"The Akae Beka Scrolls" [Trinity Farm Music/Go A Chant Productions]
First up is a piece that I've been LOVING for most of September as Trinity Farm Music & Go A Chant Productions link up to bring forth "The Akae Beka Scrolls". This release follows February's outstanding "Living Testament" from Akae Beka and comes with a very unique story as far as I follow it. The legendary Vaughn Benjamin completed the work on "Living Testament" and returned to the studio intending to do more work and what resulted was a Dub album which he directed and produced and became "The Akae Beka Scrolls". Despite how often I find myself saying it, I'm starting to rethink the notion that I'm not much of a Dubhead because, as I get older, I'm really enjoying the subgenre quite a bit more. Playing here, along with Benjamin, himself, are familiar names such as Kenyatta Itola, Ishence, Ras Pulse and others. There is some really strong material on "The Akae Beka Scrolls" including the downright monstrous opener 'Psalm 19', which clocks in at nearly eight minutes in length. Also check 'Psalm 72', 'Psalm 37' and the wicked closer 'Psalm 119' (probably a poor choice of words there, but so be it).
"Secret Hater" by Cali P [Senmbelek/Evidence Music]
A fun thing happened with this one: 'Secret Hater' is the latest fun release coming from looooongtime AchisReggae favourite, Cali P and I saw that he had a new tune out and I was eager to hear it and it lived up to the lofty standards set by the chanter through all these years ["Caan ramp wid di friend dem from di Netherlands. A dem will send you go a Neverland. Gwadada and di mad Nigerians - GRIND YOU LIKE CINNAMON"] (I've, literally, been writing about Cali P's music for over FIFTEEN YEARS) - of course, the presence of Suku in production doesn't hurt either. As it turns out, 'Secret Hater' is also the title track from Cali P's latest three-track EP. The set also includes 'Mi Ruff Road'. New to my ears, 'Mi Ruff Road' is a somewhat Hip-Hoppish set (never my favourite) and HIGHLY lyrical. The wordplay on this one, subtly, is damn impressive! The third track is the downright GLORIOUS previous release, 'Jah Blessing' which originally reached back in April. 'Jah Blessing' is fantastic. It's aged very well and... I feel pretty confident in calling it one of Cali P's single best tunes EVER. Very nice three tunes collected here. You know what we really want (add like ten more to it!), but maybe that's for 2025 and "Secret Hater" is a tiny reminder and display of one of the finest talents in Reggae today.
'Satta Massagana' by The Fantells [Warrior Records]
If you follow Reggae music closely, there's a chance that you've come across both the group, The Fantells as well as the legendary tune they've recently redone, 'Satta Massagana' (literally one of the greatest songs EVER) (...like ever). You'd likely know The Fantells from several big tunes they had when they were active , particularly during the 70's (personal favourite of mine being 'Where You Gonna Run'), and 2024 marks a big return for the group (with new members). Earlier this year The Fantells released an entire album by the name of "Just For You" and now they're taking on The Abysinnians classic. Despite being fairly straight forward, 'Satta Massagana', because of just how well known and DURABLE it is, can be a difficult tune to recreate and, asy ou would expect, The Fantells have made a more than decent account of a truly immortal sound and be sure to give "Just For You" a listen as well (doing it myself at the moment and enjoying).
The Rebel Frequency Riddim [D Rebell Productions]
Big credit goes to D Rebell Productions and Solid Rock Sound for their golden new creation, the Rebel Frequency Riddim. When you put together a compelling group of vocalists for your riddim, you're definitely going to get my attention and your riddim being of actual quality is an added bonus and, on the Rebel Frequency, DRP have both going for them and it isn't that the Rebel Frequency has.... an overwhelming group of artists but look at this: Norris Man, Clatta Bumboo, Jah Defender, Jalifa, Daweh Congo. That is EXCELLENT! The actual sound here has a beautiful ly HEAVY old school vibes to it which everyone handles extremely well. I've mentioned some of the bigger names here, but also check efforts from the likes of Nga Han and Prince of Judah, the former of which gives 'True Rasta' which is, arguably, the single best tune on this track. Probably one of the best riddim albums of 2024 so far here.
"Home & Away" by Norris Man [Greensleeves Records - 2006]
And for the look back this week - I'm working on a feature on the great Norris Man and, in going back through his catalogue, DEFINITELY the set that has acted as somewhat of an anchor for me has been "Home & Away". So named after what is probably the chanter's second biggest hit to date (biggup 'Persistence'), my interest in "Home & Away", the In The Streetz produced album, has always centered around other songs besides the hammer. 'Seh Dem Bad', 'I'm A Free Man', 'Love Makes You Alive', 'After All' with Lutan Fyah, the absolutely GLORIOUS 'This You Must Know' and the MAMMOTH 'We Are The Creator' are all mega moments from an album which is considerably better than all of us gave it credit for being. There's another tune here by the name of 'This Day' which I barely even remember but is, SERIOUSLY, damn near perfect as well.
