Skinny Fabulous says there is ONE VINCY

Not always jump & wave all the time 

For Those Of Us: A review of Medhane Alem by Mikey General

Shine. Maybe even in a 'perfect' world, this wonderful music that we cover wouldn't receive the absolute highest level of attention that the artform has to offer. Perhaps it would still, in some respects, be regarded as regional or niche to some degree and in spite of its immense progression and that's just fine. You love it. I do too and it isn't going anywhere. With that being said, however, there do exist certain individuals in and around the music that I do so badly wish would get more in the way of consideration and observation even amongst more traditional Reggae fans. Here is typically where I would start listing a long line of overdeserving names before drawing a comparison to my prime star in this instance but, this time, I just have one on my mind (well two but... one is a comparison from the other side); Queen Omega. I don't think, strictly based on skill alone, that Reggae music should offer a level of spotlight that Queen Omega should not have CONSTANT access to. She should LIVE amongst the likes of Sizzla, Capleton, Buju Banton (thinking of an older generation, of course, closer to her own) and also Luciano because that is where her talent places her, in my opinion. It should also be said that she makes a brand of music that is very transferable so while I may have similar thoughts of someone like.... Dezarie; if a more casual listener to the genre tells me that they struggle to get into Dezarie's music, I'll understand. Of course I stress Luciano's name (he's my "comparison from the other side") because of the very close relationship he has with the venerable Mikey General. It takes more than talent alone, CLEARLY, and maybe there's a bit of luck involved but it almost bothers me that I have a very difficult time writing a review for a Mikey General album without mentioning Luciano's name but would have absolutely no problem at all writing a Luciano review without bringing up the General (even beyond my typical LOVE of comparisons) even once. One of the biggest points of discourse (arguably THE biggest, actually), for most fans, will likely always be his connection with The Messenjah. That's really too bad because if you do take the time to really get into Mikey General's work and all that he has done throughout the years, you quickly come to know that he has created a very strong legacy of his own. 

I've found Mikey General's music to be pretty straightforward for the most part and though I don't consider that to be a bad thing (obviously), perhaps it hasn't endeared him to the widest of audiences. In fact, across the many years that I've been writing these things and 'covering' the music, in general, I don't... I don't think I've EVER come across a truly passionate fan of Mikey General's. That is insane because I can tell you about having conversations with extremely intense people about the likes of Tiwony and Sael despite the fact that they have very little clue as to what either says in their music due to there being a language barrier. I've also ran into similarly loyal fans of the likes of Lyricson, Jah Hem, Mada Nile, Prince Malachi and others who don't necessarily leap out at you from that list of tags on the other side of this page but I don't think that's been the case for Mikey General... which definitely makes it all the more important that I tell you about what he's been up to lately. 

2022

Back in 2022, Mikey General released his until now most recent body of work, "Hold A Heights". I definitely enjoyed that album at the time and right now, having not heard it in quite some time, IT IS EXCELLENT. It has aged incredibly well and should probably be regarded as one of the best albums the General has done altogether at this point. Most DELIGHTFULLY, recent years have seen the singer be very consistent in his activity and, along with "Hold A Heights", he's also done the albums "Tewahedo" and "We The People" within the last eight years. Three albums in eight years is just fine by my count but FOUR albums in eight is even better and Mikey General now hits that mark with his brand new album for 2026, "Medhane Alem". I'll tell you, I do consider myself to be at least somewhat diligent when it comes to searching for new and up and coming releases and I had no idea whatsoever that this set was in the offering and only ran into it after it had already released. That's fine (it's greater later) but I do wonder how much early publicity was out ahead of it because I can recall there being just a bit more (many ANY. ANY would be more than none) in the case of "Hold A Heights". With a musical history dating back to nearly half a century now, as you might imagine, the British born General has recorded with an endless number of producers and released albums via several as well. In recent times, he's also continued to spread the wealth, with the aforementioned "Hold A Heights" being done in association with Reality Shock, while "Tewahedo" came via our good friend James "Dr. Seuss" Lord & co. at Irie Sounds International. That trend persists on "Medhane Alem" with the work of a variety of different producers and studios being represented with Mikey General, himself, also taking lead in production, along with young Yared Taylor (the General was born Michael Taylor and I do not believe that he is a relative of Yared's, although I could be wrong). Like much of his work, however, "Medhane Alem" is umbrella-ed beneath General's own Qabalah First Music and comes to us, digitally, via our ooooold friends at Zojak Worldwide. The last review I wrote (like three days ago now) was for Akae Beka's new album, "World Tap In", and I stressed in that case how exciting such a release was for me not only to sit and listen to but to be able to review as well and this case may be different in the routing, the end result is the same: I was REALLY looking forward to hearing what "Medhane Alem" had to offer and what does end up happening here, to the surprise of absolutely no one at all, is yet another solid release from a singer whose history says that he is nearly incapable of doing anything else.

