Signatures Vol. XIII: Vybz Kartel

 

I think I have a unique perspective on this one. Considering the fact that I, effectively, ceased being a fan of Vybz Kartel... maybe some FIFTEEN YEARS ago, the idea of doing a Signatures feature on him represents a classic run and, I'm predicting, A LOT of fun. When Kartel rose to prominence surely no one could have predicted either of the two main things that would follow him: The seemingly endless line of controversies and the heights that he would reach. To my opinion, those heights were made possible because of the tremendous level of SKILL he displayed so early on during his career; the likes of which (in one person), the Dancehall probably had not seen up until then. Today we celebrate a so very, VERY rare talent. Signatures: Vybz Kartel.

1.'Send On'

Heavenly & Celestial. While it is virtually impossible to remember the work Lenky has done in the music, in general (and still is), highlighted by the immortal Diwali Riddim; what immediately followed that track has remained in my mind as well. In 2003, the ace producer would set forth the Time Travel which would give birth to at least solid tunes from the likes of Ele, General Degree, Bounty Killer, Determine and Assassin [Agent Sasco]. The riddim was a damn joy as it changed and changed again into variations for several of the vocalists. With all of that being said, however, the sitting Monarch of the Time Travel Riddim was Vybz Kartel who blessed it with its MASSIVE herb tune, 'Send On'. TECHNICALLY 'Send On' was fairly straightforward in what it was but when you actually dug into it, there was nothing "simple" going on here. 'Send On' was kinda ridiculous. It was high-tech. It was out in the stars somewhere as Kartel sent on a brilliant torrent of words for the ages. It stands as EASILY one of the best he's ever done, having few in the way of peers. This was polished, refined and streamlined Vybz Kartel at his hypnotic best across one of the finest compositions that he ever touched. 

2.'Robbery'

This ain't serious. Vybz Kartel would have some rare, good-natured fun with some of his peers on this oft-hilarious track from the "Up 2 Di Time" album, 'Robbery'. This tune was the heights of creativity as Kartel took on both foe and friend as NO ONE, not even BERES HAMMOND (who was "first pon di list"), was safe from his bout of kleptomania. The true joy of this song was how he made his way through calling up well known phrases/songs/facts about his prey in the process. Bounty Killer, Beenie Man, Buju, Ele, Sizzla Kalonji, Don Corleon (who produces the song), Wayne Marshall... and so many others were forced to be careful where they sat their valuables as Kartel was out for EVERYONE. He saved, in my opinion, his funniest run for Roundhead (always did like Roundhead, very underrated, in my opinion:

"Rob Roundhead widout a gun

Tek him chain and run

HOW A 400lb MAN FI TRY RUN MI DUNG?"

3. 'Badda Dan Dem'

Mi no care. There was a backstory to 'Badda Dan Dem'... kinda. When Kartel came to prominence, he did so, largely, alongside Assassin (now Agent Sasco). They weren't friends (at least not as far as I know) or enemies but they came up together so, like Beenie & Bounty and Busy & Aidonia, they almost continuously drew comparisons to one another. 'Sassin dropped a tune by the name of 'We a Bad From' and, here came Kartel with a song called 'Badda Dan Dem' whose punchline was:

"MI NO CARE WHERE YOU BAD FROM"

So, CLEARLY, it was a response to Assassin's song, right?? I don't think that question was ever answered officially by Kartel but everyone took it as a direct reaction; to the point where Spragga Benz, Sasco's mentor, took offense and reacted with his own tune/s aimed at Kartel (some of which was VERY good) in defense of his protégé (I don't think Sasco, himself, ever responded). Not to pick sides (a hundred years later) but Kartel's first reaction/non-reaction, 'Badda Dan Dem' was fantastic. Gifted with the downright STRANGE (in a good way) Kasablanca Riddim, Kartel PLAYED. It isn't here just because of its covering a significant occurrence in his career but it's also... MAYBE top five here as well.

4. 'Slow Motion'

Put a smile pon mi face. The undeniable changeup here, 'Slow Motion', whether it was realized or not (and it wasn't) was special. Listen to this song maybe two times and you don't really need to play it after that because it becomes GLUED into your memory. The great Tony Kelly supplied his Street Bullies Riddim to Kartel (courtesy of Shaggy's Big Yard) and returned to him was an infectious DIAMOND of a tune. Its course was pretty different than most of the tunes that you're going to see here: No one was killed, no one is smoking anything (...well, they are but that isn't really the point here) and nothing X-rated is going on and 'Slow Motion' was still a major winner. 

5. 'Kill Dem All'

And dun. While the origins/inspiration behind 'Badda Dan Dem' may or may not be in question, there was no mystery at all as to who the intended victim of 'Kill Dem All' was. This tune was probably the best of the back-and-forth Kartel enjoyed with Mavado many years ago (which I now remember quite fondly. It was fun!). Many times, such interactions don't really produce THAT good of material (see Sizzla v Khago) but 'Kill Dem All' was scintillating. It was ridiculously aggressive. It was a damn movie scene of a song (it was the part where there's the crazy chase with everyone shooting at each other) captured nearly PERFECTLY by TJ on his epic Beauty and The Beast Riddim. Though he'd hit a point where he'd kind of swear them off completely (because anytime he made one, even one that was super generic, it would give birth to ten different counteractions from people who would not otherwise get that type of attention) Kartel's gun songs, for what they were, were mightily inventive. Whether specific or broad he almost always hit his mark and 'Kill Dem All' was not an exception. 

6. 'Nah Climb' featuring Ward 21

Rise up. While I'm not finished compiling this list just yet (I think this is tune #8 and I have two more already set, going to add another three or four), chances are fairly decent that 'Nah Climb' is probably going to be the only combination that it features. When I first had this idea, 'Nah Climb' was a definite for it as I can claim it to be, arguably, THE funnest tune Kartel has ever made. Joined by the loonies at Ward 21, and nestled SNUGGLY into Jam 2's GORGEOUS Amharic Riddim, 'Nah Climb' is one of the songs on this list at least in the discussion of being my favourite Vybz Kartel song, period and that is largely due to just how exciting and BEAUTIFUL it's been. I was hooked the very first time I heard it and, all of these years later, my addiction remains as strong as ever.

7. 'Up To The Sky'

Don't drink & drive.

"Dung inna Waterford

A that's where the ganja load

A cellblock ah press it til it flat like a board

Di next episode: Pon di plane on it fi load

Di pilot and di flight attendant dun know di code

And then, never hitch, lock off di x-ray switch

Dog nah waste fi sniff, cause a di plane time fi lift

And if mi hundred-thousand pound about a million spliff

Money high like di cliff

Man haffi shot di sheriff- 

Inna di sky

Don't drink & drive

Smoke weed & fly"

While 'Up To Di Sky' has largely gone forgotten, and that hasn't been unexpected, anyone who came across it during its day will surely attest to its prowess. Like several of the tunes you'll find here today, this one so wonderfully exemplifies what Vybz Kartel did at the height of his powers. He could be so PRECISE but it was done in a... GRIMY kind of way. It was polished and it was refined but it wasn't like he learned how to do it, it's just something that he came up with. 'Up To Di Sky' was almost messy in some respects but DAMN what a performance it was at the same time. 

