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. 

It's Not Too Bad: A review of Too Too Bad by Buju Banton

Lineage? It is a beautiful thing that each and every case is different, as my expectations and anticipations going into every album that I listen to are never the same. Some are the realization of years and years of waiting; while others get here before I even knew they were on the way. TIME definitely helps to build hopes. Maybe that particular individual hasn't released a project of any type for quite awhile or, if they have, maybe the latest creation is with a certain producer who they haven't worked with in a long time or is of a certain style that they haven't touched in some time. As of right now, the last review that I wrote was of an album by the name of "Heights Of Fire". "Heights Of Fire" was the first album Capleton had done in SIXTEEN years. Absence definitely does make the heart grow fonder. Another thing that might help the water boil is a little thing called TALENT. Once upon, not long ago, Sizzla Kalonji and one or two of his peers would release three (and sometmes FOUR) albums in any given year and... I REALLY looked forward to each and every one of them. Every. Single. Time. Sizzla was my favourite (historically speaking, he still is) and I'd been thrilled by his work enough to the point where I had no problem sitting through and sifting through some of his less than stellar work because the golden carrot of a generational type of release was always out there for him (and, at his best, he rewarded me for my loyalty). Also, given Reggae's hesitancy for promoting itself, something else that tends to catch the eyes and ears is when you actually do come across a release that has a solid amount of publicity behind it. This can work in a few different ways: You can have the unthinkable, which is an actual label doing their job and propping up an album and giving it a nice buzz prior to its release; you can also have the more usual word-of-mouth type of hype surrounding an album which, obviously, will exist both and ahead and well after its release date. Take all of these things and you have a situation where I'm struggling to wait to wrap my brain around a record an... you could even throw in something like... oh, I don't know... maybe even the album's title will make me eager to hear it as well. Any one of these things can do the trick (I'm not too hard to please). 

2006

Now, hypothetically speaking, what if we had an album which, in one way or another, actually checked off every one of those categories? It hasn't been a very long time sense Buju Banton last released an album. Three years ago was "Born For Greatness" and three years prior to that was "Upside Down" (there was a decade-long gap between it and "Before The Dawn" just ahead of it but let's not talk about that today). So he's been fairly active and productive. HOWEVER, we're going to back TWENTY years for the last time Buju pushed a project that was billed as a full, heavy Dancehall oriented set. It was very well regarded and is probably best remembered for carrying 'Driver A'; while also featuring GEMS such as 'Hey Boy', 'Try Offa Yuh', 'Your Night Tonight', 'Jig' (which I just listened to for the first time in who knows how long and I do not recall it being THAT good) and personal favourite of mine, the absolutely slaying 'Til It Bend'. Oh yeah... that album was called "Too Bad". 

Time-X. 

Anyone sitting down to read a review of this length is probably going to be familiar with Buju Banton's work to some degree so I will not stress just how talented he's been but I will say that it is COMPLETELY fair to make the point that his has been one of THE biggest names in all of Reggae music (and I would even go as far as to say in all music made by people of African descent) for the better part of the last THIRTY-FIVE YEARS or so. The industry has responded accordingly and his albums are uniquely promoted. They tend to land, in my opinion, somewhere between some big international release (think Sean Paul, Shaggy etc.) and the aforementioned Capleton or Sizzla at their best (think "More Fire" or "Da Real Thing"); his releases seem to simultaneously grab an appreciable level of respect from both music scribes and mroe hardcore fans (and, in Buju's particular case, he seems to get quite a bit of respect within the Hip-Hop community as well). Evidence of this can best be found in the fact that Buju Banton has been nominated for the Reggae Grammy Award for Best Album on SEVEN occasions, having won it in 2011 for "A New Dawn".  Buju's also worked with a number of big labels; most recently his work has been released through a relationship with VP Records and his own Gargamel Music. (and I just mentioned "More Fire" & "Da Real Thing": Both are VP projects). who've done a find job in getting the word out for his new albums.

Talent-X. Publicity/Word of mouth-X. 

Enter "Too Too Bad" [Album title-X]. I want to say that it was maybe later on in 2025 when I first got word that Buju Banton was coming with a new album (it may've been earlier, actually, but it was definitely before 2026 began), which was definitely good news on its own. As the information developed and we got an official title, "Too Too Bad" was hyped as basically a sequel for the aforementioned 2006 killer, "Too Bad", and not just in title, alone. Like its elder sibling, "Too Too Bad" would be a heavily Dancehall-centric release, featuring the handiwork of such respected maestros as Di Genius, Supa Dups, Ricky Blaze, the great Suku from Ward 21 and others and... that was it for me! I was COMPLETELY sold! The few early bites we got from the forthcoming meal were also legit and seemed to signal that, indeed, a worthy followup to "Too Bad" was in the offering. Not to dwell on it too long because you probably know the story to some degree but (much like Capleton, actually) Buju got his start in the Dancehall, where he was also one of the biggest names before shifting to more Roots focused material. (Also like Capleton) He has found HUGE successes working under both spectrums and, typically, his albums may lean one way or another but they'll feature elements of both subgenres. His most recent work, 2023's "Born For Greatness", also carried a bit more of a varied and open sound and it wasn't his best piece of output and, ahead of that, was 2020's "Upside Down", for which pretty much the same could be said. For me - if you want to hear the last TRULY GREAT release from Buju, we go back to "Rasta Got Soul" from 2009 (and I'm skipping over "Before The Dawn" from 2010 which won him his Grammy), so it's been awhile (again, respecting that decade where he was... not releasing albums) but, going into "Too Too Bad", I was FULLY expecting that trend to come to a halt. Does it??? 

