As Expected: A review of Eminence by Beenie Man

Unshock. Sometimes you go into these things and you just don't know what the fuck to expect. Be it some oddly overactive artist (biggup Sizzla back in da day), someone announcing that some album that they're doing is going to be more on the experimental side, someone just unpredictable, in general (biggup Perfect) or for some other reason; sometimes you don't know even remotely what you're getting into when you listen to an album... and then there are times like these. On the other side of the examples I just gave you would be several others which virtually guarantee what you're going to hear (quality, of course, being a different story - just  talking about SOUND right now). Not too long ago, we told you about a new EP from VI standout, Pressure Busspipe by the name of "All For A Time". The set found Pressure, once again, linking with the venerable Zion I Kings, a pairing which has not only proven to be ultra-fruitful and productive but has also managed to produce a very signature sound; everyone and everyone's mom knew precisely what we were getting into in that instance (...in that particular case, the quality was also assured, actually). And that could be the signal that gives you an overview of what's going on. Sure, someone working alongside someone else doesn't always have to be the same thing but an oft-pairing of artist and label/s making a certain type of sound can definitely be a strong forecast of what is to come. This is true despite the fact that Pressure is someone who has changed things up in his career. He's made Soca and Dancehall and even an entire album full of love songs at one point. In other cases, they can just TELL you what to expect. That occurred on Buju Banton's most recent release, "Too Too Bad", which he billed, essentially, as a sequel to "Too Bad", an album built upon hardcore Dancehall music almost entirely. Again, we can talk about the results of said direction at another time (we already did that) but the route to be taken was crystal clear and, there especially, became a major selling point in the marketing of "Too Too Bad". Also, just as someone like a Perfect Giddimani can be very erratic (and I mean that in a good way), there're others who can be just as routine and calculable. When.... Mark Wonder makes an album (any time now Mr. Wonder), for example, you know what to expect because his history and his present has taught us what he does. 

And sometimes you can just... kinda... sometimes you can LOOK AT SOMETHING and have a pretty good idea where it's going. Let's say... oh, I don't know... let's say BEENIE MAN, just to name someone, was going to release an album in 2026. Most likely you'd have a pretty good idea as to how it would sound, regardless of the producer. Beenie is someone who has long entered the 'crossover' category, so whatever he does, you'd expect it to at least have some more international flavours to it, namely Hip-Hop & R&B (and maybe a little Pop as well). There'd be some big name crossover guests and some sounds that would well appeal to a wider audience. That's what he did at his peak and he's still doing it to this very day in regards to his album releases (I've been listening to a lot of "Undisputed" lately) (probably better than it was given credit for being). You'd also expect there to be an attempt to appeal to some of his more traditional heads (like You & Me) and doing that by incorporating more traditional Dancehall and Reggae music and maybe even bringing in a few names from that spectrum as well; maybe even with a few very familiar riddims. I'd also think that he'd look to make a big statement in the Dancehall. Something proclaiming himself as KING (remember that). 

SHOCKINGLY (not really), that turns out to be a decent description of the latest creation of the Dancehall beacon, "Eminence". Though it seems as if we've gotten used to Beenie taking a long time between full releases, it was just three years ago when he delivered the Grammy nominated "Sim Simma"; while It was a decade ago now that the album ahead of it, "Unstoppable", dropped. I'm going to place "Sim Simma", "Unstoppable" and now "Eminence" in the same little group as they almost seem to come off as Beenie almost enjoying a 'victory lap', of sorts. The albums haven't been crazily popular (as far as I know) or amazing in quality but they've generated a considerable amount of buzz and have done well in terms of attention. Also, it most certainly doesn't appear that Beenie Man is ready for retirement anytime soon as he's continued to put forth a strong effort at such a progressed and downright legendary stage of his career. "Eminence" finds the 'Who Am I' star linking with Billboard King Records and one of our personal old favourites, Kemar 'Flava' McGregor. Once upon a time, in the very early days of this blog, McGregor would have been THE producer of choice. The man sat on a mountain and is still to be respected so, even now, the idea of BKR making an album with Beenie Man, on paper, was pretty inviting. At some point along the way I got a look at the tracklist of "Eminence" and I got even more convinced that what I was thinking that it might be was going to turn out to be the case. I am no fan or expert of Hip-Hop at all but there's a certain quality that comes with these type of 'broader' releases and that's numerous combinations. There're a lot of people featured on "Eminence" not named Beenie Man and there are a few occasions that you run into songs that you presume will receive some run in more international circles... as expected. While I don't think that "Eminence" will necessarily get that type of outward PUSH, again, Beenie is someone who has attained a level of respect amongst international fans and I would expect quite a few of them to be interested in "Eminence". When/If they do get here, however, will they like what they hear??? 

Probably not ALL of it but some of it. Beenie Man does something similar to the aforementioned Pressure Busspipe and Chronixx with their most recent sets as "Eminence" arrives just a couple of days ahead of the completion of his fifty-third rotation of the sun. To start things off, he picks up nice singer, Rènata (who has her own album, her first, "Self Expressions", which just launched a few weeks ago) and they head to Miami and link up with Hip-Hopper, Rick Ross (I actually think Flava McGregor, himself, is also calling Miami home these days as well) for '305/876'. This tune reminds of an old R&B song whose title escapes me now (and I could just be wrong about that) and I have to say that it grew on me just a bit. Beenie drops a few wordy pearls ["Wi neva stop til wi hit di bullseye. Di baddest riddim play by Robbie & Sly"] and Rènata, with her somewhat unusual voice, definitely helps to light things up. I still don't LOVE the opener but it's probably better than I would have thought after my first spinthrough. Rick Rock returns later on, along with Rotimi, on the kind of meh 'Hat Tip'. This one is spiritual and it does have a BIG sound to it but 'Hat Tip' is a very average song and slightly behind the opener. For the album's second tune, Beenie pulls in good friend and long time collaborator, American R&B songstress Mya for, 'Don't Rush'. I don't know how many times these two have worked together and I don't feel like looking it up but SURELY their most memorable track would be the classic remix for 'Girls Dem Sugar'. 'Don't Rush' is absolutely nowhere near that level and.... I don't particularly enjoy it at all, REALLY. BY FAR the coolest thing about this one is that it seems to utilize a version of the same track that originally underpinned a song called 'That's The Way Love Goes' by Janet Jackson (who Beenie's also worked with in the past). That's it. That is THE best thing that I can say about this song but "Eminence" would have been more eminent had it been left on the cutting room floor. They could have kept 'Do It' as well, in my opinion. This song features American rapper, Lola Brooke, a name that is completely new to me anddddd, it also sounds kinda familiar, like some old song with a name that I can't quite put my finger on. This may just be my least favourite tune on "Eminence" altogether. Brooke seems to be a fairly straightforward rapper and talented enough (coming from someone who's never been a fan of the genre, admittedly) which isn't my thing but 'Do It' seems to... be offkey at times. The vocals, especially at the chorus, don't mesh really well with the music in my opinion and it just does not do a single thing for me. 

