"Rebel With A Vibe" by Lion D [Bizzarri Productions - 2026]
Okay so, do you remember Lion D??? A ridiculously long SEVENTEEN years ago the flaming Italy based star (born in the UK to an Italian mother and Nigerian father, the story goes) would come out of virtually nowhere to take our top honours with 2009's album of the year, "The Burning Melody" (pretty sure he didn't even make the list of anyone else that year which, of course, means that EVERYONE ELSE WAS WRONG) (ALL YUH!). Since then, we'd also talk about him in regards to subsequent releases, all of which were at least pretty good -- one of which was EXCELLENT -- and I've at least tried to make an attempt to keep up with his output. Well, Lion D's been 'outputting' in the first half of 2026. After dropping a pair of singles in the past couple of months or so, Lion D has now tacked on four other tunes for a full EP release, "Rebel With A Vibe". Like much of his work, the EP comes via Bizzarri Productions (biggup Bizzarri) who've always provided Lion D with a luscious mixture of modern Roots and a slightly more older era Dancehall (like... 90's Dancehall) and, as usual, he shines. Let's talk about it a little.
{Note: Typically do things like this track-by-track.... but I didn't feel like it. I just finished a tbt so, let's mix it up today. Here's a mini-review}
Getting things going on Lion D's brand new EP release, "Rebel With A Vibe" (great title!) is one of the previously alluded to early singles, the all sorts of fun 'Tun Up The Sound'. This song is likely exactly what you're expecting it to be. It's just a good time to be had in the celebration of sweet Reggae & Dancehall which is the Lion's precise area of expertise, so you know what you're getting into in terms of quality... and even if you don't, the actual song is probably in here as well, so you can just listen to it! I'm going to skip ahead to the very similarly vibed 'Sound Murderah', another selection whose title definitely speaks for itself. Just like the opener, 'Sound Murderah' is also very good (may even slightly rank ahead between the two, actually) and it's a good time. I don't know if this is what they were building towards in its day but 'Sound Murderah' actually dates back a couple of years or so but it fits perfectly on this release as. With that being said, however, though both 'Tun Up The Sound' & 'Sound Murderah' are both very good, it speaks to the total quality of this set that every other tune on it is at least a little better than both of them.
Want an example? How about 'Mind Over Matter'? This track, the other pre-release single from the EP is absolutely GLORIOUS and though serious challengers are to come (one in particular), by the slimmest of margins, it's my favourite song present here as the Lion THRILLS on this golden perseverance anthem ["Music mi use, mi nah fret fi speak up and dem caan cool it dung when mi tun di heat up"]. So many times we hear songs like this which may be very good (may be even better than this one) but they're done in more of a RIGID type of way. This isn't rigid at all. 'Mind Over Matter' is flexible, malleable, EXCITING modern Roots Reggae music and a fine lyrical performance as well. Check the first of a pair of combinations from "Rebel With A Vibe", 'Deliver Me', which taps the services of Mandinka. I've come across Mandinka's work a number of times over the years (probably most notably on a WICKED song he had with Skarra Mucci back in da day) but still know very little about the man. I should probably do something about that but until then, 'Deliver Me' is fantastic. It almost reaches a similar destination as 'Mind Over Matter' but arrives there in a far more spiritual vessel.
"Lord! Dem dutty heart and dem friendly smile
DEM BOY A FOES IN A FRIEND DISGUISE!"
Grrrr. For his part, the baritone voiced Mandinka casts anchor in the tune's second half which then begins to GLOW in its latter portions with an almost Dubbish type of an effect at times. I'd listened to this one several times before writing this review and I'll tell you - even though I'd held it a high esteem, 'Deliver Me' is even better than I initially thought. Also joining Lion D on "Rebel With A Vibe" and lending their talents is Mellow Mood, with whom I am a bit more familiar, also from out of Italy, who give a hand on 'Last Man'. 'Last Man' has an inherent flaw to it; there's something immediately wrong here: The song is just too damn short and what happens to it is that it almost ends abruptly and you're just... kind of really beginning to REALLY get into the vibes. For what it is, however, 'Last Man' is sublime. It's joyous and FUN and just a beautiful vibe for the soul... just wish there was more of it!
I could also go for a bit more of 'Pretend' if they wanted to make it but, with north of half a minute more body than 'Last Man', I'm relatively happy with what we get there. 'Pretend' is the second best track on "Rebel With A Vibe" in my opinion. It is absolutely outstanding. Coming through on some.... let's call it Conscious Dancehall, while the subject matter of 'Pretend' may be heavy (he's talking about dealing people and situations who may not be what they project themselves to be), the actual vibes are very LIGHT and pleasant. It is Lion D himself, however, who steals this show as he TORCHES this infectious vibe with a lyrical display and delivery which is somewhere beyond top notch for the full ride.
