As Expected: A review of Encore by Machel Montano

High. I want to go back to a discussion I was having recently in regards to an album we looked at late last year that was, easily, one of the most interesting and popular releases of 2025; "Exile" by Chronixx. One of the bases (basises???) that I used for the review of that album was to talk about there exists a certain class of artist that we look upon and full-on expect to do special things. That isn't to say that others CANNOT but with this specific group, it can be to the point where listeners will almost assume that special is in the offering and when too long of a period of time has passed without it, CLEARLY something is wrong... amongst ridiculously demanding listeners such as You and I. This time around, however, we're going to have a far more positive and even magnified discussion because I think that the actual PLATFORM calls for it. Reggae/Dancehall is one thing. There isn't a schedule really and if there is one it's set by people who have the ability to set it and delay it as much as they want (you can delay the release of anything and you can cancel a performance - happens allllll the time and it isn't the biggest deal). In Soca though, ass insane as it is to say, things're a bit more rigid. Carnival comes when Carnival comes and, again, the biggest of names are presumed to arrive with the biggest of hits and IF THEY DON'T... it's kind of a wasted season which is awful as the wait shifts to next year. Sure, they'll have other songs that year but it won't be the same as it was for their own Carnival season and that'll be that. Furthermore, isn't there just SOMETHING about Soca (of course there is)??? The music is inherently BIG and DRAMATIC and it often has a competitive intent behind it. So, each and every year, as the tunes begin to roll out, you'll INSTANTLY see calls for 'Roadmarch winner' as soon as ArtistX releases what we assume is their big hope for that season; and sometimes those calls are correct! When they are correct -- at least in my opinion -- given that schedule that they're on and how incredibly easy it can be to trace it back many years later, Soca's stars have the ability to impact their listeners with as much DELICIOUS NOSTALGIA as any participants of any artform on the planet. When they do GREAT, you'll likely NEVER forget it. 

Let's take a look at someone who has been "doing great" for decades now, Machel Montano. While people like me are probably guilty of throwing around the word "LEGEND" far too casually, it fits super snug in Montano's case. He is a legitimate, undeniable legend of Soca and Caribbean music, in general. Still, though now slightly north of half a century of age, Montano is looked upon as being capable of delivering brilliance every season (even when he takes the season off, essentially, from making Soca and focuses on Calypso as he did a couple of years ago and managing to take home Calypso Monarch) and when he doesn't, he isn't seen as having passed his best or any such thing - he is not afforded that excuse (though I did try to place him in that category once upon a time.... never more). 

2025

...and it is apparent that he does not need it. Just last year, Montano would take home his ELEVENTH Road March title, tying him with the legendary Lord Kitchener for the most all time wins (he'll take the crown, alone, at some point) and that's not all of it. Because of the nature of Soca music -- being on that schedule -- albums can be quite simple (and well planned if done correctly). They can either be total compilations of multiple seasons or, as is the case here, they'll end up as a collection of the work a particular artist did for one season (with maybe a roadmix or an unreleased tune thrown in the flesh it out).Going back through his catalogue, Montano has charted several big projects to his name to say the least. On this blog, we have a long running series called 'Modern Classics', were we observe what I feel are truly spectacular albums that have released from the modern era and we reached installment #43 last year. The only Soca album that we've ever covered there was #29, "Flame On". There were also BEAUTIES such as "The Book Of Angels", "Machelements",  "Happiest Man Alive" and several others. Machel Montano belongs to a very select group of individuals in Soca music who actually release albums on an at least semi-consistent basis. Just last year he set out with "One Degree Hotter" which was well received (I didn't particularly like it but a lot of people enjoyed it a lot more than I did) and if you go back to 2016's "Monk Evolution", Montano has now had five albums - averaging an album every other year. Said fifth album, "Encore", now arrives and does so at yet another really BIG time for its creator. Virtually simultaneously, he's also set to release a documentary of his life (which I thought that I remembered from years ago but is, apparently, being billed as new) so, along with the typically atypical madness that a Carnival season presents, 2026 brings with a bit of an added light to, arguably, its brightest star. Fortunately he appears up for the challenge. Along with slimming down a bit, Montano has been in a FINE form, musically, from what I've heard and, because of that, when the news reached that he was releasing an album this year, I got really excited. At least so far (as is normally the case) album shelves have been quite thin coming from Soca. I'm expecting Destra to have something to say about that (maybe more like HOPING, given what she's been up to) but there hasn't been much movement at all so, once again, Montano is helping to carry at least a certain mantle for the genre... 

...and he is doing so damn near FLAWLESSLY. Soca music, in general, has been strong this year in my opinion. The aforementioned Destra has been burning it up as has the always dependable Bunji Garlin; as have the 'usual suspects' in Voice, Patrice Roberts, Michael Teja and a few others. Still, at least for me, it has been Montano and Destra leading the way. That is a fact that is crystal clear throughout the former's big new album, "Encore", which gets up and going with the GORGEOUS and smooth 'Compromise'. Produced by the increasingly crucial Tano, this tune has a couple of things going for it in regards to the album. First of all, like I said, it's outstanding. It's a beautiful and laidback type of vibes but it's also quite catchy and infectious on its own. Furthermore, if you set it as it is here, at the head of the album, it's very inviting and what I'm picturing is maybe someone who stumbles upon this album on some digital site and decides to listen to some clips; the first one they hear will be 'Compromise'. IT WILL MAKE YOU WANT TO HEAR MORE! It is a FINE choice for an album opener and one of the best tunes that "Encore" has to offer, altogether. Next in is a very cool reimagining of an old favourite from the great Travis World, 'Tempa Wine'. The all-conquering original reached over a decade and a half ago and featured Patrice Roberts and I was actually surprised to see it back this year but THANKFULLY the song pays homage to its brilliant predecessor. This time Montano fittingly taps the burgeoning Tempa (Tempa should be on 'Tempa Wine') to handle the accompanying vocals. Tempa's interesting for a variety of reasons (one of which being something unrelated to music that Google can tell you about if you're curious), not the least of which is her style which is more on the Dancehall side than Soca. While I do prefer the original (and always will), this remake definitely works and has a flame of its own and biggup Tempa for adding all kinds of different colours to the tune. Travis World also supplies the foundation for the downright glittering 'Dey-O'. Although entirely too short, what 'Dey-O' manages to do in its all too brief time with us is to GLUE itself to taste. It's a very hard sound to shake and it is IMMACULATE! You want to talk about Groovy Soca (with just a bite of Power) at its absolute finest in terms of how it is presented and you're talking about a track like 'Dey-O', without question. It's one of the best and probably THE most overlooked that Montano has pushed this season. Where the piece before it served up a "bite" of Power Soca, you get the full hundred on the song rounding out the first third of "Encore", the MAMMOTH 'Pull D Pin'. Coming through across the Monkey Business Riddim courtesy of the reigning King Bubba FM, 'Pull D Pin' provides enough carnage for the whole album but particularly near its head. Featuring big talents in Skinny Fabulous with Spice duo Lil Natty & Thunda, this one is CARNAGE. It's messy and sloppy but it's also kind of clever! I remember hearing its direction and being surprised that I couldn't recall someone using a kind of 'natural' grenading metaphor for Soca music. It works and it works PERFECTLY on a song like this which, despite its chaos, brings together big talents and puts them at their best alongside one another. 'Pull D Pin' is one of the best selections from anyone that I've heard this season and I think it speaks to the quality of "Encore" that there is AT LEAST one song carried here that I find better... maybe even two of them.