I may not know very much (anything) about Lola Brooke but the next name to join Beenie Man here is well familiar as is the song on which she joins as the spectacular Etana lends her ridiculous talents to 'Guide Over Us'. The first thing I thought when I saw these two together was probably about what a unique combination they made for. Though Etana has definitely branched out in recent times, Beenie Man + Etana still comes off as a little strange, doesn't it??  Maybe it's just me. Anyway. Their tune together is anything but "strange" and, instead, is fairly terrestrial (the video, on the other hand, is another story. You look at that video and try to make it make sense with the actual song... GOOD LUCK!. There is way too much ass in it to have some kind of correlation. The song, itself, is decent though surely nothing special but the very fact that these two worked together is an attractive point for "Eminence" - a pairing of genuine Reggae & Dancehall royalty. 

The big names continue to join Beenie Man for this album. Without a doubt, one of the finest such moments comes during the delightful 'Make Out' which pulls in R&B veteran vocalist, Ashanti and rapper, T.I. In the case of the latter, I'm pretty sure that the very first time I ever even heard TI's name was on a song he did with Beenie, maybe twenty years ago now by the name of 'I'm Serious'; so the two have a history together and Ashanti is no stranger to the spectrum at least, having mined gold alongside Machel Montano a few years ago on 'The Road'. 'Make Out' is VERY good. It's a beautiful summer-ish sounding type of song that finds just enough of an edge to not be too... sappy. Also managing just fine is 'For You', which is sort of a remake of the classic 'Anything For You' and, just as was the case on the original, this cut features several different names. Joining Beenie, amongst others are Snoop Dogg and Ele (who does EXCELLENT with his small contribution). There're almost TEN people on this track by my count and it isn't even four minutes long so yes, it does come off as a bit rapid but, again, it's a fun time and almost everyone manages to score well with the biggest credits going to the aforementioned Ele as well as Pamputtae. Reggae vet, Stevie Face, lends his gorgeous vocals to 'If I Follow My Heart' which isn't a total loss, I suppose, but it also isn't very good. Where 'Make Out' avoids the trap of being entirely too damn mushy; 'If I Follow My Heart' most certainly does not. It falls right into the hole. 

When the friends take a step back and leave Beenie Man on his own, "Eminence" shines its brightest... for the most part... arguably. Not included in that statement AT ALL is the wholly awful 'She's A Good Girl'. 

"Girl you born pon a pum pum farm!"

And that's all that needs to be said about that one. There's also the AIGHT 'Bands' with its big sound. 'Bands' actually has a place on this album because it is somewhat related to my favourite song here, that it follows. THAT tune is also kind of bragging about the levels that Beenie has attained (and nothing wrong with that. You did the work - enjoy it!) but it's almost vacant at times and I'll go into this more in a minute but there's a nice distinction to be made between similar songs and why one sticks out and another does not. Substantially better than both the songs that I just told you about but still a distance from GREAT would be the closer of "Eminence" 'Heavenly Father'. It's pretty much what you'd expect (sound familiar??), with Beenie offering up a prayer to close out on. Though largely unremarkable (a year from now, you will not remember it being on "Eminence"), it isn't fully devoid of any quality at all; it does have its moments, just not a lot of them. A step up from that (you see where this is going) would probably be 'Friends For Life' which finds Beenie touching up a classic riddim whose name I always forget. 'Friends For Life' actually has a bit of substance to it and one (or two) which I've been high on for years now. Appreciate people while they're in your life and make them know it because, "Nobody never promised tomorrow". I think more could have been done with this song but, to its credit, 'Friends For Life' does crawl out of its shell more and more as it progresses; ultimately with Beenie Man seemingly set out more to make a point than to make a song. 'Kingsteppa' actually made me smile and it was around here that I started to catch on what was happening DIRECTLY with "Eminence" (and not surprised by it at all). This one is an ode to Ini Kamoze's legendary 'Here Comes The Hotsteppa' and that vibe did something to my brain! It got me all nostalgia'd out (and my Wife too) and it's not going to change lives (none of this stuff is) but WHO CARES! 'Kingsteppa' is a damn good time! More good, fun stuff comes through on 'Marijuana in the Kouchie'. 

"And mi nah smoke cigarette cah mi nah waan mess up mi lung

Mi fit like a Honda cause e very morning mi run

To how mi love Mary Jane it cause problems with mi and mi hun

And mi nah memba and ah hum, mi just ah hummmm"

Across another classic riddim, 'Di Doctor' absolutely glows and 'Marijuana in the Kouchie' represents one of the all too infrequent times where it appears that he is genuinely having a great time (again, more on that in just a second). The results stand up for it as, EASILY, it ranks as one of the biggest highlights from "Eminence". Even better is the damn infectious 'Doll'. The vibe on this one is just perfect for what it is and also showing up is the wordplay. Songs like this don't tend to leave much of an impact but there is a difference with 'Doll'. It's a fairly straightforward but ALL SORTS OF FUN gal tune and it scratches an itch that "Eminence" definitely needed taken care of. THE most eminent moment of "Eminence" is the song that I alluded to when I said, "I'd also think that he'd look to make a big statement in the Dancehall. Something proclaiming himself as KING (remember that)". This the HAMMER of this album. It doesn't really have a set course but Beenie does provide what I believe is the punchline of "Eminence":

"Mi nah go nowhere"

As a testament to his longevity (and around for SO long at such a high level. He now has peers in Dancehall (or whatever that shit they make these days is) that were not on the planet when he started making hits and he's older than their parents) and efficiency, he tears into 'Immortal' unlike anything else present ["Over two-thousand hit song. 'Sim Simma' and 'Romie', unuh choose one"] and, again, provides us with a most needed thrill in the process. BOOM!