YOU. I've either been really fortunate or maybe I'm just old as hell, but one of the things that I find myself most enjoying in writing these things for as long as I have is that I have gotten to not only witness as a fan, but document in several cases just how someone's career has progressed over the years. To see how I've personally gone from seeing a new artist as a prospect, then to a contender and to a full-on champion is incredibly fascinating and it's been the case for a number of incredibly interesting individuals, both directly and indirectly. I'm thinking of someone such as the amazing Pressure Busspipe who I originally came to know as a chanter who was a part of an up and coming collective of artists known as The Star Lion Family from out of St. Thomas (same group also gave us NiyoRah). In 2005 (....damn.... so old) Pressure would set out with his ridiculous debut album, "The Pressure Is On", which was not only one of the best debut albums I've ever heard, but one of the best albums altogether, period, that I've ever laid my ears on as well. STILL, with that being said, I don't know that I could have predicted (as a matter of fact, I KNOW THAT I COULD NOT HAVE), the level of stardom he would go on to achieve as, previously, there seemed to be a certain height attainable by artists from out of the Virgin Islands and Pressure did some refurbishing and redecorating and had a ceiling in that house raised. These days, Pressure is a veteran, a star and someone who has easily had one of THE most remarkable of careers in the landscape of modern Reggae music. I'd also look someone such as Lutan Fyah who I remember having my eye on from very early in his career and while 'superstardom' is something he has not reached, he has definitely become a personal favourite of mine, exhibiting one of the sharpest of minds within the genre in my opinion. Going a step further, today we're going to look at someone (speaking of sharp minds and the ability to display it) who probably has not had a point in his career where he did not command a serious level of respect, given his supreme level of natural talent, but is someone who, in retrospect, I wouldn't have thought I'd be here talking about in the way that I am about to in the days when I was listening learning about Pressure and friends. That would definitely be due to my not having the connection with the type of music he makes back then but he and quite a few others have not only earned my highest of respect but have CONSTANTLY brought me so much joy and are responsible for my appreciation of... simply one of the greatest types of music on the planet.
I was trying to organize this review in the way of it being some type of 'lifetime achievement award' for Bunji Garlin. Not that he's anywhere near the end (literally or musically), but I find myself, these days, SO attracted to his work that "new music from Bunji Garlin" is likely to get me as excited as it is from just about anyone. Specifically, I can owe that to the fact that, at least in terms of amount of times I've heard them, in 2023 and this year the fire breather from Trinidad has had the two songs which I have listened to more than any others. I fully replaced one from my repeating workout playlist (that one song, on repeat, was the entire playlist. THE WHOLE THING) only with the other! So, by that reasoning, I could well say that Garlin is my current favourite musician regardless of genre and has been for about a year and a half. I do 'go back' with Garlin's music (one of my most prized possessions is a physical copy of his debut album, "The Chronicles") and I've had the privilege of seeing the man (THIEF SOCA MONARCH FROM HIS WIFE) perform on a few occasions and it can be downright overwhelming in person and just listening when Garlin is at his destructive best and he has been PRECISELY that over the past couple of seasons (and before that as well, but he is FLAMING at the moment). In 2023, Garlin would set out with 'Hard Fete' which would easily prove to be one of his biggest hits to date and would go to net him his second ever Road March title and his first as a solo artist. I listened to 'Hard Fete' CONSTANTLY... I wish I could go in detail as to why but.... shit, here it is. You listen to it... but be careful, friends. It wil consume you.
While he wouldn't go home with Road March #3 in 2024 (biggup Mical Teja), he would provide the season (which was very good, actually) with its clear BEST tune to my opinion and push quite a few very big tunes, producing yet another big year. If you are unfamiliar with Garlin's music (shame on you!), I'll make it quick: He kind of infuses Soca with a bit of Dancehall, but not really. I've come to think that is somewhat of a disrespectful way to describe him but what he does is 100% Soca music - it is just highly lyrical and just as inventive and revolutionary. What Bunji Garlin is capable of doing with words is literally STUNNING if you appreciate such a thing and the fact that he is capable of doing it melodically and infectiously -- within the scope of the world's most addicted musical genre in my opinion -- is a giant bonus. I would expect, years from now, you'd hear more and more people coming up with similar styles and saying that they grew up listening to a whole heap of Bunji Garlin. RIGHT NOW, one could even make the case that Garlin has been influential in the development of stars such as Skinny Fabulous, Dash and others. So, we've already well seen Garlin make a substantial further-reaching impact on the genre - outside of his own, direct, musical contact. So, when you have a great artist who is in great form what do they do to maybe bring everything together and offer somewhat of a celebration and momento of the era? They make an album. Though Soca isn't always the most album-heavy of genres, Garlin, himself, has been relatively reliable, releasing over a dozen since his 1999 aforementioned debut. In recent times, most of Garlin's sets have come via VP Records. His 2024 effort, on the other hand, comes through a label in Bad Beagle which is either his own or of his management (and both can be true) as it seemingly only exists to handle the business of Bunji Garlin and one other individual who I will tell you about after in my next review. "Ayl'ian" brings together Garlin's 2024 campaign and puts it all in a very nice package (literally. That is nice coverart) and spices in a couple of surprises as well. I do have to confess that I was somewhat disappointed that 'Hard Fete' was not included but the reason why it wasn't is clear and the tune isn't difficult to find on an album, having been included in the 2023 edition of VP's "Soca Gold" (which we will, hopefully, see again next year as there was no "Soca Gold 2024"). The explained and accepted exclusion of that MASSIVE tune is probably the only disappointment going on here as Bunji Garlin drops what has to be one of the highest quality albums of his entire career. Let's discuss!