Nope! It most certainly does not. While I can report that "Too Too Bad" is pretty good, I don't think that I can honestly call it a GREAT album. That's awful after all of that^ buildup and anticipation and I will try my damnest to make sure I don't make it seem like it's bad at all as, in the end, it proves to be a good, fun time of a Dancehall album. A PRIME example of my feelings of Buju Banton's new album "Too Too Bad" can be found on its very first track, 'We Nuh Play'. I think I was expecting something a little... maybe on the harsher side of things in terms of the sound but this tune, which checks in over a cut of the Diseases Riddim and is aimed at bullies and people who think they can intimidate and threaten their way through life, is far more lyrical and DEFINITELY has its moments ["To breathe in and out, dat a my daily trod. To survive these streets and no get no toetag"]. 'We Nuh Play' is also THE baddest moment that I found on "Too Too Bad"... but I don't know that I LOVE it, necessarily. The kind of bitterness that I was anticipating on the opener is found in spades on the second tune, 'FAFO'. An acronym for the increasingly popular (or maybe it's already peaked) "Fuck around and find out" saying, 'FAFO' definitely is more on the harsh side of things, although in a minimalistic way (that riddim has a golden simplicity to it) but it's almost not even there! Coming in at just over a couple of minutes, 'FAFO' probably could have been a bit more! What is here, however, is very solid and serves up a bit of an early BITE for the album. That vibe continues (pretty much everywhere) on the next tune in, 'Eye 2 Eye', but in a different way.  This one is a 'gal tune' and it's... okay but the star of that show, without question, is the infectious riddim courtesy of Silent Addy & Disco Neil. It should also be mentioned that 'Eye To Eye' is COMPLETELY in a rush or something because it's not even TWO MINUTES long. Speaking of riddims, the world famous and CHILLY WYFL Riddim (that thing is ICE COLD!) underpins one of the best tunes on the whole of "Too Too Bad", the KNOCKING 'X-Rated'. This one? You won't get a damn thing out of me in reference to. It is original "Too Bad" quality, EASILY, and likely the best song on the runback not named 'We Nuh Play'. Biggup collective producers, DJ Mac & CrashDummy for what they did on the mightily ambitious WYFL. It seems like it's been a long time (because it likely has) since someone has done such a project in Dancehall and it worked out (even got PAPA SAN involved!) (WHAT!) [BOOM!]! And SINCE I'M HERE.... I might as well mention 'Good Pum Pum' (not in general. it's an actual song title), a song that is MUCH better and more detailed than I was thinking it would be. 

The tune is a... just not what I was expecting and, to that end, I suppose it's actually better. It comes across FAR stronger as a kind of a relationship piece rather than a sex song which is what I (and You) were thinking it would be. And while I won't call it one of the BEST selections on "Too Too Bad" its simple curiosity angle is definitely amongst the highest here. 'Like You', despite its thinness, on the other hand, is EXQUISITE. Let's talk about this one for just a second. If you take away the little 'lead-in' portion and the 'let-off' at the end... there're probably 80-90 ticks worth of actual lyrics in 'Like You' in full. That's it! It's all over SO damn quick that it's almost jarring. However, as I said, Buju makes the best of the moment (as tiny as it is) and delivers a real winner across a damn colourful track via DreDay. Longtime Buju Banton par, DJ Khaled unsurprisingly makes an appearance on "Too Too Bad" as he lends his services to the very familiar 'Wild Woman' (and TECHNICALLY Notch is also here) (biggup Notch). This one has an inherent extra interest to it given that 'Wild Woman' is a kinda/sorta remake but it's just okay. I did like the sound (biggup Tony Kelly) and it is definitely good time though. Considerably better would be 'House Call'. Having just covered Tony Kelly, 'House Call' actually sounds like something out of Dave Kelly's catalogue (it has GRUMBLE to it which has convinced my ears and brain that 'Boom Boom', a tune by Baby Cham and Rihanna, is about to break out) but it is a BEAUTIFUL creation of Di Genius, actually. 'House Call' is both the type and quality of song I was expecting throughout "Too Too Bad" and I was damn happy when I came across it. I'm going to ahead and pull up the similarly licked 'Heavy Hitters'. I'm not too fond of the beginning of 'Heavy Hitters' and the chorus is a bit awkward. EVERYTHING else about it, ESPECIALLY the delivery, is candy. It is delightfully old school Dancehall pitched and, when I sift through it all, a potential gem of an offering rests within. 