I mentioned Voice a little while back and he also joins in on the festivities of "Encore" along with Litleboy, from out of Dominica (who also features in production here, with Precision Productions and Montano, himself) who both help to beautify the in flight 'Bam Bam'. 'Bam Bam' is a song that really helps you figure out what's going on with this album if you're still trying to pinpoint exactly where it stands. 'Bam Bam' is FANTASTIC. It's also grimy and disheveled. It may've showered this morning but it most certainly DID NOT brush it's teeth and it didn't have dinner last night either. It's a used gift in a shiny package is what 'Bam Bam' is and you won't mind at all (after you're done with it, put it back in the package and send it to someone else)! Though it is clearly a modern vibed track, my ears something delightfully old school coming from 'Dancing In The Streets' which features Montano alongside the well talented (and GORGEOUS) Mela Caribe. I hear a few different styles in this one and maybe Calypso is one of them (AND THOSE DRUMS!). Regardless, there is something in this song that is so damn comfortable and familiar that it is difficult to ignore. Apart from that (along with that), it's just an excellent song as well. Caribe's vocals are top notch, especially for this type of sound and, again, the mix is so right. You hear so many different influences put into that pot, by chef/DJ Private Ryan, making for one VIBRANT piece of music.

"Feels like freedom

Sweet love

When we hear THE DRUM"

"Encore" also features the star power of one Nailah Blackman (who seems to becoming a bigger and bigger deal every time she makes a song) (and with good reason) who helps Machel Montano to 'Elevate' on a tune helmed by Private Ryan & Badjohn Republic. 'Elevate' is CANDY. It will make your ears feel good and it will also bring a smile to your face (I've tested it. I'm listening to it RIGHT NOW and I'm smiling). The peak of this one is as gorgeous as anything else that you'll find on the album and I want to use it to make a point about Blackman's style, in general. She has way, VERY SIMILAR to Montano's himself, of making these big, POWERFUL, pieces which are chaotic and frenetic but completely CLASSY (Destra does that as well). That doesn't work for everyone and "for everyone" CLASS isn't necessarily a good thing; but you have these songs and they're filling you with such a great emotion and an intensity - sometimes it's pretty difficult to stop and appreciate the musical ability that they require to be made. It isn't all 'jump and wave and misbehave' (not that there's anything wrong with that) or 'break something', there's a beauty in that madness and Nailah Blackman has it nailed! She's a damn specialist and it vibes so well alongside someone like Montano.... and pretty much anyone else. She's awesome. Of course, that isn't to say that there's anything wrong with BREAKING STUFF as evidenced by the next and BEST song on "Encore", the truly ridiculous 'Move Out D Way'.

"THE WHOLE WORLD MASH UP"

Travis World returns to production for the tune and he brings with him the up and coming Paris Coutain. Coutain (who ever-so-slightly resembles a young Nasio Fontaine) (biggup Nasio) is someone to keep an eye on (and biggup Machel for bringing in people like Paris Coutain, Tempa and Litleboy, shining, probably, the genre's biggest light on their considerable talents) (you might even be able to include Lil Natty & Thunda in that and, once upon a time, he did the same for Skinny as well) and if you are unfamiliar with his work, here is a fine time to become acquainted. 'Move Out D Way' is fucking nuts! It's dangerous. It's harmful. It does not promote safety or good behaviour and it is my kind of Soca music: That SWEET shot of adrenaline which the genre alone can deliver in such a way!

Trailing not very behind, AT ALL, is the actual song, 'Encore'. I hear this song what has begun to stick with me about it is the level of reverence Machel Montano has for Soca music and Carnival; as if he hadn't demonstrated that endlessly throughout the years. Helmed by ace producer XplicitMevon (filthy run that man has been on), 'Encore' is a living, breathing tribute to Carnival and Soca music and it is OUTSTANDING. Clearly thought to be his signature tune of the year, it does not disappoint and it COMPLETELY embodies what I mean when I say that we expect special things from special talents. On 'Encore', Machel dazzles from the preparation ["Frontpage is where legends belong but BACKSTAGE IS WHERE LEGENDS ARE BORN"] that goes into it (that he's been doing for years, straight through the final product that we get to see. 'Encore' IMMEDIATELY goes down as one of his finest efforts in recent years and I wouldn't be surprised if it nets him a consecutive Road March crown in a few days. "Encore", the album, also gives us a "Stage Mix" of 'Encore', done by Madness MUV, D Ninja and the very popular DJ Marcus Williams (whose work I routinely workout to). It's, essentially, a roadmix (I actually think it is the song's official roadmix) and the typical things that go into such mixes are present here as well, though it doesn't detour too much from the original during its initial stage before... becoming entirely more interesting during its second half. It is refashioning of a fantastic song and it's more than three minutes longer so there isn't a damn thing to complain about here. You also won't get much (or any at all, actually) fight out of me against 'Carnival Birthday', which taps frequent Montano collaborator, the legendary Super Blue. 'Carnival Birthday' is kind of cursory and very straightforward but I will give it its due credit: It is VERY FUN. I know what you're thinking.... they're all fun; and you're right. They are. But what this one, specifically, has going for it is that "cursoriness" that I mentioned. 'Carnival Birthday', literally, just sounds like Montano called up Super Blue to make a song for 2026 and... that's what they did. They weren't trying to win anything or change lives anywhere. They set out to make a very light, fun and intoxicating Soca song and that is exactly what they did. Finally is the albums definite changeup, 'No Wayyy' (because one Y simply could not do it justice). If you listen really closely (or even if you don't), you'll hear the Sleng Teng Riddim (of all things) playing in the midst of... a lot of other things. It's a SWEET tune, sopping with nostalgia (and a dash of oddness) and just an interesting track. It would have been even better had Montano employed more of an old school delivery but he does give it to us at the chorus and creativity, when done this well, is only to be rewarded. 