Two things I want to touch one about the balance of this release. When Beenie Man is, in my opinion, at his absolute best - yes, he's impressive lyrically and he makes a really catchy and flaring brand of Dancehall but it's also ENTERTAINING. He doesn't take himself very seriously at all (he's the ever iconoclast to Bounty Killer's rough and gruff style) and it's a BEAUTIFUL quality that comes through in his music when he's really on his game... just ask Romie... and his big fat sister Naomi. You don't find a lot of that during "Eminence", unfortunately. A song like 'She's A Good Girl', for example (and it's the final time I mention it, I promise), is playful and it's dirty as hell but it isn't really fun to listen to outside of it being awful. The approach actually sounds a little RIGID and formulaic and it isn't alone in that. Also worth mentioning is the preponderance of familiar sounds. All of the old riddims and melodies that come through seems like the intent was even more so focused on capturing that international ear. As a more hardened head I don't have much of a problem with that particular aspect --and it works better in some instances than in others-- but, along with the various names involved, it's another piece of evidence as to exactly what was the thought behind "Eminence". 

Overall, I don't want to seem like I'm being too hard on this one because it's not far, at all, from what I presumed it would be when I saw the tracklist in terms of quality. I wasn't expecting "Eminence" to be some fantastic, best of the year type of album and it most certainly is not; it's right in the middle. Some of it is (one of it) is truly bad, some of it borders on the spectacular and MOST of it is somewhere in between. That's something else that sort of gives me that inclination that it best stands as a "victory lap" type of set and... hell, he's earned it. While you will neither find Beenie Man at his best or anywhere near it on "Eminence", consistently, but what you will find, in spots, is the handiwork of an undeniable, bona fide legend and one who is, OBVIOUSLY, at a point in his career (and has been for years) where he is well aware of his stature, and he should be.... but you knew all of that already. 

Rated: 2.65/5

Billboard King Records

2026

Heat Check: A review of Breath Of Life by Queen Ifrica

Names. Lately, within the past few years or so, I've been attempting to stress the importance of celebrating talents and the people who possess them while they are still here and capable of appreciating it. This year, MOST UNFORTUNATELY, has already shown us just how fleeting time can be and, before you know it, circumstances have changed irrevocably and that moment is forever gone. For the most part, I don't think we, as humans in general, do a very good job of this, which I think goes to explain just how well we do actually do at the moment that someone we respect has left us... seemingly trying to make up for lost time. Sometimes, however, we do it quite well and get it 'right' (whatever that means) and the best evidence we have with this, at least around these parts, is tracing the level of attention and appreciation an artist has accumulated throughout their career and particularly noticing when things started to increase (or decrease) for them. In some cases, which seem to be very rare, what happens is that someone will announce their presence on the strength of a standalone, massive hit and then demonstrate themselves capable of matching those heights on a somewhat semi-consistent basis. Think of someone like an I Wayne or Warrior King who reached the masses courtesy of one giant hit, initially, and then proved that it was no fluke by supplying us with music of a similar quality and doing so almost immediately. Things can also have more of a gradual run which is far more common. In these instances, there may be several hits of varying degrees (which is, in and of itself, part of that slower process) and is far more common in my opinion. This approach is what has the capability of building legends as these instances are examples of people who simultaneously introduce themselves and their considerable talents to us at virtually the same time and if I were to ask you who you grew up listening to, most likely your answer would be full of names who grew on you (or your parents more likely) in a much slower way and gave you (your parents... or whoever raised you) years and years of joy.

At the height of that might be a moment where you take a minute and look up and... you just happen to notice that someone who you've been listening to for years has 'suddenly' (not really) (not AT ALL, actually) become a very big deal at a certain level of their career, whether you'd realized it or taken a REALLY good look at recently. Last year gave us a MIGHTY example of this in the form of "Exile" by Chronixx. If ever you had any question regarding the star power of Chronixx, take a long look at the majority response to that album. How I felt (and still do, btw) about is besides the point, the fact is that it was a very big deal in the minds and ears of many fans. While I do not think the release that we're going to talk about today will rise to those levels, who knows, I could be wrong. 

Have you checked in on Queen Ifrica lately??? You probably have but I pose the question because it's been a minute since we've written about her despite the fact that, for me, the diminutive (in height and ONLY in height) [tallawah indeed] Mobay native has well seen her profile raise over the course of the past decade or so. And speaking of "decades" perhaps the reason that we haven't covered her work much as of late is because of the fact that she's only released a single album over the course of the past decade. That set, 2017's "Rise", was her third altogether and the second, following 2009's "Montego Bay" ["Yad the east or forever hold your piece!"], for VP Records (absolutely ridiculous that album is now seventeen years old). Prior to that, you have to go wayyyyyy back to 2007 for her debut, "Fyah Muma", for Tony Rebel's Flame Productions. 'Montego Bay" was special. It was her opus (and it still is) and "Climb" (although slightly bloated) wasn't terribly far behind it. Having risen even further since those days, the idea of Queen Ifrica releasing an album in 2026 (and on my 45th date of birth, actually) is downright appetizing and I would love to get my hands on such a set... so biggup the Queen who, along with Junior Brown & Nuh Rush Records (in association with Tuff Gong) (biggup Bob), has now released her senior set, "Breath Of Life". There have been some big names doing major work on the album side this year (more on that in a few days) and when you add Ifrica's to the pot, she's definitely ranking, on paper, as one of the biggest. I had certain expectations of this year -- like Capleton & Buju -- but the prospects of Queen Ifrica doing a full project was nowhere on my radar and when I saw that it was offering, I got DAMN EXCITED. For me, the Queen has spent the last few years, musically, as someone who would pop up with that big tune at precisely the "right" moment, just when you had begun to think that it was time for her to give you something. She's been terribly reliable and, I suppose, that the timing for the new album was nearly perfect as well; had you told me we'd be getting this back in December, it would have well been amongst my most anticipated. Clearly I haven't been alone in that either as, from what I can tell, "Breath Of Life" is in the process of generating a nice amount of very early buzz (and I think that as outspoken as the Queen has been, outside of the studio, has also aided in lifting her profile amongst fans) and that is excellent but, of course, the main question regarding an album is DOES IT DELIVER??? Well... let's talk about that. 