8. 'Proper English'

Is it? SURELY a large chunk of my affections for 'Proper English' and why it appears on this list goes to John John who supplied Kartel with his blistering Nookie Riddim, over which the deejay would deliver this X-rated masterpiece. I listen to songs like this and hear lines such as:

"I'm poor but when I fuck pussy, I feel rich"

And I wonder/hope if/that people can appreciate the creativity (they can) that it demonstrates. It makes you chuckle when you hear it. It makes you smile and, if you really tuned it in, what you heard in 'Proper English' was next level material. Dirty as all hell? Yeah, sure; but also something that stuck with me.... twenty years on. 

9. 'Solomonic Chronic'

Big & iconic. 'Solomonic Chronic' found Kartel making his play for most dramatic weed song of ALL TIME. Something was wrong with this one... I mean seriously fucked up. You're not supposed to have weed songs that, literally, sound like they could be playing behind an action sequence in a movie. They just aren't supposed to be like that but that was EXACTLY what happened with this one. Essentially lost to time by only being found on an obscure 2008 album by the name of "The Teacher's Back" that was only released in Japan (and never went), 'Solomonic Chronic' has likely not been heard by many of his current fans and that's a damn shame because, within its TRULY ridiculousness, this song was had MAMMOTH chunks of genius. 

10. 'Murderer'

Hot coffee. If no one was harmed on 'Slow Motion' and took a moment to cease the violence and put the guns down, that time is over now. Pick up your gun and aim it at absolute anything in your sights and fire at will. Songs such as 'Murderer' have an outlook which is, of course, hellaciously violent; then you look (and listen) into it further and you arrive at realizing JUST HOW FUCKING BRILLIANT IT IS.

"Mi have gun weh work wid pin-number like Nokia chip

Shot contagious like disease, try don't catch it

Head buss like bicycle wheel, try don't patch it

Mi gun dem land plane and turn over ship"

What the hell is that?! Somewhere in this song, which came across the French Vanilla Riddim, is a word-perfect display that... maybe three or four artists in the history of the Dancehall (literally talking about Kartel, Papa San & Aidonia), ever, could have delivered in the way you hear it done here. 

11. 'So Me A Say'

Like Calypso. The wordplay, alone, on 'So Me A Say' is FLAWLESS. This tune, which featured on his opus, "JMT", and was produced by the great Don Corleon came with a downright ADORABLE riddim which sounded like something out of the 1980's, Beverly Hills Cop-style and was brilliantly crafted into Dancehall by one of its greatest maestros ever. For his part, Kartel did not miss a beat and the song, although kind of RIGID (and I mean that in a good way. It's almost he's following a pattern in his head. It isn't the craziness, you'll hear on... something like 'Murderer', for example), that kind of attention to detail almost helped to take it to another level in my opinion. 

"Don, how you wicked so?

You get props from DJ Wayne, Colin Hinds and Liquid so

How the gun pon yuh hip big so?

It make boy haffi jump and prance like Calypso"

"Perfect" is a word to be careful with (though I've found myself using it more than couple of times now today) (I like how I say "today", as if it didn't take me week or two to write this thing) but the lyrical display you find on 'So Me A Say' was wholly without blemish. It was perfect and it may just be my favourite song that he's ever made.

12. 'Kartel Reveal It'

Knock dem out like Riddick. From the very second 'Kartel Reveal It' jumps in, you just KNOW that you're about to hear something TRULY special and it does not disappoint. The KNOCKING composition behind it, nurtured to perfection by Jam 2, provides an enthusiastic backdrop over which Kartel aims at enemies far and wide and does so brilliantly. 

"Dem ahgo dead this minute

Sink dem like Titanic"

There was always something SINISTER about 'Kartel Reveal It' as well. You're likely to find other gun tunes on this list (one in particular I've already chosen) but they have an element to them where... the entertainment aspect is stressed. 'Kartel Reveal It' has that as well at its minimum but it also just seemed like Kartel was kinda pissed off! 

13. 'Wosen'

Girls like mine. I wouldn't think that you'd find this almost obscure now tune on many lists such as this one but there is just something about 'Wosen' that has stuck with me over the years. Maybe it's the very odd Diesel Riddim that it goes on? The Diesel was, just as its name suggests, kind of obese. It was CHUNKY! It didn't get around very much and, off the top of my head, I'm struggling to come up with anyone else who even remotely did damage on it (and now, after having looked it up.... no. No one else did). It doesn't get around very much and it would take someone TRULY gifted to produce magic on it (and that isn't to say that it is necessarily a bad riddim but it comes across as very difficult to ride in my opinion). Fortunately, they (I think Galaxy P made this riddim) enlisted the help of one Vybz Kartel who would BLESS the track with 'Wosen'. This song was everything that it should not have been. It MOVED. It was agile and it was so not in an uncomfortable way (if you do want to hear uncomfortable gal tunes on the Diesel (and you do not), check Galaxy P's own offering, 'Tickle Her Fancy' which is awful). 'Wosen' is not in the upper echelon of songs on this list and there're tunes MUCH better than it in his catalogue that I cut off of this list ( like 'Weed Partner') (and 'War Naah Talk Over') (and 'Ride In') but, given the circumstances, it ranks as one of Kartel's finest performances altogether... but no one knows it.

14. 'Badman Nah'

1. 2. 3. 4. And finally, if this list is meant to be a celebration of SKILL and TALENT (and it is) then it would be incomplete without the infamous 'Badman Nah'; one of the absolute FILTHIEST displays of ability that I have ever heard in the Dancehall.

Off Topic: A review of Marijuana Prayer by Chezidek

Tenet. If you really think about it, there is a very finite number of things that capture our attention as human beings. As diverse as we most certainly are... our selection of entertainment, en masse, isn't quite as varied as one might think. Sure, you'll have your moments where you can find a supreme level of joy in something as simple as watching an ant go about his business, when it comes to what you're willing to actually pay for or spend more time doing, things are damn simple. For example, you've probably seen enough movies in your life to have a decent shot at predicting the ending of some confusing film that is currently in production, right now. You can pick up enough clues, here and there, to get relatively close to what its conclusion - and you may not even need to see the entire thing to get there (the next superhero movie that's made... I think the 'good guy' will win at the end) (just my thought). The musical side of this is... well, I was about to say that it's slightly "more complicated" but it really isn't. There's a Dancehall song, what is about? There're the '3 Gs' of Dancehall music: Girls, Guns and Ganja. The exception to this would be a dancing song, which're far less prevalent these days but, for the most part, most Dancehall songs you come across will be about one of the three. This isn't, at all, a critique from me. If it ain't broke, don't fix it and, as someone who LOVES Dancehall (and who is fighting the urge to say something negative about the current state of the genre...), the extent of creativity to which some of these artists can go within that narrow frame of thought can be downright astounding. One of those G's, in a truly major way, is prevalent throughout the entire genre of Reggae music and is so to the point where the argument could be made that the music, itself, has proven to be one of its greatest pieces of advertisements ever. If ganja has a theme song (and it just might), it is a Reggae tune. If it has a spokesperson or a celebrity endorsement... he/she makes Reggae music.