"Ayl'ian", like much of Bunji Garlin's work only gets better and better with the more attention you give to it. It's fascinating that, given the kind of 'over-the-top' nature of his artform, the perpetual STAR of Garlin's show can go overlooked EASILY. If you can see through the jump and wave madness and the hype and the flames, what lies beneath is USUALLY (literally ALMOST ALWAYS) kinda/sorta spectacular. What he does relatively casually is only rivaled by some of the most elite of his peers and in their best of form and if you have really gotten into his music, "Ayl'ian" will serve as a PERFECT introduction for you. The first thing you will hear on that introduction is.... and Intro and one which is DAMN clever and, probably, one of the better moments here. A narrator here gives a fun recount of how Bunji Garlin came to be Bunji Garlin from his roots, having 'landed' in Wallerfield, Trinidad. I've always appreciated not only Garlin's skill but his recognition of that talent. The man knows just how good he is and he doesn't hesitate in pushing it because he is, CLEARLY, confident in his ability to demonstrate that piercing skill. Intros are trypically very quick and nondescript, this is not one of those intros - it is all kinds of interesting. Fittingly, the very first time we actually hear from Garlin on "Ayl'ian" comes in the form of the celestially vibed Badjohn Republic licked burner, 'Today'. I remember hearing this one fairly early on in the season and thinking that I REALLY liked it but I expected him to go a bit higher (and he would), but I don't think that's a fair way to sum it up these days: EXCELLENT is much more appropriate. 'Today' isn't just jump and wave track (although that is definitely what it is), it's a song about finding a level of EUPHORIA somewhere in there and doing absolutely anything you can to keep that feeling and if you needed something to kind of beat you up a little bit (you know what I mean), 'Today' is more than up for it! The next tune came for Spice Mas 2023, the downright filthy 'Entering Greenzland'.
"Dem days, Tallpree used to link wi with a Suzuki that ain't have no top
Leave Grand Anse and gone up Gouyave and when wi start, it ain't have no stop
BOY I GET CUT YESTERDAY, THIS MORNING WAKE, I AIN'T HAVE NO CUT
LIKE THE JAB ON JOUVERT MORNING HEAL MI LIKE IT IS NANOBOT
My behaviour tomorrow is putting mi in the evening news
Worse, when I pon di vessel, deh for di bikini cruise
A girl give mi a look
I wonder if she giving mi clues
THIS IS A TIMEBOMB I MUST DIFFUSE"
Seated atop the Slam Bang Riddim of Xpert Productions, though it comes and goes quickly, 'Entering Greenzland' is masterful. It will not (it hasn't) be recognized as such, but it's probably one of Garlin's finest lyrical performances in recent times and a glaring example of what I meant when I spoke about how capable he is of doing thing spectacularly with very little effort. It was DJ Avalanche provided the ground for 'Jump Up' which is basically what you think it is (you can tell that from the title).... but not really. There is a definite hitch with 'Jump Up'. Garlin thinks the floor is too crowded. He wants it vacated permanently, so he wants you to jump up:
"Like you get paid early and you get pay-raise
Then you go play lottery and win it the same day
And then yah IG crush message you the same way
When you waan fi link up, she looking the same way"
Not your typical jump-up, 'Jump Up' is goin to supply you with something extra as you might expect from the "Ayl'ian". Also I should mention that the riddim here, the Do You (which backed an even bigger song that I'll tell you about next time), though kind of pounding, never threatens to overwhelm or annoy. Ever the defender of Soca music (biggup I Wayne), Bunji Garlin continues his work with 'Daiz You' where he proposes that, although you're entitled to your own opinion (THAT'S YOU!), perhaps there's a different reason why you aren't a fan ["I feel like you don't like Soca cah you never get no gal to whine on"]. And I should also mention here 'Tell Yuh Mudda Now' as it carries the attitude from the track it follows, as Garlin suggests to you a more appropriate outlet if you're frustrated by what you hear from him... as he does not want to hear it.
The middle portion of "Ayl'ian" features some very colourful efforts and one massive hammer in its ranks and manages to keep the levels established by the large beginning (before the ending which... destroys absolutely everything, everywhere in and out of sight). Check the cool 'Pass Around', which also comes through Badjohn. You take this song and just listen through it very casually and you walk away thinking that it's solid, nothing special at all and you'll be just happy with it as it is there, but if you dig in a little deeper you come away thinking that rarely has anyone made simply hanging around and having a good time in a bar sound so detailed and INTERESTING. Travis World shares in the sprawling wealth to be found on 'Looking Over'. The vibe on this one is interesting, mightily. There's some Soca in there, surely, but I'm also feeling maybe a dash of DISCO??? Maybe that's just me, but it is entirely infectious and should come as a ZAP to people just sitting around listening through "Ayl'ian". 'Monsters' has a nice blending of sounds behind it, this time bringing in a little Zouk, making for one GOLDEN Groovy set. Mind who you're spending your time with ["I know di ends. Wi know di straight and di bend. They shopping di old wid di trend. All actors who fake, who pretend. Smile in yuh face and mek yuh feel like friend. Boost up yuh head and mek yuh feel like dem. Rob you everything now you ah feel like end. Longtime mi navigate di field round dem"] is the thought behind this one and, just like on 'Looking Over' you'll have a difficult time ridding your mind of its echoes long after the tune has ended (great chorus). The terrestrial beginnings of 'Trajectory' serve to make way for what it subsequently develops into as well as for another big winner, 'Sleepless Weekend'. There is work to be done across the brilliant Toy Box Riddim through NMG Music (where Patrice Roberts reigned supreme with 'Nobody') and there's simply no time for sleeping this weekend! And then, also buried here is 'No'. You might remember, from seasons ago (song probably 10-15 years old by now), 'Licks'? 'No' is 'Licks' chilled (but not really) and reincarnated.