"Breath Of Life" does end up in a good place ultimately but it does take a while for things to progress to that point in my opinion. For me, when she's at her absolute best, Ifrica is a very compelling blend of sweet & spicy and she can hit both areas effectively, as well as everywhere in between. At her best, Queen Ifrica can literally do EVERYTHING: From a traditional straightforward chant to an ultra-aggressive, agitated delivery (and, for the type of work that she does, she has a very nice singing voice when she does use it). So perhaps that's where my mind was as I dug into "Breath Of Life" which gets going in a predominately slower fashion (and then stays there for awhile) with its very light and breezy eponymous track. Try as I might... I could not get into 'Breath Of Life'! It's nice and it's pretty decent as an opener (it does have its moments, especially in the middle stages) to set the table for what is to come but I found it unremarkable in just about every way. Next in is a song that may be slightly stronger but one which left me with a similar feeling as the one before it, the lovers oriented 'Speechless'. I can't quite describe it but there is definitely something to the sonic appeal of 'Speechless' that I do enjoy but, whatever it is, it isn't huge. It's a nice sound to listen to and that is the best thing that I was left with from it. The golden-aged (damn near Doo-Woppish) 'Pelican' is considerably better than the two tunes ahead of it but, again, I wouldn't call it a great song necessarily. Very pleasing to the ears?? DEFINITELY. She also adds a bit of spice to the song for what may be the very first shot fired, in the most subtle possible way, on "Breath Of Life". 'Spoonful', as a good sign, is a further step ahead of 'Pelican', as it comes in (at least initially) in a similarly vibed style. To its credit, 'Spoonful' is a pretty clever love song which finds the Queen interesting in a someone that 'belongs' to a someone else who isn't doing right by them... or at least not as right as Ifrica thinks SHE can. 

"Mi will be yuh doctor, even check yuh vital

She just ah treat yuh like a instrumental 

Everything one place, it like intramural 

Yuh need fi mek a linkup, mek wi trod go rural

Wi friendship no ordinary, more like unusual

Baby, let's make it official

Let's make it official"

There's another song, 'Bad Girl', that doesn't make much of an impact but sounds pretty divine at times ["Original badness, no AI antics. Every robot bow to it"] but I come away from the first five songs of "Breath Of Life" entertained to some degree but not overly impressed. I also come away thinking that Queen Ifrica is likely enjoying life these days. She sounds COMPLETELY in love with someone. 

'My Highgrade', is a love song of a different variety and it's also, by far, the best song on the album up to that point [#6] with that downright FILTHY riddim supporting it. Let's talk about this tune for a minute. First of all, for as immaculate as it is at times, there's also (especially later on) a nice... almost improvised type of vibes to it. Certain parts of it sound like Queen Ifrica just came up with it off the top of her head and decided to leave it in the final version of the tune, which is such a nice mix of sounds. Her delivery is also winning on 'My Highgrade' as she largely employs a GRUFF type of chat which comes off as not like she's angry but she's trying to make sure that you pay full attention. Also more than mentioning (for the second time) is the music here. As it progresses, you start to hear more things -- like HORNS; glorious glorious horns -- and the base track is almost Hip Hoppish which I'm typically no fan of but it works for me on what is the first undeniable highlight from this album. Another heavy offering chases 'My Highgrade', the EXCELLENT praiser, 'Excellent Jah'. 

"Birds and di bees and ah praise Fari

Rivers and trees and di clear, blue sky

America to England - tension high

'PEACE & LOVE' a di great old cry

Put it pon pause, everyone stand by

War & crime you fi tell goodbye

Easy fi happen but I don't know why

Every nation ah beg, unuh nah comply"

Loosely redolent of the epic 'Alpha & Omega' by the aforementioned Chronixx; somewhere in the midst of this song is the archetype of what Queen Ifrica is best at, musically. 'Excellent Jah' is a prime example of her in her best form and demonstrating something that is almost uniquely hers as an artist (someone else who is really good at kind of varying approaches like this would be Reemah but she kind of builds intensities. Ifrica just kind of explodes at times). Here, she uses that fine form to give thanks to the Supreme in a THICK way. 

"No matter what time of day it is"

There's something infectiously pulsing going on with 'Weeping Willow' which seems as if it is building and building itself in the background. It does touch its crescendo ["IF NOT NOW THEN WHEN?!"] but its is the journey to that point that is most rewarding. The tune is an African unity peace and it has a certain grandness about it. If you were to just listen to the instrumentals of this one, I would expect even that to sound like something of a major importance is happening here. With the vocals added and the theme actually set, 'Weeping Willow' is nearly special. 'Mom Like Me' is ALLLLLLLLLLLL kinds of interesting. In Reggae music, if you've hung around to any length of time, chances are high that you've probably ran into more than a few tunes giving thanks to Mama above almost anyone and any THING else. 'Mom Like Me' is like the opposite point-of-view of all of those tunes. Here she deals with all of the joys and hardships you go through as parents watching your kids grow up and living being supportive through their successes and failures. I'm sure it exists but I'm having a hard time coming up with a similar song, at least one from recent times. MAYBE the only one even remotely close would actually be the next song, which takes things even further, 'New Version Of Me'. This song actually features Queen Ifrica alongside her own kids! The one you know will be Imeru Tafari but there're also his younger siblings Tanzie & Malawi (I don't know who Imeru's father is but the Tanzie's and Malawi's is Tony Rebel). This one is just a BEAUTIFUL full celebration of the entire family with mama saying how proud she is of her children, after all of the work she put in:

"I Clean your nose

Wipe your asses

Make sure that you're early for classes"

And the youths returning the love on how much she's inspired them to get where they're going in life:

"My Mother love endless

And dem qualities dem mi look fah inna mi empress

Di true meaning of selfless

Determined and perseverance, that is relentless"

Taken together, 'Mom Like Me' & 'New Version Of Me' are very original and unique musical experiences and it shows that Queen Ifrica and Nuh Rush REALLY got to thinking of some strong ideas to put into this album and they both light thing up on "Breath Of Life". 