And there would be a nice handful of candidates for that position. Historically, SURELY the great Peter Tosh would have been up for the role but the modern era has also produced a number of healthy, potential candidates. Take, for example, the most honourable Burnhard Spliffington [bka Perfect Giddimani] who has done more than his part in populating the topic with big tunes ["DON'T WORRY OR PANIIIIIIIIIC! Cause my chronic is organic, so take a draw from it!"]. The same could be said for Lutan Fyah ["A just a little bag of herbs fi mi officer. I nah sleep a jail fi no ganja"] or, if you wanted to take a bit more 'mystical', you could even tap Ras Batch ["The root, the stem and the flowers - bring down therapeutic showers. Magnificent medicinal powers"]. That man's dedication to promoting the herb is second to none. If you wanted to grab a spotlight you could go to the likes of Collie Buddz & Marlon Asher who've both score international hits in the field and even personal favourite of mine, the Ganja Baby (although I've heard that sometimes her friends call her Ganja Lady), Queen Omega; or any number of others ensuring that songs about marijuana remain nearly as tied close to Roots music as do songs praising His Majesty.

2010

Another prime choice MIGHT be... oh I don't know.... maybe Chezidek?? It's weird thinking about it now because back when I first began to listen to his music, I don't think that I ever would have expected Chezidek to go this route. No. I am not at all surprised that he has gone on to have a tremendous career; making some of the finest music of his era and becoming a personal favourite of mine but the fact that he has gone on to demonstrate such an incredibly high penchant for making songs about ganja, in particular and in retrospect, was definitely not expected a quarter of a century or so when I first took major note of the St. Ann native. His early works such as the GORGEOUS Xterminator produced debut, "Harvest Time" ["Inna dem mind!"] was devoid of any tunes on the subject if memory serves me well (and it might not), as was its unearthly strange followup from three years on, 2005's "Rising Sun". In fact, Chezi had probably been in the process of making a name for himself for the better part of a decade -- going back to his REALLY early work -- (look up a WICKED tune called 'Congregation' from the late 90's for a taste of that and in a different style) before he made a significant drop out in the herb yard. Since he did plant that seed, however, the proverbial flood gates have been opened and, he has been one of the most delightfully unavoidable proponents of marijuana in all of Reggae music. Because of that and because why not the venerable Tad's Records have put together a specifically loosely themed set and... it isn't the first time. The brand new "Marijuana Prayer" actually follows 2010's "Herbalist" from the same label. That should really tell us something about not only Chezidek's music, in general, but the perception of of those who actually make and put the music together (industry folk!): He now has TWO albums from the same source centered around marijuana. Furthermore, if you take that aspect out of play, the man has just been making some EXCELLENT music and been doing so with Tad's. Along with the aforementioned "Herbalist" was another album Chezidek did with Tad's, back in 2020, by the name of "Hello Africa" which was absolutely fantastic and since then, there was also "Never Stop" for Irie Ites (also fantastic). Chezidek has been on a roll and I'm wondering if that run continues into 2026, with the new release. 

Of course it does [DUH!]. Despite the way I built this review and the title and central theme around "Marijuana Prayer", I don't want to make it seem as if that's all that's going on here - it most certainly is not. This is a... Chezidek album. It's full of the various ideologies that he typically covers in his music (many of which permeate Roots music, in general, just as much as ganja and if not, more) which is just fine by me. Also, there is a compilation effect here as you very well should be quite familiar with some of these songs. The opener for "Marijuana Prayer", 'Ganja Business', however, is new to my ears and eyes. Tackling a classic track whose name I don't feel like looking up, Chezi uses a rather FRAIL chorus to deliver what I'm going to consider a VIBE. I don't think there was a lot going into the planning station of 'Ganja Business' and developed almost entirely organically. That's not a critique at all. For what it is and, specifically, where it's placed on the album -- to kind of set the stage for what is to come -- I have no problem with 'Ganja Business' but better material is to come. I'm even more confident in the freshness of 'Caah Believe' as I'm almost certain it is the first single for "Marijuana Prayer". I can remember when it popped up on my radar initially, maybe a month or so before the album's release and I was damn curious to hear it (because it was a new Chezidek song... had no idea at the time that an album was forthcoming behind it). This tune deals with the persecution and prosecution of this plant and the ridiculous way in which is occurs. If not for the presence of something truly special later on, 'Caah Believe' would be my favourite song on this album. It is FANTASTIC. It's one of the better written efforts Chezidek has turned in as of late and if you want to talk about making a point, that DEFINITELY goes down here and in such a HUGE way!

"A how you run come and demonize, after you say you decriminalize?

Now mi seet clear wid my eyes: You only waan wi buy kush from di big guys

Look how hard di small farmers toil-

Inna di sun, put him suckers in di soil

And dem likkle dream you come spoil

Just to mek di big guys smile

You dun know, he ain't gotta dime

Yet you want come charge him a fine

If him no got it, you waan fi lock him down fi a long, long time

Him neva know, him neva know THERE WAS A LIMIT TO WHAT HIM COULD GROW

From di time that him hear seh ganja free, pure seed him ah sow

Inna di hills and him neva come a road

Mi caah believe, caah believe

Dem still ah lock up farmers fi ganja

Mi caah believe, caah believe

Dem still ah lock up people fi weed

Traditional ganja, farmers inna Jam

It look like dem no waan wi have nothin fi nyam

Dem buy froreign weed from up a Uncle Sam

And wi fi ah plant pure cabbage and yam

Seh dem decriminalize but you si it was a sham

Dem neva legalize and dem neva did ah plan

But food deh haffi eat for each and everyone

Di foreign investors and di natives of di land

Sacramental ganja fi di Rastaman

Medicinal marijuana fi di hospital

Recreation ganja, recreational 

Free Jamaican ganja, international"