"Yo bro!
If she tell you no, that mean the answer is no
It doh mean 'I eh sure', 'I eh really on that' or 'I don't think so'
It doh mean 'come back tomorrow'
It's just let it go, let it go
Bredrin pack yuh things and man, go
Not
Next
Nay
Never
Nope
Nothing
Nein
Nadda
Negative
Even negatory, I don't know why you acting so predatory
If she tell yuh do not cross di territory
And tell you NO in every category
It is important and it is imperative, also mandatory -
THAT YOU KNOW THE WORD THAT IS NO"
Sickening it is that such a piece is so applicable and necessary today (or any day at all for that matter) but something once again has gotten on Bunji Garlin's last nerve and it's driven him, once again, to refresh and reprise this scathing message of what should be completely common fucking sense: LEAVE OTHER PEOPLE'S SHIT ALONE!
The final third of "Ayl'ian" is absolute FIRE in every single way and it contains what is EASILY one of the finest selections of Garlin's entire storied career. The album's final moment, 'At This Time', is probably the lightest of them all but even it is sorta outstanding in a spreading type of way (it may take a few spins to grow on you is what I'm saying) (You'll get the rest of these immediately). Coming in with a somewhat oldschool sound, 'At This Time' features downright DOMINANT ["When you see mi come in, walk parallel. Go round mi like dem plastic horse on dem carousel.Want to bad talk mi name, you're free to do that as well. But you will not get mi committing any act of hell"] wordplay with Garlin saying that if your intentions are not positive, you can move right along. Check the hypnotic 1980's fueled (thanks to the Tape Deck Riddim) 'Classic Like' where the artist makes us all feel old as hell in a BEAUTIFULLY nostalgic type of way. 'Classic Like' didn't get its proper run in my opinion, it is MAMMOTH and ranks very highly altogether on 'Ayl'ian' and any child of that era will find themselves smiling wide with some of the references Garlin makes (the man literally brings up VHS & Beta). Things get ice cold for a minute with the grimy 'Links' before the heat returns. 'Links' is exactly what the title would suggest if you don't overthink it. It's about the power of coming together and the good times that can be had when amongst good people, regardless of where they may be from. There's also a quiet aggressiveness here which is unexpected (it isn't celebratory AT ALL) but 'Links' is still a very good time and not to be missed and that kind of unusual vibe is at least partially why.
Paired in succession are the blistering 'Forward' and '110 Overcharge'. The former is special and it's been a favourite of mine from this season -- from anyone -- since the very first time that I heard it. The start of '110 Overcharge' is BRUTAL! It is hellish and aggressive, destructive brilliance. It is a musical kick (punch and knee) everywhere you need it across DJ Avalanche's pounding Real Stink Riddim. Even within the midst of... all that mess Garlin is in devastating form ["Gal wine with they ass bend. Wi colder than Aspen. Who have di energy? Wi looking to draft dem!"]. The same could be said for 'Forward' which features very little in the way of a drop-off to '110 Overcharge' (probably have never listened to 'Forward' in this much detail, it is EXCEPTIONAL!). Both tunes are very hype, Power Soca and represent the best of their kind not only on "Ayl-ian" but anywhere in Garlin's recent catalogue to my ears. If you are looking for a good tune for the cap on a workout playlist, you'll happily camp out right between these two. And finally is a little song called 'Carnival Contract'.
'Carnival Contract' is probably one of the best 100-120 or so songs that I have ever heard. Period. It's amazing and it goes without saying that it IS the strongest selection on this album and would be on just about any of Garlin's albums. The Banx & Ranx riddim of the same name backs a GEM which is as hypnotic (I have probably lost a few DAYS euphorically lost somewhere on 'Carnival Contract', and you can keep them! I don't want that time back!) (It's yours!). Song is about VIBES! It was created in some secret facility somewhere in Trinidad by scientists who have identified a nerve in the human brain only permeable by this PRECISE set of sound.
Overall, I'm going to fend off the burgeoning temptation I have to go back through the greatest of Bunji Garlin's albums, but I'm going to tell you that, at least from the top of my head, "Ayl-ian" is just as good as any of them ("Ispaniard" was golden) (so were "Flame Storm" and "Next Direction"). It is a FANTASTIC release and, as I said, it's even better than I thought it would be, in thinking of these tunes, individually. You wrap them up together and put a bow on them and what you end up with is pretty near SPECIAL. "Ayl-ian" ranks near the finest collections of a bona fide musical LEGEND in Bunji Garlin, representing, collectively and individually, some of the absolute finest work the man has ever done. HUGE!
A truly ridiculous collection of talent is to be found on 'Love & Inity', the GIANT new tune bringing together the finest Reggae talent from out of Belize (unless I'm REALLY overlooking someone), Ras Indio, and VI supernova, Pressure Busspipe.