Take 'Change The World' and compare and contrast it with the songs at the beginning of the album. It has a big and open, inviting sound like some of them do but it's stronger than all of them and immediately so (literally as soon as Ifrica utters a single word, the song takes an instant step ahead). The tune may just be either the single best or joint best written on the whole of the album and one of the best of its kind in recent memory from Ifrica as well. While, again, shining on the music with just a dash or two of spice to bring some flames to the vibes. Fantastic tune. I was expecting something on the light and probably more jovial type when I saw the title 'Raggamuffin Style' but, instead, Ifrica uses the moment to display some substance! The song is about hard work, hustling and doing everything you need to do to take care of yourself and put food on your table. 

"Mi certain, I will never be nobody else's burden

TRY AND GET OVER YOUR PROBLEMS LIKE A HURDLE 

No trust dem if you know dem will hurt you 

Dem treat you like a dirt too 

You better know your virtue

 Jah love and He'll never desert you

 Rise up all kings & queens, I urge you! 

Make sure you fast and you pray, that work too 

HIM love deh haffi purge you"

Another big winner and a nice surprise as well! Finally, for the first time in what seems like a pretty long time, the album's absolute pinnacle is at its tail as previous single, 'Lanton' is pretty damn special.

It may've taken a few playthroughs to grow on me initially but these days, 'Lanton' is in the stars when it comes to her catalogue: It's one of the best songs Queen Ifrica has ever done, period; it's the best song on "Breath Of Life; it's one of the best songs I've heard in 2026 from anyone. It's very speciiic in its approach but what I take from the song is that we all screw up sometimes. We all have bad stretches in life and during thes moments, there's something or SOMEONE who can help us out and lead us back to where we need to be. Ifrica's route taken to bring that message into the light is fucking genius. It just is. 

Overall, when you review an album, obviously you have to take the entire thing into consideration and if a nice sized portion of it (like damn near half of it) is less than stellar then the album is less than stellar and that is most definitely the case with "Breath Of Life". HOWEVER, I'm confident to say that the best that it has to offer ranks favourably alongside the best that Queen Ifrica has ever done. A song like 'Lanton'... that song can go anywhere. Drop it on either "Climb" or "Montego Bay" and it's just fine and it isn't the only song here that I can say that about. As a whole, "Breath Of Life" may leave a little something to be desired but, when it is good, it is GREAT, and those bites are everything you would hope for from someone in Queen Ifrica who just might STILL be on the rise.... even after all of these years. 

Rated: 3.70/5

Nuh Rush Records + Tuff Gong International

2026

Reggae On The River with Prezident Brown, Tuff Lion & Lujan

"A PEACEFUL GATHERING"

Okay so, I wanted to make sure I got this one in before the festivities actually began and made you aware of what a few people you probably know are getting into later this week in California in the US. If you are unfamiliar, there is a big festival called "Reggae On The River" that goes off every year and it's set to embark on its 37th [!] installment in 2026 and to celebrate, loooooooooongtime favourite of ours, Tuff Lion has linked up with the equally esteemed Prezident Brown as well as talented Californian veteran, Lujan to produce something of a theme song for the event, also called 'Reggae On The River'. 

Something really interesting happens with this tune to my opinion. Obviously, it's dealing with something very specific but, it just happens that it's speaking (at least to me it is) to something further.

"When the DJ plays your favourite song-

That old time feeling you get cannot be wrong"

...you don't actually need to be THERE for this song to be applicable. YOU DON'T EVEN NEED A DJ TO PLAY YOUR FAVOURITE SONG! YOU CAN PLAY YOUR FAVOURITE SONG! Whenever you want and for as long as you want! So it has legs outside of this event but it's also perfect for what I'm picturing they'll have in its name. 

"AH WHO SEH REGGAE DEAD WHEN IT'S THE LONGEST LIVER??"

Also included in the release is a "Toaster's Version": Got skills?? Try the riddim out for yourself! And we also a lovely Dub track which, as always, does a fine job in highlighting the instrumentation (about a minute into it, the dub literally starts to GLOW) (IT IS BEAUTIFUL!).

Along with his musical contributions (master of the guitar with a Modern Classic, "Ten Strings" being to his credit and everything else he does), I have to say that Tuff Lion was probably one of the very first actual makers of music who got in touch with us as... well over a decade now and probably over fifteen years - he sent me a 'thank you' for a review that I wrote for one his projects which really made me feel good at the time I remember and due to his involvement with I Grade Records and, subsequently, the Zion I Kings, I've probably been writing about the output of the brilliant Cruzan for almost a quarter-century now, whether I realized it at the time or not.

So, if you're getting out this year to ROR (which begins on Friday which is my birthday), here's a look at the LINEUP (on Sunday alone, you get Prezident Brown, Samory I, DEZARIE, Baby Cham and Don Carlos in succession)[BOOM!] do enjoy yourself and if not, you can join the rest of us in enjoying this big tune from Prezident Brown, Tuff Lion and Lujan, courtesy of Rising Love Music. 