"Medhane Alem" translates into "Saviour Of The World", signaling that you will find no great deviation or change of pace from Mikey General here. If you've become a fan of his via what he's done up to this point, it is very likely that you will like this one as well. As I've mentioned in the past (and much like Akae Beka, coincidentally), I've become more and more of a fan of General's as I've gotten older and it's gotten to the point where, as you can see, I'll happily drop whatever I'm working on at the time to get to work on a review of whatever he's up to (Signatures: Destra coming soon). As I started to get into the actual songs on the album, I would come to see that I had some type of familiarity with a couple of them but, for the most part, "Medhane Alem" is an album of twelve new and fresh songs from Mikey General for me, BOOM! Matters get started with what is easily one of the biggest moments here, 'Solace'. A couple of very interesting things happened on my way through this one: First of all is that I kind of recognized it... well, maybe not exactly. Research shows that it was released as a single in January but I'd never heard it; instead, I had heard a tune by the name of 'Time Is The Master' by Deshanty Plus, which shares a riddim with 'Solace' and both come via Marlon Muzic.The other interesting thing that caught me here was that, while listening to it just casually, in a curious way and not at all frustratingly so, I found myself wondering if it were ever going to end. The song checks in at a very healthy five minutes in length (making it the album's second longest) and they make the best of every single second. 'Solace' is delightful! It is such a lovely vibe to hear within a rather clever praise and I may come back and change my mind but, at least for now, I'm calling it my favourite song on "Medhane Alem" altogether and I would imagine that it would be a fine tune to see him perform some day as well. It has THAT type of energy, down to the very last note. 'Road Of Life' doesn't miss a beat, literally. If 'Solace' had you bobbing your head; it will continue right along here. You SIMPLY cannot get more SIMPLE than 'Road Of Life'. It is very straightforward and direct in dealing with negativity. What I took from it was the General telling us all to STOP WHINING AND COMPLAINING SO DAMN MUCH (he wouldn't say it like that, of course) and to stop looking for things that bother you and stress you out ["cause this world ain't so bad as how they make it how to be"]. Our title track stands up next and if you were expecting something super spiritually charged, you would be correct (I don't want to talk about what you are if you were thinking this would be something else).

"I come to tell you about the saviour

One who can change your behaviour

Our strength and redeemer

Maker of our souls

And if you should hear His voice, harden not your heart

Repent, repent, repent and serve the lord

Medhane Alem

That's your only friend

Medhane Alem

I tell you once again"