"While enough a dem caught up inna dem vanity
Mi look around, boy, a just insanity
There's no love at all amongst humanity
Dem no listening to di words of His Majesty
Hey mystery babylon, don't you intervene
Mi si you ah try fi slow down di youths dem with yah terror scene
But a fyah bun when mi dash di gasoline
And then drive pass di whole a dem inna mi limousine"
This combination is just like a hypothetical for me: 'I'd REALLY like to hear Pressure on a tune with.... damn, what about RAS INDIO???!' And it happened! Like it's right here! 'Love & Inity' does not disappoint at all (not possible) as the duo put on what has to be one of the finer tunes I've heard in all of 2024. BOOM!
Okay so, in case you did not pay any attention (and you probably did not) to the Carnival season in Grenada this year, I just wanted to let you know that you screwed up. You made a mistake, but I still love you and I have your back. Spice Mas this year produced some TRULY big tunes and, because your missed out, I thought that we'd catch you up on some of the biggest of them all from some of the island's (and Soca's, in general) most talented stars. Here is a very brief look back at one of the best seasons of music that Grenada has had, in my opinion, in quite a few years: Spice Mas 2024.
'Sweet Home' by Boyzie
First up is a tune that actually took home some hardware this year as someone who I've always wanted to spend more time talking about (going to have two opportunities today and the that was a pretty large part of the motivation to do this feature) did what he always does and scored a big hit that would net him his second consecutive Groovy Monarch crown in Grenada. The ever-talented "Mad Ras", Boyzie, charted with delightfully patriotic 'Sweet Home' via the Oil Down & Saraca Riddim from Xpert Productions. Boyzie may not be as heavily appreciated in the genre at its highest levels that his gifts would seem to merit (the man can literally do it all) as is evidenced by this song contrasted to the very next one that I'm going to tell you about. That being said, however, if you are fortunate to know who he is and have heard his work, you know exactly the flame that burns there. 'Sweet Home' was a tune like many that you've heard before, giving honour to the most beautiful region on the planet, but it has RARELY sounded this sweet and it came through absolutely effortlessly from a genuine reigning master of the genre.
'Chaotic' by Boyzie
To my opinion, Boyzie is even better in the Power category of Soca music and although he wouldn't take home the Power Monarch win this year (gonna tell you who did win it in just a minute), the multiple time Power champion (personal favourite of mine being 'Mas Everywhere' from about a decade ago) (I could name about five others on that same level, easy) ["CALL THE AMBULANCE! CALL THE FIRE BRIGADE!"] did show up in a major way with the HUGE 'Chaotic'. This tune is exactly what you want from a powerful modern Soca track. It's addictive. It's emotional. It's kinda pissed off at something and it displays all of that while MAINTAINING A MELODY. You can jump up to 'Chaotic' you can... take your clothes off (or someone else's). You can do a variety of stuff which may or may not be very important at all and that is the point: There is no point. It is a celebration of a feeling and if you feel have something on your mind that you're looking to burn off, 2024, as a whole, produced very few finer moments than 'Chaotic'.
"THEY FEEL LIKE I JOKING WITH THEM, WHEN I CATCH THEM IT'S OVER!"
'Different Levels' by Tallpree
Of course, it wouldn't count as an actual trip to Greenz without checking in on the incomparable Tallpree. This season the veteran mined DIAMONDS with his big tune, 'Different Levels', which (by the slightest of margins), was my favourite overall from Spice Mas 2024. To my opinion, there's a certain sound that Grenada Soca has. It is not refined AT ALL (Machel Montano and Destra you will not find) but there's kind of this GORGEOUSLY rugged sound at the core of its appeal and charm (think of people like Lavaman (whose tune I may or may not put in here and Lednek). If you want a perfect example of that, listen to 'Different Levels'. 'Different Levels' is FILTHY. It's intoxicating. It's beautiful and for someone like Tallpree, who has spent AGES making big tunes, it's one of the best he's done in recent times.... at least.
I wanted to come back and mention that though I lack the musical... technical knowledge to describe it - There is one part of 'Different Levels' that just makes it downright MAGICAL. I think it is a keyboard sound it's the one that you hear constantly but it isn't necessarily LOUD and it often gets overpowered. THAT! Whatever the hell THAT is.... DAMN!
'Not From Here' by Lavaman
Biggup Travis World, the mastermind (biggup Mastermind) Lavaman's very cool 'Not From Here'. There's a BOUNCE behind this tune (you can hear it right at the beginning and then it remains back there) which almost gives 'Not From Here' an old school Dancehall sound and then laid atop it is this stunning tropical blend which professional chaos creator, Lavaman uses to OFFICIALLY declare something that we've all known for years: He ain't like the rest of us.
'The Tape' by Dash
Lastly, the big winner of Spice Mas 2024 was Dash who captured both the Power Soca Monarch title as well as Road March and did so on the strength of the same tune.
"About four o'clock in di morning, I hear my door knock and I'm wondering who's that
'WE HAVE A WARRANT FOR YOUR ARREST!'
I SAY, 'WHO ME?'
HE SAY 'YES!'
Are you sure?
Yes it's you
What I do?
HE SAY 'MASH UP PEOPLE PARTY AND THE VENUE!'
Man ah steups and ah sigh
Since when that is a crime?
Evidence build up high
They say 'the tape it doesn't lie!'"
Dash comes from the same school of making Soca as the great Bunji Garlin. HIGHLY lyrical he produces these GEMS and although I was surprised by the success that 'The Tape' would net him, it was because of the style of the tune. It does not SOUND like a Power Monarch winner or a Road March.... BUT IT IS LETHAL.
