of The People" is still an entertaining and compelling piece of work and I think that much of the crowd that began listening to Ras Indio because of that earlier masterpiece will find at least something here to enjoy. I do wish it were a bit more Reggae-centric (and so do you) and maybe more consistent but I'm not disappointed, wholly, with "Voice Of The People". Regardless of how it registers, there's nothing that I've experienced here which will shake me from whatever it turns out that Ras Indio releases next. It is the case when you make such a fine entrance. Maybe a more varied type of fan will have that moment with this album, more Reggae heavy listeners, look to get on where I did.
Okay so, something a bit peculiar occurred to me a week or two ago while I was looking through upcoming releases.... actually that's wrong: What it did was to reinforce something that I'd noticed previously as being some rather strange behaviour.
A month ago (almost exactly to the day), we told you about "Oath Of Akae", the big new album from VI veteran chanter, Ancient King. That album came through Trinity Farm Music & Go A Chant Productions, who work together frequently (and may actually be the same group, who knows). Here's the most interesting part. If you've followed Ancient King's releases over the past couple of years or so, you may've noticed that he's released a couple of singles for GAC, exclusively, NONE OF WHICH appeared on "Oath Of Akae". Going back to 2023, there was a solid combination with Abja, 'Frankincense'.
Not only did 'Frankincense' miss "Oath Of Akae", but it also did not feature on "Journey Of Gratitude", Abja's own album on TFM/GAC, earlier this year. A week prior to that album releasing, there was another Ancient King single for Go A Chant, the CONSIDERABLE 'Word Sound and Consequence' (this song is excellent).
"Meditate not upon di ugly-
Of how ugly people is
If you I-ditate on the ugly, then you draw the energy to yourself
And becoming ugly, like the spirit you have in your head"
Also in there (even a bit more perplexing), was 'Be Soulfull', which was a fully Trinity Farm Music & Go A Chant Productions. Ancient King will never be confused for being the most melodically gifted of artists, but 'Be Soulfull' did a good job in showcasing that he does have more immediately pleasing skills while not drifting away from his typical approach at all.
And all of this happened while they still, steadily, presented songs that would appear on "Oath Of Akae". Tunes such as 'Hites', 'Tender Obedience' and the album-topping 'The Earth is Egziabheer' all reached between November and February. And the work is, CLEARLY, not done. Today (literally today, while I'm writing this), Ancient King and Go A Chant have delivered yet another single, 'Egziabheer Feed Us All'.
"Hey, it's a connection
So don't turn your back on the natural food from the land
Remember, dutty food, processed GMO-
Fling dat inna garbage pan"
Hitting on a topic that he also touches on during the brilliant 'Convenient Store Tree' which does appear on "Oath Of Akae", Ancient King takes a heavy look at physical health and nutrition and while you certainly do come across similarly themed tunes from others, I don't know if anyone is currently hitting the topic this hard and definitely not with the passion and detail that Ancient King is. 'Egziabheer Feed Us All' might even be slightly stronger than 'Convenient Store Tree'; I am THOROUGHLY enjoying this tune.
With a release schedule like this, it might make you think that another Ancient King/Trinity Farm/Go A Chant release is in there somewhere, but it may not be. If that is the case, so be it. So far, just about everything that they've worked on together has been BIG and whether they're building towards another project or just keeping current, I will be listening. Just thought I'd let you know. I'm going back to bed.