CLEARLY Chezidek and Tad's knew that they had something serious on their hands when they wrapped up 'Caah Believe' and they were right; making it an obvious choice for a single for this album. Charged with tailing 'Caah Believe' is the excellent title track which comes pretty close to equaling the levels set by the song just ahead of it. 'Marijuana Prayer' is a lot of FUN and you don't typically use such a term to describe such a tune but that's the one that first came to my mind and stayed there (clearly it's still in there). This one features Chezidek doing exactly what you think he's doing in lifting up the positives of ganja but it's done in a variety of different ways. He sings and he does that wonderful chanting style that I wish he would employ more often and then the song is just afforded a minute (half a minute) to go on its own as the singer takes a step back for a wonderful stretch and a great touch in my opinion.  Previous single, the now... classic [?] 'Leave The Trees' is also on board "Marijuana Prayer", just as it was on the aforementioned "Herbalist" release (and it also appeared on his 2007 album, "Inna Di Road"). This song MIGHT have been the first indication of Chezidek's prowess in this spectrum as the tune, produced by Our Promotion, was a significant and remains one of his most popular to date. 'Leave The Trees', as its title suggests, is more than just a song about ganja ["It's not just about smoking. It's my medicine, my food and my clothing"]; it's also a GREEN song. It stands up for the proper care of the environment, in general, and it definitely made an impact with the masses (and this does appear to be just a remastered version of the original, not a re-recording) (but I could be wrong). 'Let's Stay Together' probably made its first rounds four or five years ago at this point and its appearance on this set comes as no surprise. I've never been crazy about this song (it's almost... kinda country-ish and doesn't have the greatest of direction) but, for whatever it's worth, it does feature an impressive more typical vocal delivery from Chezidek. He just sings the song as straight-forward as you're likely to get out of him and it is pleasant to listen to. Similarly vibed but substantially stronger is the next track in, 'Got To Go Home'. What separates the two, for me, is how well the latter is written. It's a repatriation song but there's something kind of SPICY about 'Got To Go Home'. You listen to its tone and you get one thing from it but if you actually listen to what Chezidek is saying... you can tell that he's a little pissed off!

"Nah build yuhself up like no skyscraper-

Or babylon will crush yuh like paper

The likkle money nuh mek yuh no greater

Yuh laugh now but yuh gonna cry later

Dem got yuh constrained, propaganda campaign

Yuh think yuh escape but dem got yuh contained

Yuh religion nor yuh higher education 

Politics nuh mek yuh more safer

Got dem secret organization 

DI WHOLE SYSTEM AH RUN BY SATAN 

Dem drop di slavetrade but dem still have yuh brain

DEM CONTROL YUH WATER AND YUH FOODCHAIN

Full yuh up a drugs anytime you feel pain

Lock you inna prison if you try-

Wi got to home!"

I call it a song about repatriation and it is but very loosely. Chezidek isn't necessarily saying that we need pack up and go to Africa (although that is an option) but we just need to get the hell outta here. WHEREVER our destination may be, so be it, but the current way things are going is simply unacceptable. 'Got To Go Home' is EASILY a highlight here and the same can be said for the song just behind it, 'One Life'. This one was interesting even before I'd heard it because Chezi has a much older tune by the same name which is downright glorious. It's, seriously, probably one of the best fifty or songs that he's ever done and this version appears to be same one (or very similar to it), just on a different riddim. This riddim is the Party Time (I looked that up, it's the same riddim that backs Cocoa Tea's Good Life, I was about to call it the Good Life before I checked) which goes to make for a more quaint experience. I do still prefer the former but this tune is excellent and, again, another fine example of writing on "Marijuana Prayer" as the singer warns us all to just be a bit more careful in our day-to-day lives ["Mighty men can die from just one mosquito bite"] because we only get to do this once. 

The second half of the album makes a VERY familiar turn (and I ain't complaining about it)  during its second half but its also serves up three more unexpected lights as well. The first of these is also its very first tune altogether, 'Give Me Your Love'. I know what you're thinking and I was thinking the exact same thing: Yes. That title is absolutely abysmal. It's terrible and it, seemingly, portends something... sappy as hell to come. However, while the song bearing that name most certainly isn't amongst the finest that "Marijuana Prayer" has to offer, it also any the bottom of the barrel that you might've been expecting (...you were). It is a lukewarm love song. For something reaching far higher, check 'Memba Good' and the equally delightful closer, 'Stand Up'. The former is just expressing the totality of a ton of acquired life-experience ["It's a learning, learning journey and you're never too old to learn"] and it's fairly broad. Such songs don't typically appeal to me as much as this one does, however; and I'd probably owe that to 'Memba Good' just being incredibly well put together. 'Stand Up, for its part, is even better (my opinion just changed on that within the last ten minutes. I would have rated 'Memba Good' slightly ahead prior to that). It is STERLING Roots Reggae atop a cut of a classic riddim (it's the Invasion Riddim. Who knows what the original name of that thing is). The idea here is fairly simple: You know right from right -- we all do -- and you/we should be willing to put our foot down, take a risk and stand up for what we know is right. You can take this in a billion different ways (and I think that's the intent) but the unifying thought here is damn strong and leads to an outstanding effort. NOW! I mentioned the "Hello Africa" album and the remaining four offerings, in a kinda/sorta typa way belong to that album. The most identifiable is 'Inna Dem Eye' and I alluded to this one previously. 'Inna Dem Eye' is the best song on this album. It's one of the finest songs he's ever done (it's one of the finest that anyone has ever done) but, had you looked through the tracklist, you already knew that. The other three songs do not appear on the standard release of "Hello Africa", instead they featured on its "Vinyl Cut". 'Deliver Me', 'Fool & His Money' and 'Money Move' represented the difference between versions of "Hello Africa". I thought their inclusion here was a very interesting one because OBVIOUSLY they're here to thicken out things, which is fine but there's also a bit of... 'in case you missed it' aspect going on as well. In any case surrounding the thought behind their collective presence, just as was the case for "Hello Africa", their being here makes "Marijuana Prayer" a better album. It's nearly twelve minutes of added outstanding music and that can only be a plus. Despite, if I recall correctly, 'Fool & His Money' and 'Money Move' being singles and more popular ('Money Move' is all kinds of addictive), the best of the trio remains 'Deliver Me' by the slightest of margins. When that song hits a certain level and plateaus, what we get is nearly euphoric work (you can leave that song on for ages and just enjoy over and over again). 

2021

Overall, take a second and remove the centralizing 'reason' as to why we're all here and just take a look at this one for what it is: "Marijuana Prayer" is a solid compilation of music from someone who has been on a roll for the last few years in my opinion. Chezidek is amongst the very few people making some of THE best Roots music currently and virtually any collection of his work is going to get my attention and impress and this is not the exception. Now, when you do add the specific element into things it definitely provides a bit of an extra attraction to things and while what happens isn't a 'ganja album' necessarily, it is, as I said, quite good. A "quite good" album from Chezidek works for me, regardless of how deep this "Marijuana Prayer" may go. 