Overall... special things. Machel Montano does not walk to the head of the class on name value alone. It surely will help him to a degree (a degree that he has earned) but when he does get there, he has to deliver. "Encore" is a HUGE example of him delivering. The Soca head is beyond my recommendation, he/she already knows what's going on here but I will recommend the album as well to someone maybe thinking about getting into the genre. It is such a WELL DONE, complete piece of work that if you do have ears for the sound, I don't think you get very far into this one without getting hooked by something. We look to people such a Machel Montano to lead the way in defining the sound of a generation and maybe even a few generations following his because they show themselves capable of doing things EXACTLY like what is found on "Encore": The best Soca album I've heard in a long time. 

Rated: 4.85/5

Monk Music

2026

Coming Soon from Chezidek & Tad's Records!

1. 'Ganja Business'

2. 'Caah Believe'

3. 'Marijuana Prayer'

4. 'Leave The Trees'

5. 'Let's Stay Together'

6. 'Got To Go Home'

7. 'One Life'

8. 'Give Me Your Love'

9. 'Fool & His Money'

10. 'Money Move'

11. 'Inna Dem Eye'

12. 'Deliver Me'

13. 'Memba Good'

14. 'Stand Up'

Big and beautiful news today as the scalding Chezidek is set to release a new album, courtesy of Tad's Records, in the first quarter of 2026, "Marijuana Prayer". I'd been seeing a forthcoming single from artist & producer called 'Caah Believe' (releasing a week from today on the 13th of February) and just presumed it to be a part of one of the several projects Tad's had in the works or just a random single. HOWEVER, I was delightfully wrong as a full Chezi album was in the works and, apparently, 'Caah Believe' is its initial single. 

"Marijuana Prayer" is more of a compilation as, although there're a few tunes that are new to my eyes, the majority of of it should be recognizable to fans, pinnacling with a pair of MASSIVE hits, 'Leave The Trees' and 'Inna Dem Eye'. 

Of course, you'll remember what happened the last time Chezidek & Tad's linked up for 2020's MAMMOTH "Hello Africa" and while I don't think "Marijauna Prayer" will register on those lofty levels, I'm definitely looking forward to hearing the full set.

You can join me in doing just that on the 6th of March, 2026! BOOM! 

Completely Random Thoughts: Album of The Year

Okay so, a few days ago (actually, yesterday but no way this is going up tonight) they held the Grammy awards and announced, along with everything else, the 2026 winner of the Best Reggae Album Grammy Award. To my surprise, the winner was the least likely of them all as walking away with the bag was Keznamdi for his release, "Blxxd & Fyah". I didn't think Keznamdi would do it but who cares what I though. I'm very happy for him and the biggest of congratulations go in his direction. Also nominated were Vybz Kartel, Mortimer, Jesse Royal and my personal choice, Lila Iké but, again, big respects and congrats to Keznamdi for the win. The Grammy awards have a unique set of circumstances as it isn't ACTUALLY the album of the year because there're cut off dates. They have a committee (I THINK) and it takes awhile to go through all of the potential nominees and to get votes in to count them up so the dates, for example, for this year's awards were limited to anything released between the 31st of August, 2024 and the 30th of August, 2025.

Obviously, the rest of us don't have to deal with such deadlines and constraints, so we're free to count anything from 2025, altogether; including something that may've released on.... the 10th of October, for example.

To the surprise of absolutely no one at all, many outlets have named "Exile" by Chronixx to be either amongst the best or THE best Reggae album of 2025 and while I most surely do disagree (see my review), I'm not writing this to beat up on "Exile" (or anyone who may've enjoyed it). I've already done that. This is more of an observational type of post. Our old friends at Da Ville have named it as their #1 and Reggae Ville doesn't just choose albums; they actually do a poll with some very respected and more knowledgeable people than I (like Angus Taylor, of course Gardy Stein and even John Masouri) (pretty much grew up reading John Masouri) and maybe fifty-ish in all so a very nice mixture of opinions go into their list. Billboard arrived at similar conclusion, calling "Exile" the best album that the Caribbean produced altogether last year (obviously, I disagree with their top spot but Billboard had a very interesting list. It included the likes of Machel Montano, Bad Bunny and even Trilla-G) (Trilla-G's album, "Take Me As I Am: The Album", is fun but it's also kinda brutal. Nearly every song comes in around the same pacing... and it just DOES NOT STOP!). You know what I'm thinking.... nope... I don't get it... but that's fine. As I suspected, I was in the minority in my feelings in regards to "Exile" and the results are demonstrating that. Furthermore, while I expect it'll have some serious competition, I would be pretty surprised if "Exile" isn't nominated for next year's Grammy Award and he'll probably be amongst the favourites to take it home. 