If you find yourself struggling and you're down on your luck, the General is offering you a way out and a way UP. 'Medhane Alem' is a sublime track with an equally top notch riddim. Speaking of riddims - 'Prayer' almost sounds like it taps a streamlined cut of the Queen of The Minstrel Riddim (which I knew immediately because as soon as it comes in, I start singing Sizzla's 'Guide Over Us' in my head). It also is a song that can lay claim to being one of the best vocal performances on "Medhane Alem" and the General uses those vocals to delivery something very strong, in my opinion. It's okay to make mistakes and do wrong and do bad things (if you don't, you aren't trying hard enough. Failure is as much a part of life as oxygen) but, again, when you find too many things going wrong and not in your favour, perhaps there exist a way for you to positively turn things around. I LOVE songs like this where every thing isn't perfect and rosy and ideal. To paint that picture for people is unreal and unnatural and just awful. Even when you do what exactly what you're supposed to do, sometimes you will make a mistake and it is not the end of the world despite how it may feel at the time. 

I alluded to the length of 'Solace' and there being one song that is even longer and that piece is the nearly six and a half minute long 'Never Alone'. It does have some things going for it (lyrics and Mikey General probably maxing out his BEAUTIFUL voice once or twice) but I don't like this song. I've never been one for Gospel and 'Never Alone' is either pure Gospel or close enough to it to send me away and that's just fine. I also wasn't fond of 'Rose Anne' (nothing personal to anyone reading this who may be named Roseanne) initially but it has grown on me just a little. Going on another classic track, Mikey General tells the story of a woman with eyes for really bad people and things ["I'm so sorry for you, Rose Anne. Cah you no chat to no man who nah fire dem gun"]. At first, I think it may've hit me as this kind of stale and formulaic type of vibe but I was wrong about this one in the short and long terms. It's much better than I gave it at first and it is STILL growing on me while I'm writing this right now (to the point where I now have to go and change the transition to the next song). 'Pay The Man', on the other hand, is experiencing no such growth because I was convinced that I was goin to enjoy it even before I laid my ears on it. 

"Look how hard the bredrin ah work

Sweat til him wet in him pants and him shirt

And still you want to dish him dirt

Don't want to give what him worth

Well he's the professional

You want to treat him like a criminal

TAKE THE  CAPITAL AND THE PRINCIPAL  AND LEAVE HIM WITH THE MINIMAL!"

Give a man his due! Whether it's money or credit or love or whatever it may be - GIVE IT TO HIM! This is extremely basic yet HIGH LEVEL common sense at work and you so rarely hear it in a song. You'll hear about oppression and negativity mainly but I was really impressed how the General specified it but, in doing so, the idea remains very broad and slightly open to interpretation and relatable because I think we've all either been in that situation where we've felt undervalued (and we're also all probably guilty of making someone else feel like that). The painfully short 'Pain' may not do a great deal in KEEPING your attention for too long -- being the only song on "Medhane Alem" south of three minutes in length -- but it does a decent job in its brief time. This song is just about the terrible way we sometimes treat one another and fail to show sympathy and empathy for other people, and maybe even going as far as to take advantage of them. The song is just fine but, in unfortunate reference to its size, 'Pain' just.... sort of stops. It ends rather abruptly and does so at a time when whoever is playing the guitar on the riddim is making their case. A big credit goes to that individual and everyone playing on that lovely riddim.