The balance of "Too Too Bad" is on somewhat of a different vibe and, within the four tracks, they register with varying levels of success in my opinion. Check the almost Stephen Marley-ish 'Be Good'. I do not love 'Be Good' but I do enjoy it quite a bit more than I did initially. Early on, I think that I was trying to overcomplicate it and attempting to draw something out of it that was too damn hard to find (because it wasn't in there) (I'd still be sitting here looking for it, wondering why I couldn't find it). Taking it on a more surface level (not COMPLETELY but more than I was), 'Be Good' is simply nice to listen to and it brings a lovely message. It's pretty easy to be good to people and when you find that it's hard to be good to someone - maybe it's time to move on. American Soul singer, Ari Lennox, has a name that I don't think that I've come across before and she does have a very nice (and INTERESTING) voice to her which she puts on display via 'Satisfy Me'. Unfortunately this is my least favourite song on this album; I don't like it at all. It's harmless, standard R&B fare and it just doesn't do anything for me in pretty much anyway. 'Butterflies' most certainly does do something for me. The previous single is a large standout on "Too Too Bad" and obviously Buju and co. knew precisely what they had on their hands with it. 'Butterflies' is all sorts of compelling and not just because it's a beautiful song. It's also unusual in being somewhat of an aggressive love song and it's gone on to provide "Too Too Bad" with something of an early signature. 'Butterflies' is worth every bit of acclaim that it's gotten and will get in the future. Lastly, Buju taps another frequent friend of his, the venerable Gramps Morgan, to join in on the festivities with 'Power'. Try as I might --and I tried and tried and TRIED-- I couldn't get into 'Power'. Certain aspects of it sound like a vibe; like it was created on a spur of the moment but the sound is STRANGE. It never really accelerates or takes a step back. The song plateaus fairly quickly and it just kind of stays there. Full credit on that riddim, however. That thing is excellent musicianship. 

I have a ton of things on my mind before I close this out and I'd like to take a look at one or two of them, quickly. The first is definitely the LENGTH of the album. "Too Too Bad" has thirteen songs which, collectively, take just THIRTY-FIVE minutes. That's it. From the time you start 'We Nuh Play', to the end of 'Power', it's just over half an hour (and they knew it, I think, because the physical disc has another couple of songs on it). OF COURSE I wanted much more, even if "much more" in this instance would have meant tacking on a few other (likely short) songs, I would have been happy with that. Secondly, despite the fact that it is so short, I really wanted to spend time listening through this one intently because, as I said (or at least I think I did. I don't feel like going back to make sure), I wasn't thrilled with where my opinion was headed in regards to "Too Too Bad" and I REALLY wanted to LOVE it. Having scrutinized it now even more than I usually do and seeing my thoughts of certain songs and aspects go up and down, I think I've arrived at a place where I'm most comfortable about how much I truly like this release. 

Overall, I've used the word before, surely, "Too Too Bad" is FUN. It is most definitely a good listen and damn entertaining; a suitable followup to the original "Too Bad". How good it is actually is another question. Unsurprisingly, fans have reacted very well to it early and the impressions (for the most part) have been positive but I can't help but to feel that it could have been even better. This will not be the last Buju Banton album and I don't think it'll be the final Dancehall album he makes either; they'll do this again but I think that if you come here looking for that landmark next release, you will not get it. What you will get is a set that is compelling from beginning to end and ACTUAL DANCEHALL MUSIC (which is both always fun and increasingly rare as hell) from one of the greatest we've ever seen after a buildup that forecasted something SPECIAL might've been in the offering. "Too Too Bad" isn't quite special but you also don't want to miss out on what is going on here. 

Rated: 3.75/5

Gargamel Music + VP Records

2026

FANTAN MOJAH!

"The Most High Jah deliver me"

Your work is done. Rest now, Fantan Mojah

Elevation by Ziggi Recado!

"Elevation" by Ziggi Recado [Oneness Records]

Let's talk about Ziggi Recado for a little while today. I used to consider myself a pretty big fan of the Statian born dynamo. I reviewed a number of his albums and even deemed one, "In Transit", to be a modern classic. I go back in my head now and I'm thinking of crazy records that Ziggi did that are still stuck in my head to this day like 'Need To Tell You This' ["GIRL I NEED TO REALLY TELL YOU THIS!"], 'Cry Murdah' ["SOMEBODY GET GUNNED DOWN IN THE STREET LAST NIGHT!"], 'Mary' ["ME AND HER CONNECT INNA PASSIONATE WAY!"], 'New Day', 'Masquerade', 'I'm Blaak', 'Guide Ova', 'All Obstacles', 'So Much Reasons'... I'm literally going through his albums and recalling just how much fun these songs were and how they went so far in making a fan out of me and this is going back... maybe fifteen, TWENTY years at this point. He started out making more Dancehall/Hip-Hop geared material and, as he matured, Ziggi would become a damn powerhouse of modern Roots to the point where he grabbed the attention of the mighty Zion I Kings, who produced a fantastic album with him by the name of "Therapeutic", a dozen years ago now. 