"Man haffi stay alert, ah open up mi eyes wide
VAMPIRE DEM WALK OUT AFTER TWILIGHT
Inna dark, Jah Jah light still ah shine bright
Fadda guide and protect so mi alright, my Lord
Dem no waan si mi have mine
So dem ah fight mi, nah stop gimme hard time
MI AH SOCIALLY-DISTANCE MISELF FROM DI BADMIND
Stand alone like an island, alright"
"Likkle but mi tallawah
Dem ah wonder how mi do it, mah ah lead, mi nuh follower
Some ah show dem true colour
Dem ah play hypocrite, dem deh ting mi get tired of
No respect nah no manner
Dutty heart just behave and ah smile fi di camera
Dem caan run dis ya marathon
Dem caan play mi like fool, mi move wise a Solomon"
"Nuff a dem no real, a gwan like dem a showman
Talk a bag a ting, dem a full up wid too much slogan
A Fadda God alone, a mi nuh fraid of no man
From mi a likkle pickney dem ah try fi diss di program"
Overall, we'll sit "Rebel With A Vibe" as EASILY one of the year's finest EPs thus far and not that the competition on that front has been tremendous in the first half of 2026 but I wouldn't be surprised if it took top honours at the end of the year as well. There's just something about Lion D's style that resonates with me and has from since I started listening to him There's a certain level of intellect and aptitude to his words so he gives you something to think about but, at the same time, he's very cognizant of the fact that he's making music and that it should be entertaining. Therefore the link between Lion D and Bizzarri has likely been one of the most effective and productive that I've come across in recent years. Sure... I'll take that next full album whenever it's ready but, until then, "Rebel With A Vibe" continues to demonstrate their winning ways that were established around here sixteen years ago. EXCELLENT.
We've spoken quite a bit in the past about the shift that I experienced in regards to the music of Vaughn Benjamin and Midnite. When I was much younger, the sound wasn't something that I was capable of appreciating. It wasn't very catchy. It often seemed like he did not care much at all for melodies or even if he was in-tune with the riddim behind him. It was not (and often still is not) the type of music that immediately draws you in and that's fine. While I don't think that there is an age requirement for enjoying the music of Akae Beka, I do think there may be a life experience requirement. Benjamin's music, at least in my opinion, is best served as a tool for PROVOKING THOUGHT and the depth of your thoughts surely increases with the amount of life that you've lived... with the amount of things that you have gone through, personally.
Today I want to take a look at an album which is a personal landmark for me because, if I recall correctly, it was one of the ones which directly opened the door for me to Benjamin's work. I can remember buying "Jah Grid". I was still in university, it was probably a week or two old and I bought it just to buy it (and it wasn't my first Midnite album either. I THINK that distinction belongs to "Ainshant Maps" and I'm still working on that one as well)! A trait that I inherited from my wonderful Mother (and her wonderful Mother, both of whom are healthily and happily still with us) forces me to occasionally buy things just because I like buying stuff (a problem for a habitually broke college student at the time). I'd listened to Midnite's music before and, as I said, I didn't particularly care for it and I bought "Jah Grid" presuming that I wouldn't care for it either and, at least initially, I was correct. "Jah Grid" was... skeletal. The music was just fine but for someone who Dancehall would have been what I was listening to most at the time (and I was definitely listening to Roots music as well but it would have been... Sizzla, Capleton, Anthony B... kind of Dancehallish Roots music) Midnite's music was a bridge I had yet to even attempt to cross. But I paid my money for it, it was mine and, every so often, I'd come back and listen to "Jah Grid" and somewhere along the line, the shift began. Prior to that, however, I had begun to listen to the works of the likes of NiyoRah, Yahadanai, Army & Aincent King whose work came via a label that also would stick with me, I Grade Records, which also helped. I want to say that it didn't take THAT long for an album released in 2006 but I can remember a point when "Jah Grid" ceased to have any semblance of a presupposed (on my part and my part, alone) 'barrier' to it and what stood in its place was the start of a WONDERFUL journey of comprehension that continues to this day and will only end for me at my grave.
In the latest addition to our Modern Classics series, we take a look at an album which helped to open a very large door for me, personally: "Jah Grid" by Akae Beka.
1. 'Enter'
I've spoken about this one previously. 'Enter' is one of the greatest songs I've ever heard... from like anyone and it so PERFECTLY exemplifies the process that I've gone through with this music.
"If you plan fi live good, open Jah door and enter"
I don't know if this is the case but I'd like to think that someone specifically decided that it was so powerfully positioned at the beginning of the album because it sets the stage for what is to come not only musically but, specifically, by what Vaughn Benjamin says. ESSENTIALLY, he is saying that if you are willing to continue down this road, something immensely powerful awaits you. I should also mention just how damn THICK this song is, musically. The riddim sounds like something that grew out of the ground (oooooold, fertile ground) - a credit to the extremely gifted players of instruments behind it.
2. 'In Tent'
'In Tent' is a song where Benjamin actually does make an honest attempt at being melodic and I can actually remember a point, before this album fully opened up for me, where it may've actually been my favourite song here. These days while it may not rank as high, comparatively, I'm even more fond of it because I hear things in 2026 that simply did not exist for me in 2006. 'In Tent' is a very FULL experience and it exists for me as a social/life commentary (with a spiritual helm, of course) as Benjamin covers a variety of different topics and that's what stands out so brightly for me in this time. It's almost as if he jumps in and tackles one thing; jumps out, jumps back in and goes on something else. Take them all in a fractured state and you have something very solid (which I would have actually been capable of appreciating twenty years ago. Kind of viewing this tune as an impressive string of one liners), however, if you are capable of finding a common ground for them all and thus, receiving them all at once - well, then you have something special. 'In Tent' was special.