I have been surprised by the lack of one album being present on pretty much every single list that I've come across and that's Dezarie's "Guardian". There is a bit of discrepancy as far as that album's official release, with some attributing to it a 2024 date but you find me a review or any press at all from 2024 for "Guardian". If it is to be counted in last year then the album, which was my #2, being absent from such lists is insanity. HOWEVER, with that being said, I said the same thing in 2023 when my literal #1, "Freedom Legacy" by Queen Omega, was nowhere to be found either. Apart from that, my list is a little more obscure (it always is) with only my #1, Lutan Fyah's "Health & Resilience", being even relatively prevalent on many of the ones that I've seen from my top five. Also from my list, I guess it's clear that I've underrated Lila Iké's "Treasure Self Love" as the album that I ranked at #8 charts at #2 and #3, respectively on Reggae Ville's and BB's lists, while Reggae-Vibes.com had her at fourth (their list actually goes twenty albums deep). And I have to say that, although I don't think its omission is on account to its quality, if I were to make a recommendation to others who may've missed it, the one that I would DEFINITELY suggest that I had that no one else did would be the LOVELY "Andromeda: Sign Of The Times" from Sydney Salmon & The Imperial Majestic Band. I get it: Spectacular can be a little harsh and isn't for everyone (although I did just recently get back into his album, "Stay Up", and it is better than ever) ["PLAY NYABINGHI INNA DI MIDDLE OF THE STREEEEEEEEEET! PLAY NYABINGHI BECAUSE IT SOUND SO SWEEEEEEEEEET"] and neither is even Dezarie, honestly; but "Sign Of The Times" was just such a beautifully put together set that I have a hard time seeing how it doesn't stick itself to the tastes of just about any fan of Reggae.

Hopefully 2026 is just as interesting. I'm thinking that we'll have more "traditional" big names making albums (like Buju & Capleton, for example) and... we'll probably be having a similar conversation about it a year from now. Until then, have a nice day. 

Signatures Vol. XI: Pressure Busspipe

Next up in our Signatures series is an entry that has been a long time coming. Pressure (and then Pressure Busspipe) has been a favourite of mine from virtually I the first time I heard his music. Back in the days of the Star Lion Family, leading into what, arguably, is the single greatest debut album in all of modern Reggae in my opinion, "The Pressure Is On", through the magical time he spent working with one of the greatest Jamaican producers of all time, the St. Thomian chanter has continued to impress every step along the way. In doing so, he has amassed quite the catalogue and today we attempt to narrow it down and take a look at some of the best of the best from someone well in the process of putting together a legend. Signatures: Pressure Busspipe.

{Note: I typically limit this list to fifteen tracks and plan to do so in the future but.... who cares?! It's mine and I can do whatever I want!... so I just made two #15's anyway} 

{Note 2: DAMMIT!}

 #1. 'Love & Affection'

You've got my attention. Pressure's biggest hit to date remains his MASSIVE hit from nearly a decade ago, the Don Corleon produced 'Love & Affection'. The tune (unless I'm REALLY overlooking something) also remains the single most popular tune in the history of Virgin Islands Reggae music and, on that front, really did a considerable amount of damage in taking notoriety from that well talented scene to the proverbial next level. It's also aged considerably well and, for someone like Pressure, who, as you will see as this list unfolds, has a history of making outstanding love songs, 'Love & Affection' remains the greatest of them all. Probably one of the best love songs in the history of the genre as well.

#2. 'The Pressure Is On'

THE PRESSURE IS ON! THE PRESSURE IS ON! There are signature songs and then there are SIGNATURES. 'The Pressure Is On' firmly belongs in the latter category as the title track, signature and even the first tune from his epic debut album from 2005. For older fans, there is a decent chance that 'The Pressure Is On' might just be the very first tune you heard from the St. Thomas superstar and it was SPECTACULAR. All of these years later, I think back to when I got that album and, back then, Pressure was definitely working on establishing his name as a solo artist, as a member of the Star Lion Family and to see what he's become.... isn't terribly exciting, especially considering the very first thing I heard when I began listening. One of the best songs of his entire career.

#3. 'Stop This Train' featuring Lutan Fyah

Let me off now! I'm still putting together this list (currently sitting at ten songs) but I had a moment where I was thinking about combinations, specifically, and while I may end up with one more before we're done, 'Stop This Train' was one of two that IMMEDIATELY came to my mind. This tune, which appeared on Pressure's HUGE 2014 Zion I Kings produced "The Sound" album, linked him with Jamaican lyrical wizard, Lutan Fyah and they did not disappoint. 'Stop This Train' was brilliant and ALL SORTS OF FUN! Its melody sticks so firmly in my head that when I think about it, I probably get 2/3 or 3/4 through singing the song in my head. It was a song that was pretty damn difficult to forget and, as long as I'm around, I probably never will. 

#4. 'All Said and Done'

Must overcome! TEARS! RUNNING DOWN MY FACE AND I CAN'T DO A DAMN THING ABOUT IT! I have to say that, though I was fond of it from the very first time that I heard it, Pressure's cut of Kabaka Pyramid's Bebble Victory Rock Riddim, 'All Said and Done', has grown on me IMMENSELY in the past few years since its release. The song was almost a couple of different ones inside of one. On one hand was this damn STUNNING melodically and bouncingly beautiful track; while on the other, you had this lyrically DIRECT, hard-hitting and SCATHING social commentary. 

"Selassie gi wi solidarity

And di poor man - dat a fi mi charity

Mi do Jah work and neva look fi popularity

When fyah bun again, none a dem mi no sorry fi"

In the midst of it all, when you found a common piece of ground, it was epic: A giant diamond disguised as a song. 

#5. 'King Selassie First'

Conquering Lion. The lasting champion from the "Rebel With A Cause" album, 'King Selassie First is in a RIDICULOUS class with... only a very, very few other songs. If you listen to enough Roots Reggae music, new and old (and you do), you know that there exists an ENDLESS line of tunes giving praise to His Majesty. There're several anchoring topics in the genre and HE is one of them. HE is the greatest of them and HE is the most prolific of them. Songs that have no words and songs that are totally incoherent are done in praise of HIM. So, with that being said, if I were to attempt (and I might someday) to distinguish the absolute best of what would likely be... hundreds of thousands of songs... 'Rebel With A Cause' would definitely be in the upper echelon of these and may even have a claim (however slight it may or may not be) to be THE absolute best. It was THAT good and it remains that good to this day. 

#6. 'Last Night'

Badda don. Big credit goes to Yard Vybz who lent Pressure their OUTSTANDING Badda Don Riddim. The track was SO DAMN SIMPLE and Pressure absolutely put it to the sword (Mavado did excellent on it as well) and turned in an underrated GEM of a love song. There're certain individuals who we know for doing one thing with their delivery but are capable of doing other things and doing them at a VERY high level (and I'm not just talking about that wail that Sizzla or Norris Man does that may fit for the specific type of music that they make). On 'Last Night', Pressure demonstrated a rarely maxed out but EXCELLENT singing voice, making for a downright golden listening experience and one of my favourite songs from him ever. 