Solidified. Perhaps the methods that we use to measure things like success and accomplishments need to be more individualized for different cases. In music we may look at things such as a general popularity which is reflected via several ways: How many times your music is played -- how many hits you've had -- once upon a time it would have been album sales and maybe even the number of people who attend your live performances and, fittingly, those are all fair points. People do make music as a career and if you're hitting all of those marks, chances are pretty good that you're making a good living. HOWEVER, around here we specifically spend a great deal of time (likely more than any other) writing about a genre that is so foundationally structured around a message that isn't necessarily eschewing of all things 'popular' at all times but is of the type that it directly reaches to those who do not fall within the 'mainstream'. Of course I am referring to Roots Reggae music and it is a genre like any other but it is one well married to its ideology, arguably, even more so than its sound (which is odd, if you really think about it. You could put an Opera riddim behind a singer saying "PRAISE JAH RASTAFARI" and someone will call that Roots Reggae or say it has Roots 'overtones'.... and everyone will agree with them). Because of that, I don't know that registering someone's success there is best accomplished on any type of chart or computed using data but, instead, is done more appropriately on a personal level. We recently did a new feature called Signatures, where I listed out my favourite songs from a particular artist and, it just happens that the first installment of that series is Akae Beka. Now, I don't know how many albums or tickets Akae Beka sold (although, unsurprisingly, if you're trying to collect Akae Beka/Midnite albums in 2024, I'm sure you've noticed that the price has gone up) or how many hits they charted; maybe MANY by comparison to their peers, maybe not - BUT YOU'D BE A DAMN FOOL TO THINK AKAE BEKA HAS NOT BEEN SUCCESSFUL. When you make 'message music', surely you want that message to reach as many ears and minds as possible, but I would think that even if you tap into just a handful of individuals, so long as you provide them with certain ideas and ways of living and progressing that, to some extent, you've accomplished what you've set out to do and if that is accurate (and isn't just an over-romanticized thought on my part) then today we're going to have a look at a VERY fruitful artist.
When the name Ras Shiloh comes up I think even his most casual of fan probably has a couple points of reference for his music. The first and most immediate is his voice. Often linked to the great Garnet Silk (a comparison he Shiloh has more than welcomed, more on that in just a second), from the very beginning of his career Ras Shiloh's voice has been one of the most discussed aspects of his work and, all these years later, that is very much the case even still. The next thing you're likely to know about the music of Ras Shiloh is a song nearing a truly staggering THIRTY YEARS of age: His cut of Tony Rebel's Lala Bella Riddim, 'Are You Satisfied' (that one riddim produced 'Are You Satisfied', the MAMMOTH 'Jah By My Side' from the Rebel, himself and even 'Ghetto People Song' by Mr. Everton Blender). I'd be surprised if, over the last quarter of a century, Ras Shiloh has EVER given any serious performance that did NOT include at least a portion of that tune being sang. It is without a doubt his most identifiable set and one could even make the argument that it is one of the entire genre's most recognizable of its era and beyond.
And Shiloh has done some serious work besides 'Are You Satisfied'. While the Brooklyn native will never be known as the most prolific of artists (and I also think he's just fine with that) and surely not on the album release side, what he has done has been farrrrrrrrr more than respectable. You can go all the way back to 2002's "From Rasta To You", which was an EXQUISITE set and go up to, unfortunately, his most recent year of activity when it comes to new material which was just five years on (and I'm about to tell you about an album featuring material even older than these two). During a very Sizzla-esque campaign in 2007, Shiloh would release one album for Greensleeves and another for VP Records in "Only King Selassie" & "Coming Home", respectively. Both sets were literally damn near perfect (historically, I've held "Coming Home" (deemed an actual Modern Classic on these pages) in slightly higher esteem but going back and listening through them both for the sake of this review and I'm not so sure about that anymore) (but "Coming Home" did have the MASSIVE "Volume of the Book" ["Under a cool meditation while the whole earth shook"]) and who knows why it took so damn long after that (maybe that was kinda Ras Shiloh retiring from making albums) but it's 2024 and Ras Shiloh now has a brand new album out for the masses, "See It Deh". Back in 2020, the singer would pop up with the tribute EP, "Ras Shiloh Remembers Garnet Silk", but "See It Deh" becomes his first full length project in SEVENTEEN years (unless I am really forgetting about something). The album comes via an old favourite of ours who I am ALWAYS thrilled to run into, Reggae Vibes Productions. JahMikes and company have been hard at work for well over twenty years and have vibed alongside some of our favourites such as Jah Mason, the former Prince Theo, Theo Nyeemiya and many others. It was with the Mason when I believe I first became familiar with RVP as, also back in (I now feel compelled to dig this album up because I haven't seen it in awhile, so let's see if I can find it quickly because I think I know where it is) (it wasn't hard to find at all and. listening to it now, some of these tunes are personal classics for me) 2002, they headed an album for him by the name of "Unlimited".... very strong and has aged well. Mason is someone else who, although he has checked in with his fair share of hits and big tunes, his 'wins' are probably best gathered in a more unconventional manner. Obviously Ras Shiloh hasn't made it an aim of his to release albums. In the press release that I read for "See It Deh" he literally says "I don't really rate albums", which is fine, but you'd never know it from the levels attained throughout "See It Deh". When I first saw it in the offering not only did I get pretty excited as I thought it would be very interesting to write about (because it's been awhile since we've written a review for Ras Shiloh's work) but also just to hear! The early clips and bits that I was already familiar with would lead me to believe that "See It Deh" would be quite strong and....