3. 'My Joy'
Grrrr. Despite its title, 'My Joy' came in with a bit of fury and is a more than welcomed deviation in its delivery. 'My Joy' does actually stay true to its name but in an expectedly very spiraling manner (a signature of Vaughn Benjamin's). The song was, essentially, him gardening. He was cleansing away the impurities and strengthening the soil so something would grow and he was mowing the lawn clear of overgrowth.
"Situation of the dream: Well nightmare haunt
ANYWHERE DEM KILL SEED, DIMENSION PLANT"
If you do these things well, what stands will deliver goodness for YEARS and, all of this time later, I am still enjoying the ripe fruits from 'My Joy'.
4. 'Kin Dread'
One of the undeniable signatures from "Jah Grid", 'Kin Dread', finds the chanter (in a very SMOOTH way, particularly when compared to 'My Joy' just ahead of it)... just.... obliterating and annihilating everything, EVERYWHERE! Seriously, what the hell is this:
"New methodology, dem have it inna dem ghetto, mi seet
Dem new ghetto: Di chatroom
You don't have di password
You can't afford di software
You don't fit in yahso
Dem have it set up so dem deh alone can be pon di cutting-edge of di scientific community
Anything dem waan fi sociology do-
Anything dem waan fi economically do, dem can just do it"
"Whole heap a critic-
Dem just labba, run off dem mouth ah talk seh-
'Wi shoulda dun gone Addis Ababa'
'Wi shoulda dung deh a Shashamane'
Here a small story, mi ah tell you short story about a farmer
Plant up di most itiful garden, but di youths dem only want softdrinks and Babylon flavour
But hear yah now
Dem ya a mi kin dread
Dem a mi kin dread
Dem a mi kin dread
Di harvest is ripe and di labourers are few
Selfishly, dem waan fi depart when dem know seh that dem deh pocketbook can take care of dem deh just dem few"
At its core, 'Kin Dread' is a unity piece. It's about bringing us all together, warts and flaws and all but the journey to get there may take us AGES (and I ain't complaining about it). I would suppose that the majority of this song was a vibe. I've actually seen video of Vaughn Benjamin actually writing lyrics and while I would guess (and do so acknowledging that I could be completely wrong) that it was his preferred method of writing songs, I wouldn't think that he wrote much of 'Kin Dread' at all before he started it. It has a very LOOSE feel to it which isn't a frequent occurrence in his work (his delivery often comes off as unrehearsed but the man seems to know PRECISELY what he wants to say most times) and was one of several reasons that 'Kin Dread' left its mark.
5. 'Under Management'
Along with maybe one or two others, 'Under Management' is a song that has experienced as much of a SHIFT that I can think of. I can recall a point where I listened through "Jah Grid" and came upon 'Under Management' and... literally, had NO CLUE what I was listening to. It might as well have been recorded in Japanese or Latin - not because I couldn't understand what was being said but because I would have had just as much of an opportunity of digging sustenance out of it in those days had I been totally walled-off to what was being said. On top of that, can you find a melody here? Benjamin didn't give a damn about it and what little of it there was was very difficult to get to. 'Under Management' was just a tough song to listen to and remained so, even after much of the album had begun to develop for me.
Today? There is a group of my absolute favourite songs on "Jah Grid"; there're three of them. I just told you about one of them and the other, 'Enter', started us off. Outside of those... I cannot definitively say that there is a better song than 'Under Management' on this album (one might be pretty close). There are a few others that I will, depending on the day (and maybe even the time of day), rank higher, but if you were to come back and ask me what I think a few minutes later, I'd probably change my mind. 'Under Management' is GOLDEN as Vaughn Benjamin puts on a display of the spoken word for the ages. He says SO much on this one and covers SO much ground that you can stop it TRULY anywhere and hear something powerful. For example:
"Multiple psychology experiment on tv look like entertainment"
And it allows you an entry point into such a powerful track of thought. And there is a melody! The riddim also ranks as one of the finest compositions on the whole of "Jah Grid" for, as minimal as it may be (and it is), if you REALLY listen to it closely, there is a certain intensity behind this song that does not leap out at you but is definitely there.
"I've seen it recently"
6. 'Spin Doctor'
The word that comes to mind today in reference to 'Spin Doctor' is "dilution". The term 'spin doctor' is used to describe a mouthpiece of a person who will often change and DILUTE a thought or a message to make it receivable amongst whoever it is being presented to. It is often used in the political sense.
"Teams of people who've been hired just to do this thing, believe it or not
They get on the news and in the room
Sit around and decide how the outcome must come down, smooth-
And shape it in the news"
Certain messages require no "mouthpiece", however, and certain 'Candidates' are beyond the "spin". In order to illuminate this point, Benjamin takes a route which goes through physics, looking at the nature of spin doctors on a molecular level. For its unusual sound (and it is strange, with a kind of a Jazzy vibes to it), 'Spin Doctor' is a HEALTHY point of discussion and one of the finest written songs on "Jah Grid".