Somewhere along the line, however, I kind of lost touch with Ziggi's music. He'd made a few singles that I didn't particularly enjoy (which is nothing. You won't like EVERYTHING anyone is making; that's normal) and... I don't know what happened really. Maybe he was a little inactive (maybe not) or maybe I just wasn't doing a good enough of a job in paying attention but Ziggi was making music and I wasn't completely noticing and that's a problem. 

Here's a problem solver. On the third day of the second half of 2026, one of my favourite labels in the entire world, the brilliant Oneness Records from out of Germany has just released a brand new, seven-track EP from Ziggi Recado by the name of "Elevation". Ziggi had been dropping singles for the label earier this year and you figured a full project of some type was forthcoming and here it be! You already know what's going on here but let's take a look at it anyway, mini-review style. 

I'm sitting here thinking what my response would have been, years ago, had you told me that Ziggi was working with Oneness. That would have made my day.... my year, even. That is HUGE news around here even on a single but I get seven of them? THANK YOU! The first is the sublime 'Wheels Keep Turning', featuring the highly interesting Rik Jam with whom I have a bit of indirect history. Rik Jam had an album come out last year by the name of "The Genesis" that I kept meaning to get around to digging into and possibly reviewing but I never did. I've still not written the review for it (thinking about doing it now though, actually) but I have heard quite a bit of "The Genesis" andddddddddd.... it's kinda spectacular. So I was curious as to how Jam might beautify "Elevation" and he does so with an appearance on one its strongest efforts. 'Wheels Keep Turning' is a damn DIAMOND of a tune saying that judgment, whatever it may be, is coming and there's nothing that can be done stop it. Excellent start! Next we have a well recognizable 'Boom Meditation'. I've THOROUGHLY enjoyed this song from the first time that I heard it... but it may be even finer than I was giving it credit for. First of all, the riddim is GORGEOUS; that is next level infectiousness and musical intoxication. Furthermore, am I going too far in declaring it to be, PERHAPS, one of the finest vocal performances of Ziggi's career?? Forgive me for being blasphemous but some of what he does here almost sounds.... Cure-ish?? I'm hesitant to compare anyone to what is probably the single greatest voice ever given to a human being, EVER, but respect goes to where it is due and it is DUE all over 'Boom Meditation'. Oh, and the song is really good too if I haven't said that exactly just yet. 

Remember when I talked about losing touch with Ziggi's music earlier. Well, one of the tunes I fucked up and missed out on was called 'Don't Stay Far'. I'm 99.9% sure I've never heard this song from a couple of years ago at all. Like never! I'm going to call 'better late than never' and give credit to Oneness for bringing it to my attentions here because this thing is CANDY for your ears. What a sweet love-ish kind of tune this is. 'When She Loves' is somewhat similarly themed as 'Don't Stay Far' and not trailing too far behind. This is an older tune that I actually had come across at some point and I remember, largely, on the strength of that RIDICULOUS riddim. That thing is... in the stars somewhere, seriously. The song also has a nice and fairly unique message to it as well and is just solid, all the way around. 

I heard a bit of 'One Step Forward' and didn't get very far into it at all before I knew that I was hearing something special and it hasn't moved at all. This is THE best song altogether on 'Elevation' and I'll leave it at that. It is absolutely fantastic. 'Nice Ting' is the obligatory ganja tune here and it, fittingly, is a slow-burner. You may enjoy this song the first time you hear it -- you probably will -- but the.... fifth or sixth time you go through it should be even better. What changes (at least what changed for me) is the fact that this very subtle but damn lovely melody begins to develop more and more as you listen to it. The chorus, in particular, the first time I heard it, I thought it to be impressive but now.... it'd damn near special and very catchy. Finally, wrapping up "Elevation" is another tune from a few years back that I missed for some reason, 'X Amount' and it is all kinds of fun. 

"X amount ah try keep up but dem can't catch mi speed

X amount nah waan listen when mi proceed

X amount a lyrics, dem ah flow like stream 

X amount ah try stop mi but dem neva succeed

X amount a gal ah run mi dung like stampede

X amount of loving coulda never exceeed

X amount a hungry vampire waan feed

X amount of bloodsuckers, none a dem heart no clean

X amount nah like wi, that's why dem face lean

X amount a power, mi seh x amount a steam

Natural to di music a so wi keep it real 

A so wi keep it real"

"Tell dem call fi assistance 

Cah wi nuh bow down, wi putting up resistance

And if fem fire, then wi fire back in response

Ready fi spark it, ready fi blaze it inna instance

And wi no matta bout di distance

Mi fire travel wid the Almighty guidance

And this a musical fire, mi nah violent

Yes this a musical fire mi nuh....

That's why mi keep badmind in the backa mi

Burn all\ di wicked, no pardon or apology

Nah tune in to none a dem psychology 

Til I'm laid to to rest, i know they'll never get the best of mi

Well nuff a dem no rate mi and mi no rate dem

Through mi deliver nuff musical statement

But nuff love ina mi heart so mi nah hate dem

BUT MUSICALLY NOW MI AHGO TERMINATE DEM"

While 'X Amount' does have substance to it (clearly), it's REALLY just a good time. It's a celebration of music and of an extremely high level of ability. 