The other song featured on "Medhane Alem" that I was familiar with (without realizing it) is 'Breath Of Life'. Earlier this year, Mikey General released a tune with Dutch Alison Hinds doppelganger, Miriam Simone, which I had heard but I had forgotten the title and, of course, whoever put together the tracklist for this album neglected to give Simone a direct credit (you will find her name in the liners but not on the song title) so I had never even considered that this was that tune. Thankfully it is and the critique I may've had about there not being something of a changeup present on "Medhane Alem" is thrown right away. This is a song about giving thanks for the sake of giving thanks. Whatever you have or whatever you don't - you have LIFE and, for that, you should give some level of thanks. With that being said, HOWEVER, overwhelming and outpacing the message of 'Breath Of Life' is how DAMN SWEET it is. This very nice oldschool riddim comes via Dreddarecords (biggup Joggo) and it SHINES! With or without vocals, that things glistens and brings such a golden sound to one of the album's finest offerings. I remember seeing it and thinking/hoping it would mean that an album from Simone was forthcoming. Who knows, maybe we can get albums from Mikey General AND Miriam Simone in 2026.... wouldn't that be SO nice! More life is forthcoming on "Medhane Alem" in the form of the very healthy 'Life'. As another selection bubbling around the five-minute mark, 'Life' goes in quite a few different directions with the centralizing theme being the experiences that we all go through and accumulate in life and how we need to at least try to make the most of it. The General gets to this point by referencing several things such as the importance of leaning on wisdom and listening to your elders and a variety of things. The sonic appeal on 'life' isn't quite as high as some of the other tunes here but it's still a very nice vibes and a well poignant track. The all sorts of fun 'Humble Calf' begins to wind us down and does so in an unforgettable way. As soon as this one comes in, the intensity turns up, you probably get a smile on your face and you definitely feel like a good time is on its way and you would be correct in that. The song is about overlooking and underestimating people that you meet along your way, outwardly, and I imagine that Mikey General, personally, would have encountered many people who treated him in such a way to becoming who he is. FORTUNATELY, it hasn't depressed him at all and what you get is this upful and vibrant piece and CONFIDENT offering, seemingly written by someone with the security of knowing that, should they feel the need to, they're more than capable of shutting up a naysayer or two. And the album reaches its end with another standout, the anti-procrastination and anti-nosey anthem, 'Handle Your Business'. 

"Jah bless the man with the diligent hand

Jah gonna help him execute his plan

Jah gonna take him to his destination, even though the journey might be long

I know it is crazy to feed someone who's lazy

You got two hands, two eyes, two feet and still nah look food fi eat

You better handle your business

And leave people business

Cause the best kinda business is to mind your own business"

The riddim sounds VERY familiar to me (almost sounds like an old Xterminator track and the General is a product of the great label) but I'm almost certain it's actually new to my ears. Whatever it's origins, it is outstanding and, just like the full song, one of the finest to be found on this release.

I do want to mention, quickly, a nice little quality about "Medhane Alem" and it is one that I find myself giving relatively frequently - and I do love when I come across it. I'll spare you the numbers but, my (probably inaccurate) calculations say that the album averages a chunk over four minutes per song. VERY NICE. Particularly in Roots music where you tend to have more instrumentation like this, it gives your sound more time to grow on the listener and you get displays such as what you hear on 'Solace', especially.

Overall, if you are the slightest bit of familiar with the work of Mikey General then I can assure you that "Medhane Alem" is more of what precisely what you are familiar with and that's a good thing from where I'm sitting (in the kitchen). I directed this review in a certain direction, talking about the General not being as appreciated as I'd like to see him be or as much as others around him but that isn't going anywhere. I can't do anything about it with this review and, one would think, if were going to happen, it already would have for the 62 year old singer. HOWEVER, what I can do is to assure the people who're listening and have been for years that the new album is more of what made a fan out of you, originally. While I won't call it his absolute best work, "Medhane Alem" is another clear winner from an artist in Mikey General who, although he'll likely never be THE most popular, has spent his career REWARDING everyone who has taken a moment to listen to his wonderful work. 

Rated 4.10/5

Qabalah First Music

2026

Completely Random Thoughts: Tapping In Even Further

Okay so, May's turning out to be a pretty big month. Along with our first review, we also have releases from Mikey General (review already done, coming soon) and Marlon Asher; and even Shaggy is back later this month with a brand new album and we're working on a few other things as well. Before we move on, however, I wanted to get back and take another look at the album we most recently covered, the beautiful "World Tap In" by Akae Beka, a week later. I'm still working with it (I always will be) and I wanted to kind of focus on one thing that I said during it and give you an actual example of what I meant by one thing in particular and how the wonderful music that this man has left us with sends me down these BEAUTIFUL rabbit holes.