Rated: 4/5

Tad's Records

2026

Signatures Vol. XII: Reggae Random

Okay so, I was working on a few ideas for what would be next on the Signature series (it is EASILY one of the most enjoyable things that I write as it, primarily, involves me going through a lot of old music that I really, REALLY love) and I had some good ones. While I'll tell you about a couple of the others in the notes for this (right down there ↓ in small print) the one I'm going on today is probably the most fun and less stressful to write. Today we get random: HERE ARE FIFTEEN RANDOM SONGS THAT I ABSOLUTELY LOVE. Signatures: Reggae Random

{Note: The only rule is that no one artist would be repeated}

{Note 2: If it works out right, there'll also be Dancehall & Soca versions}

{Coming soon: Bushman, Vybz Kartel & Destra}

[BOOM!}

1. 'King Selassie H.I.M.' by Tarrus Riley

Never before. I spend a great deal of time talking about people like Norris Man, Chezidek and others: UNCONVENTIONAL TALENTS. These are individuals who offer a very different style but one which is largely effective and downright stunning when at its best. However, with that being said, there is definitely room for.... refinement. "Refinement" would be someone like Tarrus Riley. If someone had a sound signifying that they had no greater purpose on this planet than to sing this music, it would be Riley and, arguably, the single greatest demonstration of this  EN skill would be in one of the best songs I have ever heard, 'King Selassie H.I.M.'. TEAR! You're likely to find similarly organized songs throughout this list (I know at least one because I've already written it) but you'll have a damn near impossible task in locating one -- on or off this list -- which was as PRISTINE & FLAWLESS as this diamond of a praise. 

2. 'I Have My Goals' by Anthem

Wicked ahgo fall. You remember this song??? Chances may be fairly high that, if you ever were familiar with a band (which may or may not still exist) by the name of Anthem from out of who knows where, you probably do remember 'I Have My Goals' over everything else they've done. I don't know if they still exist and, if they do, under what form. I don't recall where they were from (I want to say Connecticut, US for some reason) but full credit goes to the band for blessing us all with this SWEET uplifting and inspirational piece from many years ago now. Take a listen. 

3. 'Health & Strength' by Warrior King

My Father's work. My Father's work. TEARS! I can safely say at this point that I missed on Warrior King. He's made some fine music  but, to be honest, I expected him to enter a level of the music that he has not and, almost surely at this point, never will. A lot of those very high expectations were built upon the work that would go into his 2002 debut album, "Virtuous Woman" (I have a signed copy of that album around here somewhere and the second one too). While the title track there remains his biggest hit to date (unless I'm REALLY forgetting about something) what his actual BEST SONG has been is of even less question (and, in retrospect, that album had some SERIOUS songs on it alongside 'Virtuous Woman'. 'Never Go Where Pagans Go', 'Breath Of Fresh Air' ["ANYWHERE THERE'S LIFE, YOU KNOW MY PEOPLE WILL BE THERE!"], 'Love Jah and Live', 'Empress So Divine', 'JAH IS ALWAYS THERE'.... and I could go on and on) ('Rough Road', 'It's Been Awhile'). Song #14 on "Virtuous Woman" is the mighty 'Health & Strength' and that song, for me at least, puts "virtually" everything that Warrior King does well at its optimum. It is melodic and beautiful to hear and it also carries a high level of substance to it as well; this time combining the enjoyment of the lovely things the world has to offer with a sense of hard work and accomplishment. I don't find myself looking up much of WK's output these days which is too bad and that's too bad because of the skyscraper of talent this man has as is crystal clear by a song like 'Health & Strength'. 

4. 'Before I Lose My Strength' by Akae Beka

All for The Most High, Jah. Here's an interesting one. On the very first edition of this series, we featured Akae Beka and there were several REALLY difficult choices in tunes that I cut off from the final list (to the point where I may, someday, make a vol. 2 for Akae Beka, specifically, and it wouldn't be difficult filling with another 12-15 songs). One selection was DEFINITELY 'Before I Lose My Strength' from the "Jah Grid" album. I can distinctly recall hearing this song (and most of that album) at a stage in my life where the music of Akae Beka (then Midnite) was almost entirely lost on me and the contrast of what I hear these days is absolutely ridiculous. "Jah Grid" is a borderline Modern Classic in my opinion and its finest offering, 'Enter' was on the aforementioned Signatures: Akae Beka post. Its second best?? That honour is up for debate but it settles at the glorious 'Before I Lose My Strength'. Something that I think is unintentionally beautiful about this song has stuck with me: It is delivered in a way (that may, actually, make it one of the best SANG songs that Vaughn Benjamin has ever done. That was never a specialty of his) that directly coincides with its direction. Benjamin sounds... kind of tired, doesn't it? He sounds like a man who has given almost every last drop of effort that he has in his body and before that final spill has been exhausted -- before he is at THE end of his line -- he has something to say. 

"Before I lose my strength-

All of my breath, OH JAH

A joyful song, I sing

Today & tomorrow"

5. 'On My Way To Zion' by Turbulence

Seeking The Conquering Lion. I definitely considered doing a full Signatures feature on Turbulence but the slightest bit if you want to know the signatures of Turbulence's career,  just dig up the "Rising" album and you'll probably be about 80-85% of the way there. One of the exceptions is, arguably, the single greatest tune he's ever done in my opinion, the absolutely STUNNING 'On My Way To Zion'. If ever you've had the fortune of seeing him perform this tune live (and I have) you'll know just how much you can actually FEEL this song but even the studio version of it does a fine job in capturing its presence. I've definitely had my issues with Turbulence's output over the.... best of the last decade and a half or so (and probably longer than that) but, here, he put on a downright ROYAL performance; one befitting The King.

6. 'Black Coffee' by Anthony B

No sugar. No cream. The perhaps surprising standout from the self-prouduced 2001 VP released "That's Life" set, 'Black Coffee' was an absolutely GORGEOUS and SMOOTH tune giving praise and honour to the beautiful Black women of the planet ["Here's my token of appreciation"] from the great Anthony B. For as popular as he is (for good reason), coming across compilations of Anthony B's work isn't the most difficult thing but you probably won't find this true gem of a tune that has largely gone forgotten. That is most unfortunate because it easily ranks amongst the finest love songs of his storied career.

"BLACK COFFEE, NO SUGAR, NO CREAM!

BLACK WOMAN MI A DI KING, YOU A DI QUEEN!"

7. 'Ganja Farmer' by Marlon Asher

Stinkin rocket launcher. Undeniably one of the finest ganja tunes in the history of the music, Marlon Asher left an impact on Reggae music over twenty years ago when he dropped 'Ganja Farmer' which can still be felt to this very day (typically I say it doesn't seem THAT long ago, 'Ganja Farmer' does seem twenty years old at this point). A strong case could also be made that it is the single biggest tune Trinidad Reggae has ever produced (and there're a few strong candidates but it is definitely in the conversation) and that has an even greater reach; it probably helped a number of Asher's peers get their foot in the proverbial door and who knows who we're listening to TODAY that we may not have been exposed to were it not for this tune. And as for this tune... 'Ganja Farmer', as effortlessly as possible, burned a giant hole in the minds of anyone lucky enough to get a taste of it, courtesy of a rocket launcher. 