Overall, I think it's time I got back in the rotation and starting keeping track of what Ziggi's working on. While not the full Ziggi:Oneness Records link that I would have hoped for, "Elevation" is definitely the next best thing and it's just VERY GOOD. Yes, I took a break in recent years but looooooooooongtime I have been singing the praises of both artist and label in this case and, together, they are everything you expect them to be. Musically, "Elevation" lives up to its name; it's in the stars somewhere up there and add to it someone as capable as Ziggi Recado and I really can't see how anyone who is a fan of Reggae music in its current state won't find something here to enjoy immensely. 2026 has been very impressive so far and here's another big winner. BOOM! 

Father Fire: A review of Heights Of Fire by Capleton

Forever. I think that longevity in absolutely anything can be a very tricky thing to understand. It can involve and incorporate an endless amount of factors and this is magnified when you begin speaking about things like entertainment and, specifically, music. On one hand, you can have someone make one song which'll carry them for the rest of their lives. You can make a tune in your twenties and find yourself performing it half a century later to a crowd who still loves it and loves you for it. Maybe most of them couldn't even name another song you've ever made (maybe they could) but you can be sure that they will never forget your name. On the complete opposite end of that would be someone who manages, ridiculously, to stay at or near the TOP of their craft for decades. That's something you cannot do via single hit. I don't give a damn how great that one song was. That is something that requires numerous amounts of hits AND, perhaps most impressively, managing to make your sound in a way that it can cross generations. You'll end up making fans out of fathers and sons (maybe even grandsons in some cases) despite who drastically different their tastes may be. This is special and it requires something greater. Of course, things such as general appeal and maybe even a story or two (controversies included) would help in growing your legend and maintaining it but I like to think that at the source of a legendary level of longevity is a teeny little thing that I like to call TALENT. ABILITY. SKILLZ! When you have actual, world class, capabilities and you combine it with things like appeal (if people like you and are interested in you, they're likely to remember you and history will probably be kind to you as well) and a compelling background, now you are legitimately talking about what has the possibility of becoming legendary. Although people like me are notorious for overrating things and making them seem bigger and more important than they usually are (if only just because it's more fun to write) we are fortunate to currently be in the present era of a number of ACTUAL living legends in my opinion and today, for the first time in a very looooooooong time in this capacity, we get to talk about him. 

Do not be blinded by the fire. When you think about Capleton, you probably think about fire. Like his most noted peers, Sizzla and Anthony B, a chunk of Capleton's career has been greatly and appropriately associated with the tendency of modern Roots Reggae to use fire, lyrically, as a cleansing ingredient for all things wicked. HOWEVER, even more so than Kalonji and 'The Original Fireman', Capleton has embraced it to the next degree. He is the "King Of Fire" and that moniker has not only come via his music (more on that in just a second) but also his... actual fire. Capleton also might just be THE most energetic and FORCEFUL Roots artist that the entire genre has ever seen and he also has a most interesting backstory, complete with a mid-career shift, an international run and a very public spat with one of his biggest peers, once upon a time. So, one could conceivably get caught up into things that aren't DIRECTLY musical when it comes to Capleton and, to some degree (I guess... you can listen how you choose to), that's fine. HOWEVER [!], when you really begin to dig into his work, it becomes crystal clear that this fire has smoke; it is not a pot of boiling water. There is char, there's a few INSTITUTIONS that have been burned down in its wake and none of us are truly safe from the immense gifts that Capleton possesses.

For examples of what he is capable of, I'll point to a trilogy of albums between 2000-2004, "More Fire", "Still Blazin" & "Reign Of Fire". In an era where the line between Roots music and Dancehall became more and more blurred, ALL THREE OF THEM represent some of the finest work we have ever seen. You could very well make the case that "More Fire" is the greatest such complete work of all time and, again, fire alone and even when combined with an endless vat of energy does not earn you that. That won't get you there, no matter who loves you, how many whos love you or how high you can jump on stage (and I THINK I recall that he once fell through a stage while jumping and hurt his ribs, many years ago) (....probably finished the performance too). Such levels require a genuine level of talent and Capleton has that to spare. From his days as a hardcore Dancehall voice to his years of Roots royalty, King Shango has shown himself to be someone not only in great command of melody but also someone who TOYS wth the spoken word. Those three legendary albums were not only well regarded amongst fans but also very popular to the point where the case could be made that, outside of anyone making international strides at the time (think Shaggy, Beenie and eventually Sean Paul) (maybe Buju as well and anyone named Marley, of course), Capleton was dropping the most popular Reggae albums in the world around the turn of the century. In a genre so NOT geared towards album releases, he was doing work unlike anyone else at the time with where his projects were reaching (and you couldn't say that about people like Sizzla, Anthony B or Luciano... probably because of their penchant for releasing multiple albums per year but regardless). "More Fire, "Still Blazin" and "Reign Of Fire" all came via VP Records who would later add "I-Ternal Fire" and, in retrospect, as someone who does love albums as complete, musical bodies of work, it was some of the best times I've ever had as a music fan.