#7. 'Same I Ah One' featuring Akae Beka

Seeking balance. One of the many jewels in the unity crown that was the "Beauty For Ashes" album, 'Same I Ah One' SPARKELED and it still does, nearly eleven years (exactly) on. Friends (as far as I know) and oft-collaborators, what Akae Beka and Pressure did on this song, for me, rates as their greatest piece of work together and, arguably (well, CLEARLY, in Pressure's case), from either altogether. Crafted by the loving hands of the Zion I Kings, 'Same I Ah One' had this rather odd pacing where it seems almost ponderous at times... then as lithe and airy as you could possibly imagine. Also, it doesn't switch! It isn't like Pressure is marathoning while Vaughn Benjamin is sprinting, they both do both and do them effortlessly. I also have to mention, as is the case with much [most] of Akae Beka's work, that I am still working on this song. These days, there is a single line that has so much of my attention, when Benjamin says: 

"As wi gather the mass of people in the ghetto, plenty

WHEN DEM FIND MEANS OF A MEASURE WITH THE ARISTOCRACY"

How powerful of an idea is that?! He paints as clear a picture as a possible, so you get the image of two groups of people from two vastly different walks of life who have surely just as varied life-experiences finding and standing on a piece of common ground. 

#8. 'Zion Is Home'

More than words. Off the top of my head, Pressure has three albums which I consider to be damn near perfect (biggup Perfect) and you'll find my favourite absolute favourite songs from all three. Leading "Rebel With A Cause" is 'King Selassie First', 'Stop This Train' topped "The Sound" and though the title track and my closer are fantastic enough to EASILY make it here, THE best song off of "The Pressure Is On" is 'Zion Is Home'. 

"Live yuh life and give praises, whatever the case is

Never you ever judge and compare

Africa is where my birthplace is

Where my lineage traces

MEMBER- ONLY LOVECAN TAKE YOU THERE

REACHING OUT TO SUNBURNT FACES

SINGING 'AMAZING GRACES'

More than words, Pressure love you dear

Hey, red gold and green laces

WE'RE A NATION, NOT RACES

IN OUR HEART IS WHERE THE WORD OF JAH APPEARS

ZION IS HOME!"

TEARS! Some twenty years (+) later, nothing has changed. 'Zion Is Home' hits you in the heart. It touches your mind and it challenges you to focus on what is being said and not just sit there and be pleased by the GORGEOUS track that you're hearing. It's also some of the most REFINED music of Pressure's career. It literally sounds like a remake. It sounds like the kind of song that he grew up singing for his entire life and, by the time he got in the studio, he was more than prepared, having spent the previous twenty plus years singing it. It wasn't. It was all his and if you want to make the case that 'Zion Is Home' is not only the best song off of "The Pressure Is On' but his best, PERIOD; you'll get no complaint out of me. 

#9. 'Lead I Home'

"CONQUERING LION BREAK THE CHAINS AND LEAD US ALL FROM BONDAGE

YOU, ALONE, CAN HEAR THE CRY, NO MATTER WHAT THE LANGUAGE"

Without end. Somewhere, buried in the back of my mind, was the faintest of melody for a song which doesn't have the greatest of melodies and it took me until I was finished with this list and going back to see if I had forgotten anything big to put a title on what I was hearing. "What I was hearing" was an absolutely BRILLIANT song from an album that maybe people don't even remember, 'Lead I Home', which appeared on 2014's "Africa Redemption". Released just a few months after the not-at all-forgotten "The Sound", the Baby G produced album featured Pressure alongside HUGE name such as Chronixx, Jah Mason, Damian Marley & Tarrus Riley (on the same tune) and even Garnet Silk but was 'Lead I Home', which found him going at it completely solo that reigned supreme. EVERYTHING (every. single. thing.) about this song was STUNNING... all of it. From its larger than life sound to Pressure's unrelenting delivery - were this list in need of a kick in the neck (AND IT WERE), 'Lead I Home' would be it. 

#10. 'Virgin Islands Nice'

So nice. Arguably Pressure's second most popular song to date, 'Virgin Islands Nice' earns its place on this list for a couple of reasons (it's popularity being amongst them). Yes, its quality sets it here. It wasn't just a matter of style without substance. It's very good. The thing that most stands out for me though is that I find myself talking a lot about VI Reggae music and, if you really think about it...... there isn't that ONE tune out there that stands up for Virgin Islands Reggae music, specifically... well there is, it's called 'Virgin Islands Nice'. Pressure made it. 

#11. 'Best Thing' featuring Yahadanai

Put upon this earth. If you did come across Pressure's music ahead of his debut album, perhaps you did so on another album deemed a 'modern classic' on these pages, "One Atonement" by the ever reclusive (and I do mean EVER) Yahadanai. Unless I am REALLY overlooking something, the album gets my choice as the single finest the genre has ever seen from a Guyanese artist and it's because of songs such as 'Best Thing' which is either my first and second favourite from that set, entirely (today it's #1 but I've been listening to a great deal of it for this, obviously). You have songs that are made in the idea of supporting women (Black women, specifically) and 'Best Thing' was one of them. What sets this apart from the pack, for me, is the fact that it almost takes an aggressive stance in some aspects. It's a forceful... almost COMMONSENSICAL shot at the poor soul who has yet to learn how to treat women. 

"SKIN SMOOTH CAUSE NO MAN EVER BEAT YA

AND IF HIM EVER TRY THAT, SELASSIE I WILL BRUK HIM FINGA"

Yaha did just lovely on his own but Pressure on 'Best Thing' took this "thing" to another place. We'll almost certainly never get the pairing again but these two got together and left the world with a song for the ages. 

#12. 'Coming Back For You'

No matter what you do. 'Love & Affection' is the best love song Pressure has ever done. It's his biggest hit, it's the King & Queen of that particular castle and that's unquestionable (not actually, of course. You're entitled to your opinion and maybe you can't stand 'Love & Affection'). #2 would be up in the air. My choice might actually be the title track for... Pressure's third (I THINK) album. Following the explosion of 'Love & Affection', "Coming Back For You" would find him returning to the same masterful hands that organized his debut, Dean Pond, and once again, the results were stellar. 'Coming Back For You' was GORGEOUS. The melody was infectious, it stuck with you and, as far as love songs go, lyrically it was outstanding as well. Clearly such songs are important to Pressure (he even has an album full of them) so when you can stand out of THAT pack - you're doing something special. 'Coming Back For You' was SPECIAL. 