8. 'Rub-A-Dub Market' by Luciano

Living legend. You come to expect certain things from certain people and when they kind of break that level of expectation and confidence, the results typically aren't very good...  but that isn't always the case. When 'Jah Messenjah', the great Luciano, broke the norm with the title track from his remarkable 2011 album for Irievibrations it was wholly unexpected but NOT AT ALL unwarranted. The man has (and had even fifteen years ago) attained a level of respect and accomplishment in Reggae music that is beyond reproach. We all knew that at the time but he'd never really expressed that, musically, until 'Rub-A-Dub Market'. 

"THEM KNOW THAT PAPA LUCI IS A LIVING LEGEND"

His place already secured, Luciano would even take a next step and criticize some of his less storied peers who are not willing to work but full want to reign.

"DEM AH GWAN LIKE DEM A DI ROOT BUT DEM A DI BRANCH AND STEM"

The tune was spicy, out of the norm and a gorgeous highlight within Luciano's LOADED catalogue.

9. 'Upper Room' featuring Empress Cherisse by Anchants

No need to wonder. I don't remember much these days about Empress Cherisse and the band Anchants. I THINK she was from Trinidad but I don't remember where they were based out of by the time they sent out their 2003 project, "Merkaba". I may've lost the stories of their origins but I do know that, barring some type of dementia, I'm not going to forget their actual work because one of the songs carried by "Merkaba", 'Upper Room', has been a personal favourite of mine from the very second that I laid ears on it. 'Upper Room' is... hypnotic. It is a.... CAREFUL EUPHORIA almost reminiscent of something you get from an ultra-tuned in Dezarie and I have gleefully lost myself in it. The biblically armed track is one with at least one foot on terra firma as, in a very relatable way, Cherisse tells us that there're many things that are questionable -- literally an endless line of them -- but there is something or SOMEONE who is above it and there is no need AT ALL to wonder about HIM. 

10. 'God Bless' by Junior Kelly

Anointed & Appointed. Buried on a long forgotten (but SPICY) album from nearly a quarter-century ago by the name of "Conscious Voice" is simply one of the single greatest songs I have ever heard from anyone, Junior Kelly's DAZZLING 'God Bless'. For anyone who has this kind of rigid archetype of what Roots music is, I'd point you in the direction of this most malleable giant. 'God Bless' had its purpose and it served it. Before we get lost in the stars, the track also deserves a giant lyrical credit as well:

"Yeah, though I walk through the Valley of Death, I man will never fret

Cause Jah is by my side and HIM ah guide mi footstep

Stood firm inna mi faith

Cause Jah is very great

So why you choose to fight man and don't appreciate?-

The vibes a weh mi fling, uplift mi race and thing

BADMINDED PEOPLE DEM DON'T WORTH A THING CUZ-

They would like to see you wear a frown everyday

They would like you throw your dreams all away!

But I'm anointed and appointed by Jah

Dem ahgo fi si mi face on ya!"

With that covered... LISTEN TO THIS THING! 'God Bless' sounds GORGEOUS. It's never failed to put a smile on my face in the last twenty-three years and, apparently, Kelly knew precisely what he had on his hands because he literally observes the moment:

"CAUSE A WI GOT THE GIFT FI MAKE HEADS ROCK AND SHIFT"

Yes, sir. Yes, you do. 

11. 'Volume Of The Book' by Ras Shiloh

The whole earth shook. Veteran vocalist Ras Shiloh is probably best known for two things: The first is his massive hit, 'Are You Satisfied', while the second is the similarity of his voice to the legendary Garnet Silk and that's just fine. I would argue that the single best song that he's ever made (even over 'Are You Satisfied'), is the literally inch-perfect 'Volume Of The Book', which appeared on his 2007 Bobby Digital produced set, "Coming Home", for VP Records. I'll put it to you like this: Shiloh is known, as I said, for being very similar, vocally, to Garnet Silk - if 'Volume Of The Book' were placed somewhere in the catalogue of Silk, it would still rank very highly in my opinion. There're songs that I like more than 'Volume Of The Book' in which I will acknowledge the existence of certain flaws which may even add to their appeal but that isn't the case here. If such a thing is possible: 'Volume Of The Book' was PERFECT. There is absolutely NOTHING wrong with it. 

12. 'I Wanna Go Home' by Alborosie

Island in the sun. I am not a fan of Alborosie's. I never have been and I almost certainly will never be. For some reason, his brand of music has just never appealed to me and though, once upon a time, I definitely did give it a shot I can honestly say that I haven't listened to much of his work, period. Something new coming from Alborosie will likely not get much of my attention. HOWEVER, with that being said there is one exception to all of this within Albo's catalogue, the complete and utter JEWEL that was 'I Wanna Go Home'. The song was just so easy and it was one of those magical times when the vibes of the tune so perfectly match the actual nature and focus of what is going on, lyrically. I wouldn't be surprised if I never found another Alborosie tune that I even kind of like but a big for 'I Wanna Go Home', he has earned and will always have my respect.

13. '50 Push Up' by Spectacular

Hundred skip. I'm probably more open on the heels of his wicked latest release, "Stay Up", from last year but that album didn't represent the first stroke of genius made by the scathing Spectacular. Way back in 2005, the Kingston native served up his debut set, "Find Yourself" and the lasting track from it maintains its STRENGTH to this very day. '50 Push Up' was a song stressing HEALTH & FITNESS of the highest caliber. You're well familiar with Roots music singing about the importance of keeping one's soul and mind in-shape by focusing on the proper things and, of course, praising His Majesty. You'll also hear the occasional offering talking about things such as living a more natural life and putting healthy things into your body. All the more rare is what '50 Push Up' does (as its title DIRECTLY suggests).... it's still necessary for you to break a sweat sometimes to keep your body in shape and to build muscle. There's a certain simplicity to this one, beneath everything, that really helps it along and made it a favourite of mine. Time to get off your ass and do some work!

14. 'From The Beginning' by Lyricson

The powers to sing. Though I may've (I did) beat up on Lyricson's most recent album, "African Dream", I actually did so because I've been witness to the mountain of talent on which he rests his head when at his best (and he's had an EP since then called "Zodiak Vol. 2", I didn't love that one either). Demonstrated amongst his earlier work on albums such as "Keep The Faith", "Born 2 Go High" and "Messages", the incredibly gifted Guinea born vocalist's  talent can be amongst some of the very best in the entire genre when steered properly and WITHOUT A DOUBT the best example of this would come on that "Messages" set from 2012, 'From The Beginning'. WITHOUT QUESTION, 'From The Beginning' is the single best piece of music that I have EVER heard from Lyricson (there exists a chance that he's made something that I haven't heard that I would rank higher but I HIGHLY doubt it) and you could drop it into the catalogue of a handful of others with more storied careers and that would still be the case. 'From The Beginning' was FLAWLESS. 