Can we have fun again?? "I-Ternal Flame" sparked in 2010 and... that was it. It has been an absolutely ridiculous SIXTEEN YEARS since the last time Capleton released a full studio album and, though there were several rumours, none of them panned out... until now. A MASSIVE credit goes to Evidence Music who, at some point last year, claimed that they were doing a new Capleton album and HERE IT IS! Collectively we are all returned to the flaming cleanse courtesy of one of the greatest to ever do with "Heights Of Fire"! BOOM! I hope that I've written this review well enough (probably not) to convey just how DAMN HAPPY I was when I heard this one was on its way. Evidence has been very active, releasing works from the likes of Eesah, Derrick Sound (excellent compilation by the name of "Upliftment), Little Lion Sound, Tiwony, Micah Shemaiah, Bugle, Vanzo... they've been very successful in getting projects up and out and when I heard that we were on the precipice of "Heights Of Fire", I BELIEVED THEM and they have not let me down (it also helped that they had been releasing a decent amount of Capleton's work in recent times as well). In a year of releases that is turning out to be star-studded -- Vybz Kartel, Akae Beka, Buju, Gentleman -- Capleton carries one of the heaviest hands of them all and he always will. Let's get into it!

Although they do take a helping hand or two, production duties for this burn are handled by the previously mentioned Derrick Sound & Little Lion Sound, as well as Mixing Finga. The latter of the three goes back decades with Capleton and you'll find one song produced by Mixing Finga on both "Still Blzzin" ['Mi Deh Yah'] and "Reign Of Fire' ['Standing Ovation']. Also, Mixing Finga has been working with Evidence lately in re-releasing some of their older catalogue so, it comes to no surprise at all to see them on board the new release (and I would expect them to be on Capleton's next album as well). Getting things up and moving on the brand new album from the mighty Capleton, "Heights Of Fire" is its most recent [I THINK] single, the scalding 'Red Again'. This one is perfect to lead things because not only is it a really strong selection and it holds up as one of the finest here but it also kind of forecasts what is to come in certain aspects. The flame here burns at an optimum level while also allowing Capleton's complete and utter brilliance to shine.

"Mi circle dem face before dem take off

When dem try fi escape pon a spacecraft

Wi nah listen to dem waste-talk

No corruption - mek dem know wi nah go take part

So dem come fi yuh soul and dem will tek part

Dem no waan di people break free, dem love fi break heart

Wi step up on di battlefield and make a straight walk 

A straight love inna mi, mi nah trod di hate part"

"Well if dem sell out di people dem, mi nah forgive dem

Wi bun di grave and di ting weh dem ah dig then

Wi nah love how di people dem ah live then

That's why mi bun. Up. Di wicked. Dem

Dem sell out di people dem wid di imagine dem

Dem tell di people so cold until dem fridge dem 

Brainwash education, dem sieve dem

Well a one ball a fire man a give dem!"

BOOM! BREAK SOMETHING! I found myself many a time during "Heights Of Fire" thinking that what I was hearing may've been a little more reserved than perhaps what I was expecting but it's in those moments where the fire, literally, burns away any distraction and what remains is just a towering talent. Next up is the chilled 'In The Game' which features the handiwork of veteran Mista Savona from out of Austria. 'In The Game' is a PRIME example of what I just told you: While the vibes of this one are.... somewhere between smoky Blues, Hip-Hop and maybe even a sound from New Delhi  (?) Capleton could not care less and torches it the same way. The second verse on 'In The Game', which finds Shango tactfully destroying deception lays claim to being THE single finest on the whole of "Heights Of Fire" and, hopefully, people can pay attention well given the nature of the tune. 

"Mind-control - dat a dem slogan

Don't get vulnerable through dem program

WI AHGO SEND BACK DI WHOLE A DEM A OCEAN

Cah dem don't care fi no one

Well di truth shall reveal eventually

Well a fulltime now, wi no in folly

'FOR YOU SEND COKE, MI TELL YUH FI SEND COLLIE

YUH NAH GO DESTROY DEM YOUTH DEM MENTALLY" 

The album's first vocal combination 'Deh Pon Mi Mind' features Capleton alongside the also aforementioned Evidence Music favourite, Eesah. The nice tune comes through via Derrick Sound's certifiably gorgeous Fight Again Riddim from a couple of years back but, at least as far as I Know, it is a new song. There're a couple of obvious attractions to this one with Eesah not only being a burgeoning name but a big talent as well, so I was very curious as to what the pair would come up with. That riddim behind them came as a more than welcomed surprise and the duo put on a LOVELY performance to live up to anticipations... and you knew they would. The exquisite 'Jah Shine His Light' is an open praise and the first (not the last) of its kind on "Heights Of Fire". This is another song where Capleton, himself, is allowed to shine with lyrics as he, perhaps understatedly (it is a very SIMPLE song and I mean that in a good way), gives a nearly brilliant honour to His Majesty. Though it throws my math off (sixteen tracks, review it in four sets of four) I'll also add 'Jah Is My Leader' here because it goes in the exact same direction as the tune before it. The thing about it, however, is that even though 'Jah Shine His Light' is quite strong, 'Jah Is My Leader' is even better and better by some distance, in my opinion. This thing is FANTASTIC!