Quite strong indeed! Ras Shiloh hadn't exactly been dormant over the last few years despite not flooding the shelves with albums and he actually turned up with some very nice tunes, some of which are featured here (one of which, however. is not. In 2019, Shiloh did a tune called 'Bun Dem and Done' which is EASILY one of the best songs of his entire career, in my opinion and if you haven't heard it, go and take care of that now and I'll be waiting for you when you get back). That being said, the opening tune for "See It Deh", 'Endless Joy', was completely new to my ears and although you will find stronger material unfolding on the album behind it, it does get us off to a good start and is just a really nice song. What stands out is this kind of.... 'over sang' chorus. It just has this really LOUD affect to it (surely done on purpose) that is going to do something strange: If you have children, you'll want to be really careful with 'Endless Joy' because as difficult as it will be for you to get it out of your own head, they will give you no relief at all! While the backing singers dominate on the chorus, for his part, Shiloh also excels, producing a solid lyrical effort within a very cool delivery and, again, though it isn't THE best tune on this set, 'Endless Joy' isn't acres away from it either. The next selection, 'Righteousness', is even closer, actually. EVERYTHING about this one glows! From the second that gorgeous riddim (the True Crisis) fully drops in (intro'd by a lovely saxophone that sticks around throughout), straight through its end, 'Righteousness' does definitely prove to be one of the biggest highlights from "See It Deh". Sticking to the very basics, 'Righteousness' is simply about doing positive things and doing what is right for yourself as others whenever but the presentation DEFINITELY adds so much more to it. You've heard hundreds of songs vibed just like it, but they rarely sound this nice. Speaking of what sounds nice: Nothing on the whole of "See It Deh" sounds nicer than the well familiar 'Hail The King'.
TEARS! I'll make a point further on this later but when Shiloh turns up his vocals something happens to his music that simply does NOT for virtually everyone else. 'Hail The King', a towering praise is a mighty example of that. The tune comes through on a cut of the Traveling Man Riddim (a remade version of what I believe was the original by the Techniques) by RVP (the aforementioned Prince Theo also had a big tune on the riddim, as did Pressure Busspipe) from about a dozen years ago. I may change my mind at some point and be too lazy to come back and change this but as for RIGHT NOW, by the slimmest of margins, 'Hail The King' has no equal on "See It Deh". It is absolutely GLORIOUS and you really feel the significance.... I'll save that for later. If You, like me, found yourself wondering why 'Endless Joy' wasn't actually called 'Happiness', with as many times as the word is said on the tune, that's because this release has another tune called 'Happiness' and it also sounds very familiar. I don't think I've heard this actual song, however, and, instead, my familiarity with it comes in the form of that beautiful riddim bracketing it. Quick story: In the early 2000's or so there was a label by the name of Artists Only! Records (the exclamation point was a part of the actual label name) and they were solid. They released albums for the likes of Beenie, Buju & Bounty, Sizzla Kalonji, Wayne Wonder, Mad Cobra and others still. That same label also did "Wow... The Story", which was Baby Cham's first album and they were also prolific outside of Reggae music as well. In 2001, the New York based outfit would release "Many More Roads" by Ky-mani Marley and although I've never been much of a fan of Ky-mani's music - full credit to him for that one. "Many More Roads" was and still is excellent (surely you didn't believe me when I said "quick"???). Anyway, the very first tune on that album was 'Who We Are' shares a riddim with 'Happiness' and, the fact had been lost on me, but that album was largely produced by one Mike Coburn [aka JahMikes) and the Reggae Vibes Productions insignia is also on the case. That's why I knew 'Happiness'. Just as is the case for damn near all of 'Many More Roads', 'Happiness' is sublime. It's also quite simple and straight-forward (literally an anthem about being happy and feeling good!) (nothing wrong with that) and if you can resist the urge of singing 'Who We Are' while listening to it, 'Happiness' will likely have no problem carrying out its purpose on you... personally.
'Here I Come' is another previous release, this time coming through across RVP's Soul Shake Down Party Riddim from a few years back, an update of an old drop by a guy named Bob. 'Here I Come' is downright MAJESTIC. I'm threatening to ruin my closing point but DAMN do you get the feeling that something very crucial is going on when you here this song.
"TIL SHILOH
SO HERE I COME!
RAS SHILOH
JAH WORKS MUST BE DONE"
We all have a purpose, hopefully a positive one, and 'Here I Come' is a song for everyone who is prepared to fulfill their purpose. It is a call to action of MAMMOTH proportions and a definite highlight from "See It Deh" (it is also the album's longest track, giving it all the time it needs to make a giant impression on the listener - a moment it well makes the best of). Ras Shiloh continues to receive high marks on another mega praise, 'Long Live The King'. Likely one of the oldest selections here, that's just fine. 'Long Live The King', Shiloh's cut of the probably two-decade old now Focus Riddim, retains every hint of the luster it would have had when it was brand new (with maybe one exception) (more on that in critiques). You see the title and you know exactly what it's about, but it is your [LARGE] mistake if you take 'Long Live The King' as.... stale or routine or generic and pass on it. It is a JOY to listen to. 'Never Be Enough' was wholly new to my ears and although it got off to somewhat of an awkward start, it quickly follows the line of pretty much every other tune here and ascends. This one deals with the fact that there're certain actions (and CONSISTENT BEHAVIOURAL PATTERNS) so deplorable that they are beyond forgiveness and being forgotten. I will also tell you that because of the kind of 'light' nature of 'Never Be Enough', that you may want to spend some extra time with it to fully take it in, because it's very easy to just enjoy on a casual level and move on. Previous single, 'On My Ship' is in next and it stands as the very fun changeup for "See It Deh" as it features Ras Shiloh dusting off his deejaying skills and tackling this kind of bouncing riddim. It's a love song and it isn't the greatest but I had no problem with 'On My Ship' and I do always appreciate when an artist and a producer and a label.... just make an attempt at trying something different and fresh, especially during an album where it's well possible to get stuck on the same vibes for song after song.