 

All For A Time by Pressure Busspipe & The Zion I Kings

"All For A Time" by Pressure Busspipe [Zion High Productions]

"Pressure Busspipe & Zion I Kings": That is far more than enough to get my attention and, if you have any sense (literally ANY AT ALL), it's the same case for you. Absolutely MASSIVE news today as "All For A Time", a brand new project linking the two longtime favourites of ours, for the 900th time, has finally reached and you know we had to take a listen. I won't go over too much, but in their catalogue together, Pressure & ZIK have given us two albums which we've rated at 5/5: "Rebel With A Cause" and "The Sound", which we also named as 2014's Album of The Year. Individually, they're both also huge deals around here and I've been writing about them for... more than twenty years at this point. Whatever they do is enough to get my attention; together, they're potentially special. The new release actually lines up with the exact completion of Pressure's 45th rotation of the sun (I could be wrong but I want to say that he's actually done that before and, of course, you'll recall just last year when Chronixx did the same thing with his most recent album, "Exile") to add to the circumstances behind it. 

"All For A Time" is basically an EP. It features ten tracks, half of which are vocals, the other half (DELICIOUSLY) are dubs, so it lines up perfectly for the mini-review format that I've been doing lately (actually stopped writing another one to dig into this one). Apart from that... I mean... IT'S NEW PRESSURE BUSSPIPE MUSIC! LET'S GO! "All For A Time" gets moving with the downright MAJESTIC praise 'JAH Is Worthy'. On its surface, the song is almost ultra-straightforward in terms of both delivery and how it is written and it is transparent to an excellent degree. When you do dig a bit deeper, it does have a more complex element but we'll deal with that in the second half when I tell you all about the wonderful dubs on this project. Next up is our title track. Let's talk about this song for a minute.

TEARS!

When they finished this one, I think it's clear everyone involved were well aware what they had on their hands. 'All For A Time' is SPECIAL! It is of a caliber that would see it rank amongst the absolute finest of the St. Thomas burner's entire career and it is THE main attraction on the release named for it. It is absolutely STUNNING! From that syrupy sweet opening throughout the beautiful track as Pressure tells us all that nothing, including the roughest of times, is permanent.

"Though it hard I nah sell out

Suffer so long and can't wait to get the hell out

I smoke some marijuana and get mellow"

'Shine' is the sole combination on "All For A Time" - featuring the well gifted Imeru Tafari (coincidentally, whose mother, Queen Ifrica, has a new album of her own releasing next week called "Breath Of Life" on what happens to be my own 45th birthday) and it's another one that excels via a powerful simplicity for the most part, although Imeru does turn up the fire just a bit later on for a riveting stretch which is not to be missed ["Binghi youth deh pon a mission, clinical wid precision. Your vision spiritual so you no need no permission"]. The old school rinsed 'Be Somebody' has a riddim which SCREAMS that I know it from somewhere and maybe I do but getting to know this song has been damn delightful! 

"See your brother as you see your self

If I wish you good, you wish me well also

Everyone has importance-

From the homeless to the orphan"

Nothing no really impossible

ONCE YOU FLY YOUR VISIONS OVER OBSTACLES

Give it everything you got in you

You're the only one stopping you

Check ya attitude!

Cause nobody wants to be a nobody

Everybody wants to be somebody

Don't you take 'no' for an answer

Listen quick and slow your anger"

There is an infectious... almost JAZZY/BLUESY quality to this song that isn't entirely prevalent throughout but pops up during the chorus which absolutely CAUGHT me! The rest of the song is lovely also and I'll tell you that Pressure has more than one (GOOD) album that 'Be Somebody' would be in the conversation as being THE best song on. Did you see what I just said about 'Be Somebody'?? [If you didn't it's literally right there] The final vocal offering on "All For A Time", 'Rasta Children' is even better and CLEARLY so in my opinion. Ranking only second to the title track, the THICK 'Rasta Children', as you might expect, is a wonderful praising tune from Pressure  and though you'll find a number of such outstanding similar efforts within his catalogue, even most of the best of them rarely reach such heights.

Let's talk about those dubs for a second put a conclusion on this one and call it a day.  I'll bounce around a bit but let's head straight to the head since I did allude to it previously. 'JAH Is Worthy Dub' SHINES even brighter, arguably, than the original version. If you're unfamiliar at all with the work of the ZIK, the players of instruments include the typical esteemed cast (Tippy I, Jah David, Moon Bain, the late Andrew Stoch and the likes) (Stoch has been physically gone for nearly six years and we're still celebrating his work. What a life  that man led!) with a different name or two in the mix as well. This time around, Roberto Sanchez lends his monstrous talents to the project and, as is the norm, it is fantastic. I've always said that I'm not the biggest Dubhead in the world but I've always appreciated the Dub work of the ZIK. 'JAH Is Worthy Dub' has to be amongst some of their finest. Also, you really get a feel for just how complex and detailed this particular sound is here which is constantly one of the main points of interest for me on these type of releases. Just as dense as 'Rasta Children', 'Rasta Children Dub' is another big winner here but in a different way than 'JAH Is Worthy Dub'. 'Rasta Children Dub' is a bit more on the spacious side and it is lovely. I could listen to this all day long. The Jazzy element that I spoke about on 'Be Somebody' isn't present at all really on 'Be Somebody Dub' and that's fine because what remains is more than solid and a big credit here goes to one Okiel McIntyre for his horn work which highlights the sound. 'Shine Dub' is all sorts of interesting and I was very curious as to how they would handle this one with two voices to attempt to mix into things. 'Shine Dub' actually is more skeletal but the thing that sticks out here is... I don't know if it's a flute or what it is (probably is a flute and if it is it is attributed to Zoe Brown) but whatever it is, it lights this track up brilliantly. It makes 'Shine' GLOW! Lastly, the all-conquering 'All For A Time' makes way for 'All For A Time Dub' which is nearly as enchanting (yes E N C H A N T I N G) as it vocal version. I won't even begin to try to work my way through everything that is going on with this one but I will say that, beneath it all, SOMEWHERE in there is an oh so slight and but PERFECT guitar. It becomes much more pronounced later on but up until then (and including then) it hits all the right notes... or chords, or whatever you call those things on a guitar. 

Overall, like I said, I've been writing reviews for Pressure Busspipe's work for a very long time now and I rarely come away disappointed and "All For A Time" is not an exception and I knew it wouldn't be (and so did you). It's going to be next to impossible for me to believe that ANY fan of Modern Roots music won't enjoy this one. "All For A Time" features two of a our favourites, Pressure Busspipe & The Zion I Kings in outstanding forms.... they pretty much always are and that is more than enough for me. 