#13. 'Jah Alone'

All I need. Of course, there is an obvious aspect of 'Jah Alone' that you observe in discussing it and that is Pressure's clear and prevailing affection for The Almighty. You'll find a number of similarly vibed songs throughout this list and throughout his entire catalogue as well. Something else, however, that may go overlooked in doing that is just how SWEET 'Jah Alone' is as well. It is a BEAUTIFUL song and while tunes such as this one tend to have somewhat of a more... royal or... GRAND presence when they register on the complex side (and this one does) (if you think about it - you don't hear too many kind of middle vibes praising song. They're generally either SPECTACULAR sounding or they're as basic as can be). 'Jah Alone', on the other hand, almost SOUNDS like a love song at times. If he weren't saying anything and just sort of humming out a melody (and you listen to that riddim, you might get to thinking about it being a love song. However, as soon as the tune actually jumps in, 'Jah Alone' transforms and by the time you get to a chorus, 'Jah Alone' is downright HUMBLING. This song is spectacular in its quality and with its infectiously deliberate pacing, what ends up happening, whether you realize it or not, is one of the most captivating songs of Pressure's entire career.

#14. 'Modern Pharaoh'

I don't fear you. HOPEFULLY you remember a compilation album from the Zion I Kings by the name of "Joyful Noise". Arguably my absolute favourite compilation.... like ever, the project released way back in 2009 and just brought together a tremendous collection of talent which impresses still to this day, over a decade and a half on. One of the genuine highlights on an album full of highlights was Pressure's ABSOLUTELY MAMMOTH 'Modern Pharaoh' on the jovial Grasslands Riddim, which found him taking on and tackling the major oppressors of society.

"Only Jah protect the needy and poor and poor

One thing that I know: I'll never be a victim no more

Of that, I am sure

False leaders keep straying the mass, from the past

But at last, I'm not lost

JUST SPEAK THE TRUTH, CAUSE IT NO COST!

Modern pharaoh

Release all the shackles and chains

I DON'T FEAR YOU!

Cause the same blood flow through my vein

Modern pharaoh

Here comes the fire and flame

Where all yuh works of deceit cause my nation nuff pain"

'Modern Pharaoh' is one of the best of the best in this group. 

#15. 'Be Free'

The world is yours. Of course, when you think of the years Pressure spent working alongside the great Don Corleon (and they had a great pack going for awhile with Pressure, Alaine and Munga Honourable) what likely comes most immediately to mind would be #1 on this list but if you're thinking that "Love & Affection" was the ONLY big moment the pair produced, you are sadly mistaken. My second favourite tune that they did together (unless I'm really forgetting something), would have been the GORGEOUS 'Be Free'. Sitting on a SWEET Corleon composition, Pressure pushed a broad idea which, for me, centered around one unifying them: HAVE A GOOD TIME. Do positive things, look out for yourself but go after your goals and do the best you can to have a great time in what you spend on this planet. 

"My people be fre cause the world is yours

And take control of your life, of course

Can't be held down by no evil force

Who The Most High Bless, no man can curse"

#15. 'No Limitation'

Build up our nation. I'm still working on fleshing out this list (I think I currently stand at ten songs, trying to get it up to maybe... fourteen) but I've already decided that my closer is going to be the brilliant 'No Limitation'. Why??? Well, I feel it did a fine job in closing Pressure's debut album, the aforementioned "The Pressure Is On" (probably end up with three songs from that one), that I thought it would well serve the same function here. This song found Pressure aiming for the stars. Be it a general upliftment of the masses or even something in the way of overcoming bad situations, the man said we had no limits on what we were capable of ["Take yuh shackles and chains off yuh brain"]. 

'No Limitation' has experienced something of a 'second wind' in regards to how I feel about it as, within the last couple of years or so maybe (maybe a little longer), I've noticed something very interesting about how it is written. You'll find the standard, tried and tired sayings that you will find in hundreds of similarly themed songs, such as "stay focused", for example. HOWEVER, what will follow that, what will come before it is SO far away from "tired" that it's almost like he's using the saying just to put it down; as if he's saying that 'although it may be true, I'm thinking about you on a deeper level'. So, instead of just saying, 'you can overcome', Pressure says:

"Never say you can't cause dat nah work"

Which doesn't even sound like the well refined and BEAUTIFUL piece of music that it clearly is (and speaking of the music, this riddim sounds like it was constructed in some damn lab somewhere over a dozen or so years) (biggup Dean Pond again) (and biggup Eno Stafford), it comes off as someone who, legitimately has your best interests at heart and is just having a discussion with you about your life. It probably wasn't THAT complex on his end (forgive me, I am an overthinker) but what I've heard from 'No Limitation' TRULY has provided me with endless enjoyment and it more than deserves its place on this list. 

Synchronized: A review of Natural Is The Mystic by Micah Shemaiah

Earned. If you make a car, you want it to be functional and durable but you're also well aware that HOW IT LOOKS is the first thing someone will notice. Even if the buyer doesn't seem to particularly care and price isn't an issue; if your ride and that of another maker serves the same function and costs the same amount but theirs is more visually pleasing, they're more likely to make the sell. Comparatively speaking, I'd like to think that it is amongst the many goals of someone who sets out to make good Roots music that they, ultimately, want to make something that can be educational and informative while not limiting its entertainment value. I write these things and I attempt to get very in-depth and cover things as fine as I possibly can to the best of my ability but I have to admit: I've heard MANY songs that may've had a good direction and been lyrically stout but... just are not interesting to listen to. They seem as if though if you were to READ them and not actually have to endure hearing them, you might even get more satisfaction from it. On the other end of that, I've also come across records that may be just fine, musically, but offer very little/nothing in the way of substance when it comes to actually making points and saying things of note ["EXILE"]. Of course, this is a difficult road to trod because what is pleasing to one person may be trash to another (and that "one person" reserves the right to change their mind and to do so IMMEDIATELY if they want) but, in just speaking for myself, I LOOK for moments that are either equally gratifying to the mind and the soul or fairly close to it. I also look at how my personal tastes have changed throughout the years and how I, as I get older, have a different idea of what sounding good is. Once upon a time, I didn't count myself much of a fan of Vaughn Benjamin's because... I didn't think his music sounded very good. Even back then, I had the ability, to some degree, to appreciate what he was saying (and even if I didn't on a certain song, his commitment to his craft was POWERFULLY OBVIOUS and I could definitely give him his due for that) but he made music that required a level of effort that was more than I, in my early 20's, was willing to give. Nowadays, I regard that "level of effort" as part of the enjoyment and while there're others who make a brand of Roots that is more instantly charming (about to tell you about a few of them), Benjamin does it as well in his own special way. I'd point to others such as long favourites Mark Wonder and Queen Omega, Anthony B, Capleton... as individuals who're STILL making Roots Reggae that walks the common ground that the genre does and also just really makes their listeners feel something for what they're hearing.