7. 'Royal Habits'
I've alluded to 'Royal Habits' here already: When I was talking about 'Under Management', I mentioned that I have a group of three all-conquering favourites on this album but outside of those maybe only one more tune could lay claim to being better than 'Under Management'. That song was 'Royal Habits' and it is a flawless example of what a song that would not have done a damn thing for me when I first came across it but now does the world for me. This song is messy, it's scattered and it's pretty consistently off-key.
It's also beautiful. It's brilliant and it's poignantly POWERFUL. 'Royal Habits' also stands as one of the few tunes on which Benjamin had a little 'over-fun' with on the vocals. You'll know exactly what I mean if you're familiar with it but for the balance of the tune, it's what you're thinking that it is. We all need to do a bit better because we know a bit better. That's the source behind this song which, though it may take awhile, will reveal its true power only if given the opportunity.
"If you have it, exhibit royal habits"
8. 'The Bringers'
Though its music threatens to steal the show, 'The Bringers' does turn out to be a wonderful tune. First of all we do have to talk about that riddim: Silky, syrupy SMOOOOTH it is. Sounding like something directly halfway between Reggae and Jazz, the composition for 'The Bringers' features the handiwork of the venerable likes of Tippy I, the incomparable Tuff Lion (who DESTROYS on this song) and others. Just as a piece of music, it's winning but now we get to add in the works of Vaughn Benjamin. For his part, the chanter seems intent to match the fluidity of the players of instruments and while we can debate on how well he does on that end, what he does do (as he always does) is excel with his words. Here, he puts on a LOVELY display that I took in tribute and honour to our "bringers" [DUH!], meaning our parents, our forebears and ancestors who have done so much in bringing us to where we now are.
"Enough praise, I cannot give
Enough thanks, I cannot give"
Benjamin levels 'The Bringers' up when he goes EVEN HIGHER at one point when he asks one question:
"Should I not give all these things and more unto Jah?"
And I won't get into it... YES I WILL!
"His Majesty unified all these minds into one place
Wrote the law on their hearts in one place
Solidified by distance
3,000 miles away"
HE who set bloodlines and lineage into motion is THE BRINGER. THE is The Bringer who brought 'the bringers'. I listen to these songs and I wonder if its my overactive brain that piles on ideas here or if I'm really on to something but songs like this one mean so much me now.
9. 'YHWH'
I'll come back and explain it, in closing, fully, later but 'YHWH' sits as sort of the GLUE of "Jah Grid". It is the source code behind it all as far as my experience with the album has gone. However, until then, there's this.
"Choose before a place where no choices be
HIM, Haile Selassie spoke to these issues in specificity
Before the escalate happened early, happened early
Humbling to livity
Now it's not for triviality
Rastaman elevate the wisdom tree-
For souls to live in joy
Resonating, marinating in beauty
Let the positive rhetoric and economics interlock and purify I & I wholly
Haile. Holy"
"This" is one of the single finest written tracks on this album and I say that, again (kind of), without giving its true strength here but 'YHWH', along with 'Enter' has positioned my line of thinking in regards to this sound so perfectly and here we are There isn't a chorus to this song; such a thing would have only held it back and yet it is still quite pleasing to listen to. More on this one in a second.
10. 'Before I Lose My Strength'
I say "TEARS" when I want to let the reader know that whatever song I'm talking about makes me kind of emotional; it gets me "in my feels", as the kids like to say. I'm not going to say that about 'Before I Lose My Strength'; instead, I'll say this: THIS SONG MAKES ME CRY. It does and has been doing that for the last.... seventeen or eighteen years probably, but especially nowadays. The third of the trio of mountainous songs on "Jah Grid", 'Before I Lose My Strength' hits me heavily and I'll tell you why. For me, this song is about making the absolute most out of life that you possibly can - WHATEVER that may mean for you. It's about contributing and doing your part to improve life on this planet during the time you have on it.
"Before I lose my strength
ALL OF THE DAYS OF SINGING
All my days of strength
ALL OF I DAYS HAVE VIBES"
Now, let's specify a little bit about whom we are discussing. Vaughn Benjamin left us, physically, in late 2019.
"Before I lose my strength
ALL.
OF.
THE.
DAYS.
OF.
MY SINGING."
"ALL OF I DAYS HAVE VIBES"
Now I don't want to exaggerate or embellish or over-dramatize the moment but this man stated a mission... I don't even know if I want to use that word, "mission"... he stated a natural urge, an "instinct" (something implanted him by The Most High) - something he had to do [!] before the end of his days. Why???
"To maintain internal heights"
It made him feel good. It was something his biology required of him and he did it BEAUTIFULLY. Also, I wouldn't be doing a good job if I didn't talk about the music here. 'Before I Lose My Strength' is another kind of crawling sounding tune and it is gorgeous (THAT THING IS CRISP!). It'll take you a bit to arrive at that point (I'm an example of that) but this song, in particular, is the type of music that changes people's lives in my opinion. It is of THAT ilk. This man never lost his strength. He wrote HUNDREDS of wills and left it to the world.