Signatures Vol. XVI: Capleton

 

Sure. There's absolutely no reason to do a Signatures feature on Capleton. His music is so popular; he already has at least one official 'Best Of' album that I can think of off the top of my head (it's literally called "The Best Of Capleton" if my memory is correct) and that's not to mention all of the unofficial, fanmade and mixtapes that he's accumulated over the years as well. You could go on YouTube right now and probably find dozens --if not hundreds-- such compilations and that's fine, he deserves it. However, in furthering enjoying his latest release, the GOLDEN "Heights Of Fire", of course, I have found myself going back through one of the most powerful catalogues in all of Reggae music so... why not! Today we take a look at and honour, arguably, THE most explosive talent in the history of Reggae music. Signatures: Capleton

{Coming soon: Fantan Mojah}

1. 'Who Dem'

Slew dem. In keeping with our running habit of opening with the biggest tune, OF COURSE first up is the MASSIVE 'Who Dem'. Anything anyone can say about 'Who Dem' has been said and it's been said for decades but I do want to stress one thing, in particular. While Capleton absolutely SCALDS everything, everywhere it definitely helped that he came equipped with something that can lay a legit claim to being one of the finest riddims EVER. Ward 21's blistering Bellyas carries 'Who Dem' and, obviously, King Shango puts it to the fiery sword. 'Who Dem' is THE prime example of what happens when the Dancehall meets active Roots music. It has a message and it was also powerful. It was also just... THRILLING TO LISTEN TO and a damn action scene of a song. THE single best song of Capleton's entire career and one of the best Dancehall & Reggae songs ever made by anyone. PERIOD.

2. 'Bad Mind'

Envious ahgo mad dem. There is a certain EVIL kind of infectiousness behind 'Bad Mind' which, largely, has to do with the Fed Up Riddim in which it sits and its signature GROWL (the riddim literally sounds like it's pissed off at you!). If the riddim and the overall sound of 'Bad Mind' don't completely hypnotize you (and they might), well then, for you, is also a fantastic message of BEING HAPPY FOR PEOPLE. Instead of letting jealousy and envy run your thoughts when someone does well, congratulate them, wish them well and allow it to motivate you to do better as well. There's a whole lot of common sense behind 'Bad Mind' - A POWERFUL AMOUNT. 

3. 'That Day Will Come'

Nowhere to run. It was the EXCELLENT Hardtimes Riddim which carried Capleton's 'That Day Will Come' (in retrospect, the track probably didn't do as well as it should have but the heights of it, this song and I Wayne's 'Living In Love' were sizable hits in their time) and if you recall me saying that "Reign Of Fire" opened with another entry here, it should be said that, right after it, was 'That Day Will Come' (showing just how mighty that album was IMMEDIATELY). There was a certain.... BLUNTNESS (?) to this song to go along with the typical and expected force found in Capleton's work: If you consistently fuck up and just do... wrong shit, EVENTUALLY you will have to pay. THAT DAY WILL COME! 

4. 'Jah Jah City'

Bloody city, bloody town! Think about all of the antiviolence Roots Reggae songs you've ever heard in your life. It's an impossible request, I know, but I want you to think of just how prevalent they are in the genre. Now when you go about differentiating some and distinguishing them from the pack, that new lot you come up with will include 'Jah Jah City. The MAMMOTH Morgan Heritage produced tune can lay a significant claim to being the very best of its kind. It was a hit in its day and is still well remembered but, these days what is also apparent is that, lyrically, it was one of Capleton's finest performances ever as well and, given his history and his present), that is a giant thing to consider. 'Jah Jah City' was downright terrifying. 

"Dem ah tell mi how dem cold!

Big 45, it shoot out dem brother mole

Nuff ah seh dem cold like up a di North Pole

Seh dem shoot down di young, shoot down di old

Shoot down di puss and di dog and di foal

Every weekend dem get a next payroll

OUTTA MAN POCKET DEM SHOOT OUT BILLFOLD

DISS MARCUS GARVEY, NUFF HEAD HAFFI GO ROLL" 

5. 'Alms House'

Step up inna light. By far the oldest song I'm mentioning today, the nearly THIRTY-FIVE YEARS OLD 'Alms House' stands as a VERY significant song in Capleton's career as it stands as one of a few which, in retrospect, shows what was to come for him and from him. It, literally, shows the internal shift that was going on inside of him. If I didn't make this clear in the opening (which I haven't written yet), once upon a time Capleton was a star of the Dancehall. He was loud and boisterous and x-rated and cocky (probably a poor order to put those in) but even then, the man had morals and he had a mine that there was just too much foolishness going on in the business which led to 'Alms House'. The tune did have a slight Roots aspect to it in the lyrics later on but if you hadn't figured it out by then, 'Alms House' was a signal that maybe this guy had a little something extra to him.... and he did. 

6. 'Babylon A Use Dem Brain' featuring Sizzla

Be still. Capleton has collaborated with Sizzla Kalonji directly a few times through the years (it has been AWHILE) but the DIAMOND of the pair's work together has been, without a doubt, 'Babylon A Use Dem Brain'. Produced by the legendary Bobby Digital (on a riddim courtesy of the immortal Burning Spear), the tune would be featured on my favourite album of all time, Sizzla's "Black Woman & Child" and it's one of those songs that require, unsurprisingly, a bit more keen of an ear to get receive the absolute FULLNESS of because of how DAMN genius it is. Have you ever really listened to this tune? No no. I mean REALLY listened to it?? If you have, you know that 'Babylon A Use Dem Brain' was complete and utter lyrical ROYALTY. It was intelligence of the absolute highest caliber on a combination of two MOUNTAINS!