You know someone else who pulls that off really well?? Chezidek. Because of THAT voice, Chezidek's music generally has an inherent quality to it that makes it interesting to hear but when that man is at/near his best, what results is downright magical ["INNA DEM EYEYEYEYE!"]. Let's take, for example... oh let's take a quick look at an album he did way back in 2010 called "Judgement Time". Armed with big, LOVELY tunes such as 'Ganja Tree' ["MARIJUANA TREEEEEEE!"], 'In My Heart', 'Uplift Yourself', the SUGARY 'Jah Love' and, of course, 'Walk With Jah', "Judgement Time" was definitely one of Chezidek's most immediately appealing albums to date (and it still is). Three years on from "Judgement Time" was its direct follow-up, "The Order Of Melchezedik". This was another gorgeous monster of a set which has also aged quite well (I don't recall what my favourite song was on "The Order Of Melchezedik", at first, and I don't feel like looking it up; but 'Praises To Jah' is absolutely DESTROYING me at this moment. Has been on repeat for nearly half an hour at this point). "Judgement Time" and "The Order Of Melchezedik" share origins as they were both created within "the highest region". 

2023

Our old friends as JahSolidRock helmed both sets and they've also worked with the likes of Earl Sixteen, Addis Pablo, Apple Gabriel, Kenny Smyth and others (remember Benaissa and Lloyd De Meza, back in da day?? ["Another burial weh dem ahgo get!"]) over the years, which has demonstrated a signature sound. JSR makes beautiful and HARDY Roots Reggae music. I initially wrote this and I used the word -- "malleable" -- but that isn't really what it is. Their sound is very much grounded in Roots music (and it is heavily so) but it is very open to the artist's interpretation and talent. What results is a sound that is very accessible to MELODY and distinction. A better word than "malleable" would be "FLUID": If you put a JSR riddim in Chezidek's hands, it's going to sound like Chezidek. If you put it in.... Micah Shemaiah's hands, it'll probably sound like Micah Shemaiah. As far as I can tell, the relationship between Shemaiah and JahSolidRock goes back quite a few years ago and they've worked extensively together (CLEARLY), so it should come to the surprise of absolutely no one that the Kingston native now links up with the Dutch label on an official, full collection of their work together, "Natural Is The Mystic" (they had a song, years ago, by the name of 'Zion's Gates' that I was familiar with but had no idea was a JSR production). When last we heard from Shemaiah, he was dealing the extremely well received "Jamaica Jamaica". That set came through Evidence Music and was done alongside Little Lion Sound back in 2023 and appeared on many Album of The Year lists for its time and deservingly so, in retrospect. Prior to that was "Still" and EP (it had eight songs and four dubs. I'm calling it an EP) for the venerable Zion I Kings (absolutely GLORIOUS record on that release, 'Wicked Babylon') (and its dub version) and Shemaiah's also worked with the esteemed likes of Irie Ites, the Green Lion Crew, Easy Star Records, Addis Records from out of Switzerland, Silly Walks and even Digital B. So the man's talents have LONG been recognized by some of the biggest names in production over the years and we have arrived at the point in his career where, when he does an album, it should be looked upon and respected as a legit big deal. That's a lot of accolades, however, and no one's perfect, so maybe "Natural Is The Mystic" doesn't turn out so well??

--NO WAY IN HELL--

If you're going to talk about Micah Shemaiah's music, you have to at least spend a second or two discussing his VOICE. To me (and likely ONLY to me), he sounds like a more grounded version of someone like Duane Stephenson. Where Stephenson has this ultra-refined aspect to his tones (it's literally perfect), Shemaiah has a more earthly feel to him. To be honest (and not for the sake of comparison, like I said, Stephenson's voice is PERFECT), when you really get into Shemaiah's voice... it's kind of intoxicating. It's fantastic and when he's in a fine form, what he's capable of places him in very rare company; and he is in fine form throughout "Natural Is The Mystic". Check the first piece of evidence to this in the form of the album's title track and opener. By the ABSOLUTE TINIEST OF MARGINS (I mean, you can barely even hear it), 'Natural Is The Mystic' is the best tune on the album named after it (I'm  going to tell you right now: The entire second half of this album is downright MURDEROUS. All of its tracks are vicious in every possible way!). The song does kinda/sorta make itself an open supporter of nature but it also is more of a broad social commentary as well. It's also wrapped up in this damn near divine presentation (descending all the way from the cover, where we see this naturally, organically grown weapon!). Credits well go to the players of instruments as well as to the BACKING SINGER (credited as Monique Smith) really do loads in pushing this one to the heights it manages to reach. Next up is sublime previous single, 'When Yuh Right'. I gave a direct credit to a backing singer on 'Natural Is The Mystic' and I'm going to do the same for Hector Lewis on this one, for the infectious drumming he does throughout. Accompanying the single release was a lovely dub which is well worth checking out as well. As for the actual song, 'When Yuh Right' is  gorgeous. 