11. 'Third Eye' by Jah Rubal
Let's talk a little about Jah Rubal. I'd like to think that -- both indirectly and directly -- Akae Beka did a great deal of work in terms of bringing along others and introducing them to the masses. I would think that we're already enjoying a generation of Rootsmen and women who have, in one way or another, been inspired by Vaughn Benjamin's work (I've always thought that about someone like Reemah) (and you see what she's gone on to do. That woman is a genius) but he's also brought some of them along for the ride. He's produced full albums for some of his peers (like Ancient King) and then there's Jah Rubal. I think most people first became acquainted with Rubal's work via his appearing on several Midnite projects and now he's a fully decorated and esteemed veteran with at least three full albums of his own off the top of my head (I should probably review one of them one of these days... think I might start researching that after this). EASILY, one of his most memorable features was on 'Third Eye' from "Jah Grid" - it also ranks, at least in my opinion, as one of his single strongest tunes to date.
Rubal's style is a little messy but simple (and I mean both of those in good ways) and he's aided here by Benjamin, himself, who provides 'Third Eye' with a bit of background singing and harmonies. At times, such as this one, he also doesn't give a damn about melodies or song arrangement and things like such. He has something on his mind to get off and that's what Jah Rubal does, for the most part (he has a very unusual way of... doing unexpected choruses. They just kind of pop up when you are not expecting them). Although 'Third Eye' definitely does summit in its first verse, the entire thing -- after a nice long period of working on it -- does not head back down to the nadir and, again, at least for me 'Third Eye' sits as one of the finest pieces of output that Rubal has done to date as he suggests that we all take a closer, and perhaps more unconventional, look at the world around us.
12. 'High Place'
"I have seen the high place"
TEARS! 'High Place', at least for me, has become this kind of lumbering... hard working giant of a song. It has something to do and somewhere to go but it isn't in the slightest hurry to get it done or to get there. It's going to take its slow ass time and you're going to sit there and let it. As it does progress, however, what you end up with is a tune which is wholly STUNNING at times.
"I have seen the high place
Inna likkle youth with the strangest question:
'How come they don't have lions?
How come they don't have mane?'
I say, 'hey, well ask ya daddy'
But it's the high place CURIOSITY"
The song is about non underestimating people and being able to appreciate BEAUTY and POWER everywhere you find it - even in the simplest, most innocuous of things. There is a joy here that I was incapable of appreciating AT ALL, initially and, even today, I can hear why I was lost. Now? Vaughn Benjamin says that he has seen the "high place".
I've seen it as well: On an album that I once left for dead.
13. 'On'
Courtesy of 'On', "Jah Grid" literally CRAWLS over the finish line. There was a point where I would have actually said that I disliked 'On' and if you're there as of now, I probably shouldn't fault you for it... but I am. 'On' is one the best songs on this album to my ears nowadays. Take its rather odd pacing and 'delicacy' out of play for a minute (we'll come back to it in a second) and just HEAR it for what it is.
"Let the vibes of reciprocation flow on and on
Those who have been the recepient of good and have done wrong
Remember, in your day, in your time when you can make a difference with your mind
With your deeds
Remembering the day, the people who have made your way"
The song is one about progression and progressing! Benjamin takes a good look at the good and the bad (and he almost had to in a song like this but it circles around so PERFECTLY and SUCCINCTLY.
"Let the vibes of Jah flow on and on"
That is a signature of the man's work. I'm not going to say no one else CAN do it, but no one else DOES do it (at least not in the consistent sense). It is one of a kind. It belongs to him. Now, about the way that 'On' sounds - it GROWS! First of all is that riddim which is a five minute chunk of divinity within its simpleness. And the delivery on it, this kind of singing/chanting which sits around a more straightforward talk, works so well for it. He has something to get off his mind and he's acknowledging the moment:
"A caring thought
A considerate remembrance"
And, as it turns out, 'On' goes on to be one of the more sonically pleasing selections on the whole of this grid.
Synopsis
"IT'S GONNA TAKE OVERSTANDING AND MATURITY"
I mentioned that I consider 'YHWH' to be the "glue" of Jah Grid. It's what holds my experience with the album all together and it's because Benjamin says things like this. I hear blips of so much of what I've gone through on this journey (and am still going through, DELIGHTFULLY) in this record.
"THINGS ARE COMING CLEAR, TRUE
IT TAKE A PAINFUL, A LOT OF ERA
A LOT OF MISCUE"
That final word there, "miscue", means so much to me here. I'm sure he didn't have it in mind when he wrote it but it was going to help open up my ears (and maybe, HOPEFULLY, many other pairs as well. It's okay to make mistakes in here and it's also okay if you don't comprehend what you're hearing. I remember seeing an interview of Tippy I and he, himself, who's produced so much of Vaughn Benjamin's work said that he'd constantly ask questions when he couldn't follow along. If he heard something and couldn't figure out the intention, he'd ask Benjamin what he meant and he'd tell him. I'm almost jealous of such an opportunity on one hand, but on the other I am SO DAMN grateful for the opportunity to work my own way through this work and to draw my own conclusions.