15. 'Manifess Joy' by Arkaingelle

JOOOOOOOOOY! I may have bad news for you, if this song does not bring a smile to your face. I regret to inform you that your ability to smile is GONE! It's found something else to do with its time and it's spending most of its time at someone else's house. For the rest of us, however, the Arkaingelle THRILLED! I've spent nearly twenty years singing the praises of the SWEET 'Manifess Joy' and with good reason: It's simply one of the best songs that I have ever heard... with no qualification at all (not one of the best from Arkaingelle, from Guyana or during a certain time period. IT IS ONE OF THE BEST SONGS THAT I HAVE EVER HEARD!). I should also do something that I'm not sure that I've ever done and give credit to a beautiful background singer who almost serves as a duet partner as much as a backing vocalist (...and may just be Malika Madremana).

The Vault Reviews: Human Rights & Justice by Daweh Congo

Rolling. If you're at all like me, you probably have a core group of favourite artists who rarely ever change. These're, for whatever reason, your 'go-tos'. They serve a very important purpose and occupy a special place in your listening habits; and probably even your entire life. Because of the work they've done in the past, you probably never actually remove them from that lot COMPLETELY and adding to that group is probably just as rare of an occurence. Were I to ask what, exactly, you love about their music, I would be almost certainly inviting a fairly long and detailed response and, if you have any, they form the group of musicians who your children will say that they grew up listening to when they become adults. For me, this group is Sizzla Kalonji. It's Vaughn Benjamin. It's Beenie Man. It's Lutan Fyah. It's Destra Garcia. It's Queen Omega. It's Bunji Garlin. It's Capleton and a few others (my most recent additions would probably be the likes of Skinny Fabulous and Sara Lugo). Another group would be certain individuals whom you greatly appreciate and have spent a conisderable amount of time churning out material of an extremely high quality, so you have a combination of both current form and historical achievements which would probably put them in prime position to be the answer to questions such as 'who're you listening to these days'. My answer to THAT question would be Chezidek. It's be Norris Man, Mark Wonder, General Degree, Pressure Busspipe and a VERY long list of their peers (Mark Wonder might even be in that first lot, actually). If you do this in your head (you'll see just how much fun this is for me), you'd ultmately probably arrive at people who have big current songs that you enjoy or a big album that you've stumbled upon lately (biggup Jah Garvey) but somewhere in between might be a random lot of artists who maybe you don't find yourself listening to quite often but whenever you do manage to tune in, you generally come away fairly impressed. Personally, in terms of reviewing and writing about, by and large, these people can provide DAMN interesting experiences and may lead to situations (like I'm doing right now) where you hear something that catches your ear and it leads you down a path of examining another portion of their catalogue with, perhaps, a newfound level of full appreciation for their work that you did not have previously. In my case, these are Rob Symeonn, Jah Marnyah... Daddy Rings... Ossie Dellimore (what!)... the late Peter Broggs would be in there as well, probably, so would the GREAT Yami Bolo. As I'm naming them, I'm noticing that maybe something they have in common is that they aren't terribly active but you put up a new album/collection/single from any of them and not only am I interested in it but listening to it, alone, will probably draw me in the direction of taking another listen to something that they've done in the past as well (and I can't say that for anyone else here to such confidence. Even if I hear some old tune from Kalonji that I missed or Midnite (and it does happen), I feel the sudden urge to immediately followup on that by looking for some more. I'm pretty happy for that moment).

CLEARLY, I need to think about adding a new name to that last bunch that I just mentioned because I am finding myself listening to tons and tons of old (and new) music by Daweh Congo these days and I'd be damned shocked if the end was anywhere in site. A few weeks ago, I wrote a review for his debut album, "Militancy" and I had so much fun with that set that I quickly set my intentions on tackling another one and I'll say something right now to stress just how strong my interest was: What I eventually settled on (which is the one you're reading now) was, FAR AND AWAY, the best from the time that I listened to. Not that any of them were bad, necessarily; but I really don't like "Guidance" (which is consistently less than stellar in my opinion and I'm being nice), "Jah Children" or "Health & Strength" (as interesting as it is with an album and then a dub album accompanying it). As unimpressed by any of them as I most certainly was as complete sets, I was still wanting to hear and talk about more. Thankfully, hidden amongst those rocks was a near total GEM. 

1997

Daweh Congo's debut, as I said, was "Militancy", which reached in 1997. In the year 2000, he would release a pair of albums; one being the aforementioned "Guidance" for Jet Star, the other being the much stronger "Human Rights & Justice" for Roots & Culture Records from out of France (they also did a bit of work with Eric Donaldson, Max Romeo and a few others) and was produced by a Gayland Bravo & RG Bed, both of whom unknown to me. Like "Militancy", I can vaguely recall "Human Rights & Justice" receiving a nice amount of publicity in its day for what it is. That bright yellow cover is ultra-familiar to my eyes and while I have definitely listened to bites and morsels of it throughout the years, I'd never had any idea to put a reviewer's ear to it until now and, unsurprisingly, I am glad that I did. "Human Rights & Justice" is even better than "Militancy" at its best; and while it does fall below that level once (more on that in just a moment) the rest of its eleven tracks register AT LEAST in the range of above average. If you are unfamiliar with Daweh Congo's music he is most often compared to the legendary Burning Spear and, to no surprise, he does the best of his work when gifted with heavy modern and old school Roots music (which you'll find in abundance here). Another idea that I'm thinking about now, having heard more and more of his early work (and in just listening to him more regularly these days that I ever have) is that Daweh Congo has a very unique PRESENCE to his music. That is due to his unusual voice and patterns but he tends to.... he has a way of saying things that may or may not be relatively innocuous with almost GRAND IMPORTANCE. I'm not saying that he's overstating anything (he is not) but You, as a listener, are given a level of resonance with SO many of his words. It does take a minute to get used to (and I may very well be the only person on the planet of this opinion but who cares) but it is more than worth the effort in adjusting because what results is a BEAUTIFUL presentation of music such as a what is to be found on "Human Rights & Justice". Don't have anything going on at the moment? No. You don't. Let's get into it. 

Let's get the mess out of the way quickly: There's a song on this album called 'Come On Over'... AT ABSOLUTE BEST, it is awkward but it is not awkward. It is HORRIBLE. It's a love/romantic song and it has a constant sound effect of a woman moaning. I have heard worse (biggup Chronixx) but it's written pretty badly as well and it just has not a single redeemable or enduring quality in my eyes and ears AT ALL. Now, with that covered, Daweh Congo begins shining on his big second-ish album, "Human Rights & Justice" with its outstanding opener and title track. 

"Give me human rights and justice

I want it"

The punchline of this song is very simple and brutal but you listen to how Congo says it. It's downright HALTING (if you should have some human rights and justice like laying around somewhere, when he says it, you want to go and look for it and give it to him) and he goes on to weave a message around it which caught me particularly in one aspect. Daweh Congo, specifically, wants what he's due ["Give me human rights and justice. I want it. I coulda never do without. I must have it. OUR CHILDREN NEED TO BENEFIT, WE WORKED FOR IT"]. He does not want to go to the head of the line until his turn has come, so long as when it is his turn, you put on his plate ALL of his food. Next in is the arguably even stronger 'Jah Is My Shepherd'. 