'People Be Free' also charts a different route as it is the album's sole combination, linking Shiloh with the animated Dominican born chanter, Simpleman, another favourite of RVP's atop their Talk About It Riddim (that also carried the Mason's big winner, 'All I Can See' ["I'm sitting here looking at the trees. I'm looking at the birds and the bees. ALL I CAN SEE IS LOVE!"] BOOM!) (Yami Bolo and Prince Theo also had big songs on the Talk About It) (Beres Hammond as well but DUHHHH!). This one is as all over the place as the fiery Simpleman but it more than earns its stripes in its time
"Mi stand up inna di lights now
Mi no waan no jinx and mi doh waan no lies now
I tell di little youths fi open up dem eyes now
Sing out, sing out and mi seh open unuh voice now
Sing out fi truth, sing out fi rights now
Boil up di veggies and mi seh boil up di rice now
And praise Selassie I and then you know yuh nice now
But di likkle weh yuh have inna this time run out
Mi tell dem watch di youth dem
Dem go watch Oprah
None a dem no memba Mama Mama Ethiopia
Tell dem inna di west, dem caan find hope yah
Yow a just oil and powder and Obeah"
Written in a kind of a broad manner, what brings 'People Be Free' altogether is the theme of unity, particularly amongst the daughters and sons and Africa all over the world. Whatever that may be, from something directly cultural to His Majesty, whatever brings us together is celebrated here and in a major way. The cool, infectious title track (oddly spelled as 'See It Dey' in the tracklist) is several years old and it is as SPECIAL as ever. This song (as well as the one behind it) makes me question my selection of the album's finest (thankfully, I don't feel like going back and changing it): It just a SPECTACULAR social commentary with Ras Shiloh showing that the results of negative actions are clear and apparent. There is no way to sweep them under the rug and ignore them anymore. The song also has a bit of subtle bite to it. I wouldn't go as far as to say the singer is ANGRY.... but he's getting there! 'The System' touches down on RVP's beautifully misnamed Hardcore Riddim (no way in hell you listen to that thing and think to call it the Hardcore) and actually isn't too different from the title track in terms of its general focus. To my opinion, 'The System' looks more at personal responsibility and how easy it is to lose your way and blame others for what you do. No system is bad enough to force YOU to give into negativity and destructive ways and when we do that, it's all on us. The tune's also just a nice vibes, an excellent vocal display and, again, one of the biggest sets on the entire album. Finally (speaking of great vocals), the album's closer 'Tears From My Eyes' (I know the title is tough but it's not what you're thinking) sends us out on a high note. All of the madness, the cruelty and the gloom from the two previous tracks have gotten to Shiloh and he's struggling to keep it together, a sentiment he expresses finely here. TRY TO TREAT PEOPLE BETTER! That's the core of 'Tears From My Eyes' (pretty sure I've never heard this one before) and the way we are so POOR at it is clearly sticking with singer as it should be a problem for us all. Perhaps we can't make a song like this about it (we cannot), but we all definitely have a part to play in doing better.
I alluded to this earlier but I simply must say something about Ras Shiloh's VOICE. With the way he sings... it has some sort of DRAMA to it. WHEN RAS SHILOH SINGS, YOU FEEL LIKE SOMETHING IMPORTANT IS HAPPENING. It's impactful. It's cinematic. It MOVES you and it gives such a presence to his music that I almost hear parts of his work in the same way I hear Jah Cure's music where it comes with this inherent point of interest (the Cure could sing his way through a movie script (a really really bad and boring one) and still have my attention) and there are some GORGEOUS displays of that found throughout "See It Deh". I'll also mention that because of that you'd hope that the sonics are completely on point and that is not the case on the entire album. I don't know the word (maybe it's "mastering"), but the sound quality, unfortunately, is not the greatest here.
Overall, despite wishing that things could be a little clearer and polished up, "See It Deh" is excellent. As I was going through it, it turned out to be an unexpected nostalgic trip through some old favourites of mine courtesy of Reggae Vibes Productions. I never realized the artist - label link in this case was THIS strong but clearly not only is it in terms of quantity and activity, but also QUALITY. They have made some very good music with Ras Shiloh over the past couple of decades or so and "See It Deh" exists as this wonderful compilation of that work, along with a few dashes of new/er/ish blips, here and there. This album won't be terribly popular. Even some of the genre's most faithful and dedicated may overlook it and I think that's just fine with Ras Shiloh (as odd as that may sound) (and it does), but for everyone who does hear it and is capable of finding some joy in it, YOU WILL LOVE "See It Deh". It will make an impression on you and leave you with something, maybe even to pass on to someone else, going forward. In that respect: MISSION ACCOMPLISHED. Well done.