"Destiny is subject to the decisions I & I make"
But I had to grow up mature and live life in order to earn the opportunity to draw my own conclusions and make my own decisions. However, with that being said, all of the time that I spent thinking that this music just wasn't for me also wasn't exactly bereft of value. I've had so many conversations with readers about how it just doesn't work for them and because of all the work I've done, I'm able to point them in a certain direction and make suggestions and... who knows, maybe it still doesn't resonate but PERHAPS they hear their own 'YHWH'. Maybe it comes via more 'accessible' material like "Beauty For Ashes" or "Kings Bell" or "Better World Rasta" or maybe they find it in small pieces through HEAVIER work like "Be Strong" but the fact that I've done it, myself, makes it such a satisfying experience any time I can maybe pass along a vibe or steer someone in this direction because what comes after is... unspeakable. It's a lifelong journey. For me that trek began to make an actual progress through work such as that which is found on "Jah Grid", a bona fide Modern Reggae Classic!
{Note: Also credit goes to the presentation of this album. Artiste Marcus Wilson did the cover which has thirteen stones (including the center), mirroring the number of songs on the album and then the actual CD has the songs title also circling around on the perimeter of the disc}
First up this week is the latest from a longtime favourite of ours who is hopefully set to spend more time in the studio this year as the brilliant Reemah sets out her brand new tune, the equally sagacious 'Against It All'. I'm sure I'm not the only one who is STARVING for a new album from the Cruzan word champion and each and every time she sets out with a new release (as infrequent as it may be) she does nothing but add fuel to that fire. 'Against It All' does not become an exception as Reemah BLAZES as usual, this time along with Rymshot Music and the great Dean Pond.
"Ever bless and a respect overall
Wrong over right weh dem reject overall
It's just a vibe weh awaken overall
Cuz nuff a wolf inna sheep clothing overall"
"Ganja Farmer" by Marlon Asher [VAS Productions - 2026]
Someone who certainly hasn't been a stranger in the studio has been Trini burner, Marlon Asher, who just issued his most recent full length set, "Safe", last year. Well, the famed Ganja Farmer is back with a new EP release..... "Ganja Farmer", in celebration of the 20th anniversary of what remains his most popular song to date (I say all the time how fast it seems time flies; in this case it definitely does seem like it's been twenty years since 'Ganja Farmer' dropped. I'm almost surprised it hasn't been longer, actually). The seven track set features contributions from the likes of Masicka, Prince Swanny and Major Seven and it also carries a remastered version of its legendary namesake - and the general theme of all of the selections revolve around the same thing. I also HAVE to mention what I believe to be the single from "Ganja Farmer", 'Ganja Man', on which Marlon Asher taps the Ganjaville Riddim from our old friends at Oneness Records. That song is EXCELLENT!
"Winner" by Norris Man [Home And Away Music]
Many many moons ago, the great Norris Man released an album by the name of "Hey Woman". It was largely built on love songs and.... well.... well it was kinda terrible. It wasn't a good album. Earlier this year (on Valentine's Day), Norris Man thought he'd take another swipe at it with "Winner" and.... well.... I can't (I could) necessarily call it TERRIBLE but "Winner" is not a good album. One or two selections here (namely 'Doors Are Open' and maybe 'That Someone') prevent this one from being a complete lost but "Winner" isn't anything that you need to hear if you haven't already. I wasn't DYING for a new album from Norris Man and he's damn sure earned the right to do whatever he wants musically (and "Winner" is released on his own Home And Away label) but, again, "Winner" is no good.
Ziggi Recado
It seems as if I actually went quiet, for the most part, on the extraordinarily gifted Ziggi Recado. He'd turned in a few tunes that I wasn't particularly thrilled with and I didn't keep up with his output as well as I had in previous years. However, 2026 has seen a striking return to form and he's dropped a number of big tunes in its first half, alone. Arguably the biggest of them all is his WICKED latest (to my knowledge), 'One Step Forward' which I knew had the handiwork of the geniuses at Oneness Records even prior to my knowing that it was their production (I'[d recognize those horns ANYWHERE). 'One Step Forward' is brilliant and it's easily one of the finest tunes that I've heard from anyone so far this year. Ahead of that, Oneness also released the infectious 'Boom Meditation' which is another big tune (that riddim on that song is MAD!)... and you know where my mind is headed (keep making singles together...). A big new album from Recado would look LOVELY in the year's second half but until/unless then, we're all going to benefit from one of the genre's biggest talents seemingly on a course this year to destroy everything, everywhere with that quality.
Ziggi's also released a couple of songs via Nayamari Music (pretty sure that's his label), 'Same Realness' & 'Trod Straight'; both are solid but the latter, especially, is top notch.