Coming with equal parts flames and a certain smoothness, 'Jah Is My Leader' hits every possible including a thrilling latter stretch where it almost appears as if Capleton freestyles an entire verse, landing as EASILY one the best songs on the entire album. With that being said, however, things go even higher on the very next track in, 'Behave Yourself'. 'Behave Yourself' is absolutely VINTAGE Capleton and it surprised me, honestly. This is my favourite song on "Heights Of Fire" altogether as, when it hits it's peak, there is very little, if anything at all, separating it from any of Capleton's classic work. 

"IN AN ABUNDANCE OF WATER, WEH YUH THIRST FOR?

THEN IF YOU GET THE BLESSINGS, WEH YUH CURSE FOR?"

No matter where you are in life or how well you're doing, you can do better. That is the sentiment behind this EPIC track and I have to say that one of the most attractive things about it is that, despite the fact that it isn't an overly energetic tune, you really get the feeling that Capleton had FUN in making it. 'Behave Yourself' comes off as something that he may've been working on for awhile and, clearly, it turned out how he had hoped. BOOM! 'Babylon So Evil' is a song sure to attract a great deal of attention as it features Capleton alongside longtime friends of his, Damian & Stephen Marley (also, kinda/sorta featuring the immortal Dennis Brown as well). Jr. Gong is another one who has a downright lethal prowess with words and he absolutely DECIMATES this Derrick Sound vibed piece ["More education, more school, more meal. KNOWLEDGE MORE POWERFUL THAN YOUR FORCEFIELD"] [HUH!] [WHAT!] in his portions. HOPEFULLY, 2026-27 also delivers an album from Damian... it's getting time! The second quarter of "Heights Of Fire" concludes with an all kinds of fun remix of 'Burn Dem Down', courtesy of L'Entourloop. I was actually more familiar with this remix than I was the original (which I tracked down and was produced by Derrick Sound) and that's fine because the remix is the better of the two. I don't know a great deal about L'Entourloop but I do know that, pretty much every time I hear their work - it's almost always kind of chaotic and frenetic. In that aspect, 'Burn Dem Down' is probably on the lower side but, again, it's a very good time and biggup L'Entourloop, every single time. 

While the second half of "Heights Of Fire" may lack the full fire power of the first on paper, one could very well make the case that it actually tops its more attention-grabbing slightly younger sibling [HUH!], largely on the strength of several simply sublime songs. Evidence (biggup Evidence too) of this comes immediately in the form of the BRILLIANT 'Prayers Up'. When you're fed up with the way things are going and feel like you have nowhere to turn, throw up a word to The Almighty is what Capleton says here. 

"Prayers up!

Babylon dem too corrupt

Why man to man so unjust

Fired up!

Babylon yuh system a kruff

You only waan di people have it rough

Fired up! 

Well dat system yah it corrupt

Mi tell di ghetto youth fi conscious

Fired up! 

Righteousness a nah no bluff!

Mi tired of di fight and cuss!

Dem nah care about di problem, no attention for the cause

Dem nuh waan yuh fi go forward, babylon dem waan yuh pause

Pure fabrication when dem stipulate dem laws

BUT RASTAFARI NO STOOP TO DEM EVIL CLASS

Dem fraid when dem si di ghetto youth dem a go hard

A LONGTIME MI KNOW SEH DAT DI SYSTEM YAH A FRAUD

While di people dem ah suffer, while di people dem ah starve

And babylon still ah draw card"

'Prayers Up' is SPECIAL to a degree that I am now seriously reconsidering my choice as the album's finest record and it will not be the last time. Check 'Senseless Killing' which caught me by surprise. This tune sounds so familiar to my ears for some reason but I'm now convinced that it's new. I had an idea of where it may be focused and though it didn't take any detours at all from what I was picturing... how it gets there is damn impressive ["You kill without a purpose. Intentional, you really want to hurt us. You couldn't take di Rasta fi no circus but you waan fi drop a bomb inna di World Cup"]. Capleton dazzles in a way that was not on my radars on a song which borders on the serene in terms of the vibes. 'Senseless Killing' might not get the respect that it deserves but it is one of the real stars to be found here in my opinion. The heavy 'Highway Robbers' has an interesting title that had me thinking that we may be getting something 'Jah Jah City'-esque but it doesn't go there at all. It almost heads towards something more from Hip-Hop but in a very... THICK kind of way (if that makes any bit of sense at all) (and it probably doesn't). Hip -Hop doesn't do anything for me and it never really has but 'Highway Robbers' caught me, again, because of what is said. There're songs on "Heights Of Fire" which're considerably better than 'Highway Robbers' in pretty much every aspect, HOWEVER, you simply cannot throw it away because of what Capleton says at times and when you can make this type of an impact on a tune that will rate on the lower end of the album, that's something that denotes a serious level of skill. If this man is talking, we need to be listening. The golden call to action, 'Get Up And Fight' from LLS should be well known to fans from a few years back and you'd have expected it to be featured on a project such as this one. 'Get Up And Fight' is free-flowing genius. It does bring fire and force but it does so EFFORTLESSLY atop the Sound Killer Riddim which, just like its vocalist here, is fairly simple but VERY impressive (same riddim had several big tunes on it by the likes of Chezidek ["My sound will crush yuh like a biscuit!"], Anthony B, Queen Omega, Lutan Fyah and others). This one is incredibly ENTERTAINING modern Roots Reggae music and I am jealous of you if this will mark your very first time hearing it because it's almost giving me nostalgia these days. EXCELLENT song. 