"Now the Holy Abuna is standing at the altar

Gibraltar

Offering out the sacrifices of thanks giving

My heart is willing

In the house of My Father, to be a doorkeeper

King of Fire

Ital greens is what I eat!

JAH IS MY SHEPHERD, I AM THE SHEEP"

'Jah Is My Shepherd' is what I'd call an interactive praising tune. It does what it's 'supposed' to do and gives honours to His Imperial Majesty but it's an ACTIVITY that Daweh Congo is happily engaging in and WORKING on. He's doing this work atop this gorgeous old riddim (which turns into this delightful *squeak* during the verses) which really adds to the vibes and makes such a nice impact on the listener. The somewhat jovial (but not REALLY) 'Another Day' is, legitimately, a little awkward but it does end up working to some degree by its end. 'Another Day' is messy and there sounds like there is some real disconnect between vocals and riddim (and that riddim isn't a favourite of mine at all) but its strength comes in what is SAID by Daweh Congo. Lyrically (as hard as it may be to appreciate and I will definitely agree that it is difficult to sift through everything) (including the even-for-him odd vocal patterns), 'Another Day' is nearly mighty as the songer (the what???) delivers a message that a brighter and BETTER day is on its way. It does work for me but if it does not for you, I completely understand. Check the entirely less polarizing 'Wilderness', another praiser but one anchored in seeking a more natural refuge in order to give thanks. He also, wonderfully, incorporates more tangible elements into things as he talks about using nature as a source of refreshment which a nice and OPENING aspect to the song. 'Wilderness' is kinda excellent and though I'll hesitate to place it with the finest songs on "Human Rights & Justice", the fact that it is SO good but NOT amongst the class of the album definitely speaks to the album's quality. 'Drums', on the other hand, which sends out the first half of the album, most certainly does rank amongst its definitive highlights. This is a song, simply, about pride but there is nothing simple about the route Daweh Congo takes in order to get us there. Coyly, 'Drums' is a very INTELLIGENT song and it's also a little complex. Here, the "drum" appears to serve multiple purposes, the largest of which is as an integral part of a chant and a certain level of awareness; so he'll say "I hear drums. Sistren hear drums", and he's saying 'I FEEL IT!'. I'm proud to be an African and so is SHE and so are they... It is a GORGEOUS offering and as someone who shares the lineage, I HEAR DRUMS TOO! BOOM!

The obligatory ganja tune on "Human Rights & Justice", 'Herb Tree', begins its second half on a very strong note. Utilizing a cut of the Mad Mad Riddim, Congo finds himself in all sorts of trouble during this record. He's in court and standing trial... over a plant. He also has "no money fi pay lawyer fee" and his safety is at risk as well; so he's in tough times. Fortunately, he had the time to scribble out a song marking the occasion and it is a big winner. There's something so EASY about this tune. There're backing singers but they aren't really singing, they're just sort of talking but IT WORKS and works well. You have your herb song and, of course, you have to have one for mama and on "Human Rights & Justice", that is the delightful 'Mother Arose'. 

"Born from a woman, I'm so lucky

Look at what the youths have turned out to be

Dear to my heart, I love her truly!

Way I feel towards her is affectionately

Oh there she goes, Ms. Rose

Mama is a rose

Oh seh she bless her role

Only Jah Jah knows

A river side winds ah blow

So she wash my clothes

I'm gonna comfort her soul, when she grows old

Soft as a flower, mind made up like steel

MOTHERLY LOVE: I KNOW IT CAN HEAL

If you forget, you couldn't be real

Brothers and sisters, careful how you make her feel"

The song title is probably spelled wrong (it's more like 'Mama A Rose') but you can call it whatever you like; it's nice! Super simple though full of character and charm, hopefully Congo's mother got a chance to hear it and I'm sure she appreciated it (and biggup my own Mom. Seventy years young) (and biggup yours too!). Immediately preceding 'Mama Arose' is another big highlight from "Human Rights & Justice" and one I was actually familiar with prior to hearing it here, the HEAVY 'Earth Running'. 'Earth Running' isn't even a social commentary as much as it is a social OBSERVATION. Daweh Congo marks the largely negative state of the times but does so with an idea that the 'sun' is either rising or available... it isn't entirely bleak is my point ["The devil is on the loose. Mankind pray for the goose. Yes, I tell you the truth: THAT SAME ONE WILL HAVE TO COOK FOR TOMORROW'S SOUP"]. I mentioned earlier about the way Congo has this way of saying really basic stuff with a much larger impact and pretty much 'Earth Running', in its entirety, is an example of that. The ideas, as a whole, are definitely impacting but virtually every word out of his mouth, in and of themselves, make it as well. This is a very interesting song and I'm still enjoying the journey through it. For as unique as 'Earth Running' may be, 'One World' is actually somewhat similar. It's just Daweh Congo noting what he sees going on in the world around him. Songs like this make me think that they were VIBES, meaning that he just sort of came up with them after hearing the riddim and I don't really have a problem with that. 'One World' isn't quite the song that 'Earth Running' is but it does have its charm and does stand out for them. In terms of direction -- and only direction (its sound is completely in bounds with the rest of it), 'Big Bad Sound' is the definite changeup for "Human Rights & Justice". You know exactly what's going on with this one. It's a really fun time and I've also seen Congo singing this one as a dubplate as recently as last year so it's done well for him and clearly has shown some legs! Finally, the album ends on its absolute highest note as its closer, the FLOORING 'Jah Mercy Seat' is the single best selection on the album.

The earlier and similarly vibed 'Jah Is My Shepherd' stands well, by comparison (and by anything else, REALLY)  but what sets 'Jah Mercy Seat' apart, at least for me, is what comes from Congo, himself. At times this doesn't even sound like he's making a song. It often comes across like he just woke up in a really good mood one morning, opened his window, started singing and 'Jah Mercy Seat' is what came out of it. It doesn't sound very planned out or directly focused. It just sounds like Daweh Congo doing exactly what he felt like doing in the studio, across what is a subtle but GORGEOUS backing track.

Overall, yep, I'm hooked! Daweh Congo's was never a name that I would have called under-known to me. I've well respected his music and abilities for a long time but, as of late, it's been illuminated... for some reason. His most recent release, 'Amharic Verse' on the African Movement Riddim, is probably my new song of the year so far and, again, I'm hearing things within his back catalogue that just never sounded like that to me, previously, for some reason. I do have experience which such things. I was late to the proverbial party in the cases of the aforementioned Vaughn Benjamin and it also took people such as Mark Wonder and Yami Bolo a bit to really grow on me (and now, at least in the case of Wonder, the man can literally do no musical wrong in my opinion) and now I'm able to appreciate their work, present and past, in a new light. Daweh Congo slots right in there and it's growing. "Human Rights & Justice" just might be his best complete body of work to date; from someone who is well along in the process of making a giant fan out of me. Well done.  

Rated: 4.55/5

Roots & Culture Records

2000