"In this life, when yuh right, yuh getting a fight

Now the world's gone soft, to the devil's delight"

What I would take from the concept of 'When Yuh Right' is the importance of doing positive things, regardless of the push-back you may get when you do them. Shemaiah doesn't directly go into it but I apply it to concepts like perseverance and unity as well (it's good to do good but its even GOODER when you have others doing good with you or you can inspire others to do good). Again, the instrumentation here is exquisite and, obviously, someone agrees with me on that because that dub version does exist. The old school-ish 'Play Me Some' took a couple of spins to make a fan out of me but it did eventually get there. This is a track giving honour and credit the music and some of the artist of an older era and THAT IS IT. You've ran into others like it, surely, and arguably the most important aspect of such selections is that they have to sound great. You can have all the interesting and different approaches to it that you want but if you want to talk about great music and great musicians -- at least in my opinion -- the greatest homage is in making something that they would enjoy hearing and I think "some Bob Marley - some Dennis Brown" would be delighted by 'Play Some More'. You wanna talk about something sounding nice and being delighting, you check both 'Mellow Mood' and 'Strickly Rubadub'. The former is probably going to give a lot of people toothaches in their ears with as much damn SUGAR is packed in on 'Mellow Mood'. I think I had some 'best case scenario' charted in my head for this song - it ended up being better than my best case scenario. 'Strickly Rubadub', on the other hand sounds almost NOTHING like I imagined it would ('Mellow Mood' actually sounds more like a song that would be called 'Strickly Rubadub'). It's more... somber than I would expect but it doesn't matter (and "somber" might be too harsh of a term, HEAVY might be a better one): The musicianship on 'Strickly Rubadub' is some of the finest on the whole of "Natural Is The Mystic". It is STERLING. This was also a previous release from a few years back but, MOST UNFORTUNATELY, unlike 'When Yuh Right', the single release of 'Strickly Rubadub' didn't include a dub version, however, we are given a nice capture of what may've been over the course of the song's final forty seconds or so and it is immaculate; one of the most attention-grabbing stretches on the entire album in my opinion.

As I alluded to earlier, the second half of "Natural Is The Mystic" is a serious problem (and I mean that in a great way) for listeners, as it presents us with some real killer songs. The first is the album's sole combination (one combination in ten songs is just fine), 'Glory' which taps LOOOOOOOOOONGTIME, grizzled veteran Telford Nelson (man has been singing Reggae music for, literally, half a century). When I originally set it, I mentioned that the "final four songs" on the album were of supreme quality but the more I listened to 'Glory'... it just had to be included in that lot. It almost perfectly exemplifies what I meant when I talked about making music that carries a significant message and has a pleasing, entertaining sound. 'Glory' is a praising song and it has such a powerful vibe to it as well with these downright ROYAL sounding horns and just a full, VIBRANT display to it. It sounds like someone very important is about to walk into the room as it plays and biggup Shemaiah and JSR (and whoever else's idea it may've been) for linking him together with someone like Telford Nelson ["OH WHAT A GLORY!"]. The album's most recent single (I THINK), 'Not For Sale', is in next and I LOVE this song and have from the very first time I heard it, last November. 

"This one for sale

That one for sale

So much for sale

Oh, for sale

She is for sale

He is for sale

They are for sale

Oh, for sale

I'M NOT FOR SALE"

'Not For Sale' is about authenticity and originality and it is beautifully DUSTY AND WORN, earthly sounding Roots Reggae music.... and I'm now seriously reconsidering my choice as the album's finest. I'm going to keep questioning things courtesy of a piece I was particularly curious about, given its title 'Artificially' (and I did skip ahead one but the song before it, which I'll tell you about in just a minute, is even better than 'Artificially'). This one kind of builds on the sentiments of the title track where Micah Shemaiah is trying to draw the focus of the masses back  to a more natural approach to life, while eschewing more, potentially disastrous, man-made facets ["There is a natural way and order to things. But the way we are living these days - only destruction it brings. Mostly for the future; now sure our youth dem will inherit the mayhem"]. I'm tempted to get into telling you about just how damn sweet the music is on 'Artificially' but... at this point, I think you understand; so let's move on! Moving backwards, check the MAMMOTH 'Be Brave'. Though he goes semi-direct with the thought here, I think Shemaiah is, essentially, saying that we all have things that we have to go through in life 'trials & tribulations' and we have to be prepared to face what is coming. There is a spot, right in the middle of 'Be Brave' which just levels things up entirely. It is when the first verse repeats and, by that time, the song has settled in and it's good and warmed up and it's subtly more intense than the first time around. THAT, for me, is such a powerful moment on this tune because, after that, things really pick up and when you combine the two halves... if you want to make an argument for 'Be Brave' as THE best song on this album, it'd be hard to put up a fight against when it sounds like this!

Finally is yet another candidate for album's finest riddim, unity anthem 'Together We Are Strong'. This tune contains a very clever lyrical effect when Shemaiah says:

"Beat that drum"

He says it, seemingly, in the way you say it to drum up (figuratively speaking) support for an idea but when he does say it, you actually hear someone beating a drum in the background! It made me smile when I realized it because it's obvious but it isn't the most glaring of sounds that you hear at the time. As for the rest of the song, the singer is saying that MAYBE it's a good idea for us all to look for things that bring us closer than differences that push us apart. It is lovely sentiment and, again, a lovely vibe to end things on.

Okay, here is the point where I would typically look at the album and say that there're only ten songs and I wish there were more and I'm going to say that here as well, HOWEVER; the ten songs that construct 'Natural Is The Mystic" take up forty-one minutes. The album's shortest song ('Artificially') is within twenty seconds of four minutes, while its joint longests ('Strickly Rubadub' and 'Not For Sale' are of basically the same length) are not five minutes. So they all kind of hover around four minutes, which is just fine. So while I would have definitely loved another couple of tracks (even if they were dubs/instrumentals and JSR has a history of doing such a thing: The aforementioned "Judgement Time" had several of them and "The Order Of Melchezedik" would have been very similar with ten songs and a couple of instrumentals or so), what actually is on "Natural Is The Mystic" is very HEALTHY and meal-like Reggae music. They don't bring us a plate of salt and pepper and forget that we.... actually need something to put it on. 

Overall, I'm not going to overdo it (outside of writing an entirely too long review but that's just what I do) but "Natural Is The Mystic" is EXCELLENT, MODERN ROOTS REGGAE MUSIC. It just is. While that may or may not appeal to someone who is completely new to the genre (I know there are some poor, malnourished souls out there who just cannot appreciate it), for virtually anyone else, with the way it is done, I am extremely confident that something here will appeal to you. Combining a continuously and consistently COLOURFUL sound, with solid writing and dexterous lyrics, in "Natural Is The Mystic", Micah Shemaiah & JahSolidRock come together and produce one of the first truly BIG Reggae albums of 2026. Excellent. 

Rated: 4.6/5

JahSolidRock

2026