You might recognize the song 'Tired Of The Drama', also from a couple of years ago or so and I've actually been, LOVELY, running into a bit more in the days surrounding the release of the new album. I don't know the name of the riddim on this song or if anyone else voiced it but I've always really enjoyed the instrumentation and I think Capleton did as well and he COMPLETELY throws himself into it and comes emerges with a GEM! Sometimes you just need a break from it all and you get tired (and STRESSED OUT) with the way things are going... lest "dem end up like Jack & Jill" (the second verse on that tune is just BRUTAL!). The final three slices of "Heights Of Fire" come via Mixing Finga and they include another diamond of a tune, a GIANT of a surprise and a very solid changeup to end things. Social commentary, 'New Age', complete with its delightful old school riddim is the first of the trio and I could just listen to this damn thing allllllll day long. 

"Inna di age of information

When babylon ah build skystation

None a dem, di ghetto youth dem nah  go wait pon

Cause dem find out seh dem ah work fi Satan

Keep it real and be careful of di fake one

Cause enough a dem still ah work fi pagan

And dem bring down a pure frustration

Segregation, dem nuh love fi hear liberation

New age, haffi turn a new page

Babylon abuse it

Dem will shoot you like a Cupid

New age, haffi turn a new page

Babylon so stupid

Then why so abuse it

Dem get caught inna di Age of Aquarius

When di whole world started to flare up

And information start clear up

GMO, babylon have a pair of

Ghetto youth well mi seh you haffi care up

NAH FI SIDDUNG PON YUH STAIR AND AH STARE UP

AND YUH HAFFI BUN DEM FAR AND NEAR UP

Pon di battlefield, you must prepare up"

ALL OF IT! The whole day! Doing that would make it harder to get to the next BIG tune, the similarly geared and 'Haffi Know Dem'. I just told you how much I like 'New Age' but you could very well make a good argument (and I might make it) that 'Haffi Know Dem' is the stronger of the two as, in a sweet kind of way with that riddim, Capleton SEARS! I'll say it again (and again and again), you listen to what this man says and virtually every single song he makes when he's in form (and he almost always is) hits a much higher level than it would on a more cursory listen. And finally is the album's clear changeup, 'All Night'. If you take the title in the context of going all night or... DOING SOMETHING all night, you get the point of this one (like I said, changeup). I won't sugar it up: 'All Night' isn't the best song on this album and it may actually be the worst (it just isn't as good as everything else but it isn't a BAD song for what it is) but I'm grateful when they do things like this because it shows that someone is conscious of actually building an album and not having roughly the same sound through all sixteen tracks and almost an hour in length. I have no problem with them throwing a piece like 'All Night' at the end of this one. 

I do want to say something about Capleton, himself, before I close this one because I think it's getting more and more crucial that we do this with someone like him at this stage in his career. As I built this review on his standing and his stature in Reggae music being SO big at this point and with him coming close to turning sixty years old in the next nine months so; I think it is SO DAMN important that we realize exactly who we have in him. Yes, he's been spectacular and we expect to be spectacular still but Capleton has also been that consistent soldier. He's been very steady and I'll resist to comparing him to anyone else but he's been far more dependable than many of his peers - even those who have built comparable careers and longevity of their own. So it's important that we celebrate him. No. He's not an old man and we hope to have him around for many years but he's here now and he deserves to be appreciated!

Overall, with that being said, you can join me and appreciate and celebrate Capleton for what he's just done in "Heights Of Fire". You can also throw a bit of accolades in the direction of Evidence Music as well for bringing it all together. I would guess that there're some very big fans of Capleton's at Evidence and they also came up in an era where his albums were of such a grand importance and they wanted to attempt to recreate it. Well done lads! Mission accomplished! From what I've seen thus far, the response to "Heights Of Fire" has been big and I would hope and predict that it will continue to be big. What we have here is a new release from a bona fide musical LEGEND. Just that alone: We don't get those very often at all and when you combine it with the fact that everything that allowed Capleton to build that legend is not only still intact but, seemingly, as sharp as ever, you have something very special, potentially. "Heights Of Fire" is another log on one of the brightest and most skillfully set fires that has ever burned in Reggae music. MAYBE the best album from the first half of 2026. 

Rated: 4.5/5

Evidence Music

2026