The I:Rob Riddim [Mizik Muzik + Billionaire Bootcamp]
And this one kinda fits both in the current and past senses as it DELIGHTFULLY popped back up on my radars a month or so ago courtesy of a new compilation album release (and I was so DAMN happy about it that I nearly slapped a review on it). You'll have to go back two decades to when a tune by the name of 'Talk' by the talented Mr. Peppa became a sizable hit (and it's probably still his biggest hit right now). The tune was produced by Ward 21 and came atop their high-tech I:Rob Riddim. Who would have known that, in early 2026, the riddim would have a remastered compilation. That's exactly what I stumbled upon and have been KILLING ever since I noticed it. I'll give top honours to Peppa here but he most certainly was not alone in scoring on the I:Rob. Bounty Killer, Spragga Benz (whose trademark 'The Pusher' is excellent), the Ward themselves who take two shots at their riddim, Vybz Kartel and even Anthony B all turn in solid offerings (as does, to a lesser degree, Mad Cobra whose 'Red Eye' is just... very strange at times) on the I:Rob Riddim.
My Father loves music. Outside of a very select group of people (and maybe an animal or two), he probably doesn't love anything else more than music. My Father's also from Trinidad and I grew up listening to a variety of different sounds with Calypso/Soca amongst them. I didn't particularly like it though which may be hard to believe if you've spent any time around here. What changed?? Maybe when I was in my... let's say very early 20's, I stumbled across the amazing Destra. Sure, she was easy on the eyes, and if I'm being completely honest, that likely had something to do with it - but you cannot listen to LOOKS. What you can listen to is what remains some of the most damn near NAUSEATINGLY INFECTIOUS music that I have ever heard from someone who would not only make me a fan of hers but a fan of an entire genre. Here's a long overdue homage to she who wears the crown. Signatures: Destra
1. 'Bacchanal'
They call me Bacchanal. I wouldn't go as far as to call it a "rebirth" (suggesting that she needed such a thing) (she did not) but 'Bacchanal' could definitely be seen as a rebranding for Destra. Thereafter (and still) she would adopt the Queen Of Bacchanal moniker and it was, at least presumably, partially due to the strength and success of 'Bacchanal'. The tune was exactly what its title suggested. It was the heights of ridiculousness and chaos and it was BEAUTIFUL! Belonging to a very small group of tunes that can lay claim to being the single greatest Destra has ever done, 'Bacchanal' was absolutely masterful and over fifteen years later, it has not lost a single thing.
"It's in my blood
It's in my veins
Can't wash it off, I'm forever stained"
2. 'Carnival' featuring Machel Montano
So special. Destra has worked well with a number of different artists throughout the years but perhaps no one to greater effect than the incomparable Machel Montano. For some reason their styles have always clicked and the results have been spectacular. Arguably none have been greater than 'Carnival', which I THINK was also their first combination. The nearly quarter-century old tune has long reached legendary status (right along its creators) as it paired together, undeniably, two of the greatests to ever do it in a devastating form - both of them. What is here is hypnotic and virtually impossible to shake as on a list of addictive musical substances THIS is the most hooking of them all.
3. 'Welcome Back'
Anything goes. You know, I don't rightly remember what was going on prior to the release of 'Welcome Back'. Can't remember if she took it easy for a season and this tune was marking her return (and I don't feel like looking it up) or if it was just an idea she had for a song. Regardless of its origins, however, from the second I initially heard it, 'Welcome Back' became an instant favourite of mine from Destra and has remained so, fifteen years on. This is so despite the fact that there's nothing really unusual about it. It, ostensibly, doesn't separate itself from the proverbial pack much at all. The magic here is in the MEAT of the tune. When really dig into 'Welcome Back' it GLOWS. From its energy to its very subtle level of cleverness, not only was it not lacking on any front but it excels on ALL of them. Quietly (not really but you get what I mean) one of the strongest songs she's ever done, without question (and personally, the beginning of 'Welcome Back' is downright ICONIC for me. IT IS SPECIAL!).
4. 'Up In D Air'
Can't beat we yet. Much like the next entry on this list, 'Up In D Air' was very clever, whether we realized it or not (we definitely did see it in the next tune, one of her most celebrated and deservingly so) in its day. It was also as cool as it could possibly be. 'Up In D Air' was downright FROSTY! It just has such a sweet vibe to it and that goes on top of what is, again, a rather sagacious piece of writing from the QOB. Resting comfortably somewhere between Power and Groovy, the tune had all of the "jump & wave" styling that you would expect but that came in a way that wasn't... a bludgeoning.
"Cause when it comes to fete
They can't beat we yet
So put your hand in the air, rag in the air"
5. 'I Dare You'
I dare you. I DARE YOU! Easily one of the biggest hits of Destra's entire career, 'I Dare You' was and remains an absolute DIAMOND of a song. It literally had EVERYTHING! It touched every vibe and hit ever nerve in the listener, making for an undeniably all-encompassing track. Another feather in its cap was the fact that it sits (without question for me) as one of the finest WRITTEN songs that Destra has ever done as well. For what it was, 'I Dare You' was pretty much fucking PERFECT and it's no wonder at all that it reached the heights that heights that it did, looking back.
6. 'Fly'
Up in the sky. 'Fly' and maybe two or three others on this list are DIFFICULT songs for me. These days it's fully DRIPPING nostalgia for me as another one of the first Soca songs from anyone that really got me. She would have to do more work to KEEP me (here's a list full of that work) but to put it simply: 'Fly' and songs like it made me a fan of a Destra in the first place and, by extension, the entire genre of Soca music. TEARS!