7. 'Tour'

Culture a di cure. 'Tour' is well over THIRTY years old at this point and, though it did have its day, I don't think that it has aged as well as its quality would have seemed to forecast. 'Tour' was absolutely BRILLIANT. The song was about Capleton leaving Jamaica to tour the world -- spending weeks and months away from home -- only to return and be... fully DISGUSTED by the way things had changed in his absence. Seeing this and having spent so much time spreading his word, "preaching, teaching the people fi sure", he realized that he had much work to do. Instead of giving to strangers and fans, he needed to give his words to his neighbours and his family and friends. The way this song is situated, alone, is attractive but I can't imagine that it didn't work out EXACTLY how everyone involved hoped as a best case scenario. And from the second I was mature enough to appreciate anything beyond the melody here, I was hooked. I still am. 

8. 'Sleep Ah Night'

Worry and fret. We can talk about all of these powerful, outside forces that you may have to answer to when you do wrong but there's one which may or may not be as powerful but is FAR MORE immediate and that's the one that I've always taken 'Sleep Ah Night' as a testament to. You know when you've done wrong and HE has put something in you called a "conscience" to remind you when things aren't quite going according to plan. 

"Can't sleep a night, a nightmare dem ah get

Get up overnight awash by cold sweat

All come outside, come sit down pon step

Wid hand pon dem jaw, dem nah stop from fret"

'Sleep Ah Night' was an energizer of nature's regulator and it was genius.

9. 'Who I Am'

And where I'm from. Along with the final tune carried here, I think 'Who I Am' is probably the least likely to appear on any other personal compilation like this one of Capleton's music but it's long been a favourite of mine. Coming through across Henfield's cut of the downright GRIZZLY Babatunde Riddim, 'Who I Am' was featured on a relatively obscure album called "One Mission" (literally wrote that review SEVENTEEN years ago) where it conquered everything in site with a TORRENT of sagacity as Capleton, seemingly, responded to critics wondering just WHO exactly made him so special. 

"Dem waan know, who I am and where I'm from

Who gimme di authority fi bun di evil man?

Must be The Conquering Lion 

Unuh fi overstand, seh mi live a Zion

Well, no spirit cannot manifest without the flesh

Inna di north, and di south, and di east and di west

Mi bun dem and mi go bun dem yet

Mi dun dem and still ah bun dem yet

Well nuff a dem, mi tell dem go think and check

From di north, to di south, to di east, to di west

And mi hail King Selassie I as The Highest

Nuff a dem they gwan laid to rest

But righteousness haffi manifest!

Ghetto youths hold up yuh head, babylon get upset

Dem ah reject, wid dem internet

Dem technology, weh dem come fi tek

Well nuff a dem a di least

This seh dem a di less"

10. 'Cooyah Cooyah'

BUN EVERYTHING! It is a song like 'Cooyah Cooyah', specifically, why we associate Capleton with fire and call him the King Of Fire and all of these other titles he's accrued throughout the years. There is a stretch right in the middle of 'Cooyah Cooyah' where Capleton lyrically burns EVERYTHING and EVERYONE he can reach with his words. EVERYTHING! The song has become something of a legend over the years and one of Capleton's most popular tunes of all time.

11. '40 Suppn'

SUMN AHGO HAPPEN TONIGHT!! I haven't worked out the running order for this list just yet but I do know that I am planning to put the TRULY RIDICULOUS '40 Suppn' right behind 'Cooyah Cooyah'. Why? Because what 'Cooyah Cooyah' does in that one unforgettable stretch where he torches absolutely everything and everyone (including You & I) is pretty much the entire song '40 Suppn'. The whole damn thing! '40 Suppn' is an overkill. It's intentionally done with too much intensity and too many flames and the results were downright unforgiving. 

What needs to be said between both of these songs is the fact that they feature such an extremely high level of intelligence and sense-making to go along with their severity. This isn't... a kind of blind euphoria (although it most certainly is euphoric). There is a message (after message, after message, after message, after message) within this powerful torrent of words and it is what Capleton does at a level that I don't think anyone else can. HYPE is something that is not rare but MOST HYPE + MOST INGENUITY = Capleton. 

12. 'Death Row'

Sudden death. There is a word that describes 'Death Row' perfectly in my opinion and that is EFFORTLESS. This song, placed in the hands of someone else, might come off as having taken years to compose and to get the delivery just right... but Capleton just plough's right through it and does so from multiple angles. If you REALLY tune in this one, you, like me, migt just come to the thought that 'Death Row' ranks as one of the finest lyrical performances of Capleton's entire legendary career as it is brimming with wordy gems, primarily aimed at those who're not living righteously and have much to be ashamed of in their behaviour. 

"And all di wrong trumpet Rastafari go catch dem ah blow

And all di wrong boat, wi all go catch dem ah row"

13. 'Jah Is My Everything'

Hail The King! The immortal Bobby Digital was the maestro behind the MAMMOTH 'Jah Is My Everything' which absolutely clunked the listener over the head at the beginning of the "Reign Of Fire" album. I can remember hearing this song for the first time on that album and literally feeling overwhelmed and it's remained on my mind (obviously) twenty-two years later (almost exactly. Album released in August of 2004). There may be better songs on this list or song which I favour ahead of it but I will say about 'Jah Is My Everything' is that, for what it was, it was PERFECT. There is nothing wrong it at all. NOTHING. It was lacking in anything at all and, again, it just brings up such wonderful emotions for me; I now get dashes of nostalgia along with just the general feeling that what I'm hearing is something truly special as Capleton put on a praising performance for the ages. 

"There is no problem He can't solve

So inna certain things no bodda get involved

Well Rastafari is the ultimate and He, alone, can get all these problems resolved"

14. 'Hard Again'

HARD NOW! By far the unlikeliest song you'll find here (and the newest), it was just six years ago when Capleton called down some of the hottest and harshest fires of all for Payday's thumping Hard Again Riddim. Surprising to absolutely no one at all, Capleton went HARD on the riddim and it stuck in with me (and you think about everything I didn't put on this list in favouring it) (I could do a couple of sequels for this one RIGHT NOW if I wanted and it wouldn't be that difficult at all). Surely not the only one of its kind but if you looked down this list and thought you needed something to just... punch you straight in the chin, this one is for you! Man probably left his voice in that studio making this tune.