7. 'Lucy'
I loose! Similar to the first song here, 'Lucy' marked another kind of rebranding of Destra as she took on what would become another popular nickname (and if you REALLY think about it, such things are pretty damn common in Soca). The song behind it, aside from the new name, was as hooking as it could possibly be. On a post FLOWING OVER with such selections, 'Lucy' is even catchier than most of them. Again, this is another song that benefitted from a multi-paced sound. There is SO much going on in here. It, literally, sounds like you're hearing the most melodic thunderstorm that you've ever encountered. Furthermore, if you listen to what she's actually saying, you'll get something out of it as well as Destra kind of paints Carnival and Soca music as this great revelation in her life which saw her go from growing up "as a real good girl" who was "always home" and "didn't go nowhere" to Lucy and to The Queen Of Bacchanal.
"THIS CARNIVAL HAVE ME SO DAMN LOOSE!"
8. 'Bonnie & Clyde'
I'm Your Queen! From beginning to end, 'Bonnie & Clyde' was frenetic.... ridiculous, wholesome goodness. More than twenty years on, it has not lost a single thing and it's even aged quite well and gathered quite a bit of international attention all of these years later. Absolutely gorgeous from the moment it released, 'Bonnie & Clyde' is simply one of the finest songs the entire genre has ever produced and it also does a mighty fine job in demonstrating what sets Soca apart from every other genre of music. You do not get pageantry and festivity like THIS anywhere else. It just does not exist anywhere else and it never will.
9. 'Mash Up'
We ready! I'm almost embarrassed (not really) that it took me a minute to come up with the name of this one because what I had in my head was what turned out to be the intro and then:
"WE READY!
WE READY!
WE READY!
WE READY!
WE READY!
WE READY!
To MASH UP everything!"
'Mash Up' was absurdity and ridiculousness of the absolute highest caliber. The reaction to it was fierce as well as the tune proved to be a nice sized hit in its day and, as you can tell, it remains EXCELLENT a dozen years later.
10. 'Savage'
LOSE. ALL. MY. CONTROL. 'Savage' was the crowning jewel from Destra's debut album release, "Red, White, Black" back in 2003 (an album which included the aforementioned 'Carnival') and, like 'Fly', it would have been amongst the very first Soca songs that really drew me in and kept my attention for awhile. These days, it's also brimming with nostalgia for me as it may not have been such a giant hit so I don't run into 'Savage' unless I'm looking for it, typically. You won't find it on many mixes and it won't be in the background of virtually anything but make no mistake about it: 'Savage' is EASILY one of the finest songs Destra has ever done.
11. 'Max It Up'
Reach the top! 'Max It Up' is another lovely knockout punch from Destra of a song. It peaks pretty much INSTANTLY and spends the next three and half minutes or so at the same place or relatively close to it. Although at times it threatens to be fully overwhelming, 'Max It Up' never overdoes it (well... okay it kind of does overdo it but in a good way) (in a PERFECT way) and finds such a wonderful balance. ALSO [!] if you listen to what's going on here -- as hard as it is to do -- Destra rewards you with an eye looking forward for herself and the whole of Soca music.
"Oh Father, finally, you set di Soca free
Wi own category inside of di Grammy
And now you blessing wi internationally
So when you watching wi feel proud a wi
On MTV & BET and di Grammy, it's alla wi
Support di Soca music, it's yuh identity"
12. 'Jumpin'
Defying gravity. The now twenty years old 'Jumpin' is another tune on this list that has a claim to being my absolute favourite Destra has ever done. Perhaps if you are a corpse you could pull this off but for my living readers, I'd challenge you (even in the wickedest of moods you may be in at the moment) to listen to this one and NOT smile. Something in here is sure to spark some sort of happiness in you. The mixture on 'Jumpin' is as impressive as ever. There's an undeniable melody here but in order to hear it, Destra kinda had to punch you in the face... DEAL!
13. 'Link Up'
Step aside. For some reason, 'Link Up' has always reminded me somewhat of the next song that I'm going to tell you about and I've made a personal 'link' between the two over the years. For its part, I hear 'Link Up' these days and a couple of things stand out. The first is that entirely EPIC beginning. Maybe [probably] I'm the only one who feels this way but how that electric drumming ascends into:
"EVERYBODY GET WILD"
Has carved out a very comfortable and lasting place in my memory and it isn't going anywhere. The other thing which I hear more these days from 'Link Up' is just how damn crazy it is. So many of these songs -- and Destra at her best, in general -- combine elements of Power Soca with Groovy and though 'Link Up' is the same (it even has a little old school textures to my ears) but when it pinnacles, 'Link Up' is a TRUCK of a tune, rolling right over any and every one in its way.
14. 'We Own It'
It's wi property. In retrospect, one of the most compelling assets of 'We Own It' was the fact that it kind of put its feet into two very different categories. On one hand, there's a very old schoolish, almost Calypso, sort of vibes to it while on the other, it will... 'We Own It' has no problem at all punching you in the face (and making you love it). Both of those work for me which is probably why the Jus Now steered track makes this list. This madness had a certain maturity and refinement to it.