I tend not to try to take in too many opinions of others before I review an album because if I feel one way about something but the prevailing thought is the complete opposite, I don't want to be swayed. i want to be on that island. Akae Beka's music is a bit different though because you don't see much in the way of negative responses so my interest in a situation like this would be to see which songs people are gravitating towards. While there hasn't been much yet in the way of a critical response that I've noticed (I haven't seen another review besides mine but I would expect more to be on the way), I have seen fans discussing the album, here and there, and what has come my way from our old readers (who still have my email address) has been that one of the biggest winners from "World Tap In" is 'Sycamore Tree'. That very same tune took top honours from me and I've been working on it and have all sorts of fun doing so. [Now you watch where this is going] When I first heard it, one of the things that went through my mind was how unique that it was and I immediately started to think of other songs Vaughn Benjamin had done that it reminded me of. The one I mentioned was 'Sha-tee', which probably isn't a very good comparison (and I likely just mentioned it  because I absolutely love that song) but I had another one in my mind that I was thinking of but couldn't quite get out. You know I searched high & low for that song and I THINK that I found it in a very curious place. 

A dozen years ago, a label by the name of Iaahden Sounds released a Midnite album by the name of "Stand The Test". The song was 'King Ring' and I was completely wrong, it sounds nothing like 'Sycamore Tree' at all, however, LISTEN TO THIS DAMN SONG!

"Dem seh dem ahgo abandon dem ship then ah feel fi go down wid it

Mediterranean children to all the world metropolis-

Is rhetorical vitriol that naïveté omit

World know the region is the world hand pocket

It all seem insurmountable to politician tactic

News state featuring hold-up language

Just to find a stable medium between the poor and the rich

TOWNHALL MEETING INNA DI SCREECHIEST PITCH

INDEPENDENCE BECOMES DI BIGGEST SLICE PERCENTAGE

Political position dem no waan fi be associated with

World cities of a changing demographic

Lack of technology cah dem see it as limited

Merchant marinas find a store weh wi deal 

The manners of our guest - observation fi is

THE MANNERS OF THE HOUSE MAY BE INCLINE-ED

These are the roadsigns from the time weh wi live

Di warrior bust from ancient was explicit

Bible seh nothing new, under the sun, exist"

I remember "Stand The Test" (it was kind of a Hip-Hoppy sounding album) but I do not remember it sounding like THAT! There is a further connection in here as the press release (that no one bothered to send to me) mentions that one of the players of instrument on "World Tap In" is a Jordan 'Iaahden' Jones who, of course, is also the Iaahden behind Iaahden Sounds and produced "Stand The Test" in its entirety. THIS would also take me on another journey through Benjamin's catalogue because, of course, I was also certain that I remembered another tune which reminded me a lot of 'King Ring' and this was easier to find because I had actual words in my head and that was 'Ithiopia Millenium Deliverance', from the album "Ina Now". 

"And the Genesis of the age is Selassie I, Jah

And the Genius of the age is Selassie I, Jah"

I hadn't listened to "Ina Now" in quite awhile so what I do with things like that is that I'll go back and read through my own review, curious as to what I said about the album generally and, particularly, which song I said was my favourite at the time and in this case I was really happy because I actually did choose 'Ithiopia Millenium Deliverance'; and I even referenced that lyric as well.

Okay, that "one thing" that I mentioned from my review that kind of started me to actually writing this was this:

"Benjamin's work is truly the gift that keeps on giving."

Do you see what I mean? This isn't a random occurrence either. It's surely more often happening these days given the new album release but, even without it and not to exaggerate anything, but I'll have episodes like this... maybe once or twice a month even without new material pointing me in a certain direction (the "Kings Bell" album usually does it for me. If you REALLY get into that one, there're so many lines you can draw to other work) and whether I find what I'm looking for (if I'm even looking for anything) does not matter. It is the journey to comprehension that matters most and Vaughn Benjamin left us with a, literally, endless musical itinerary. That is not death. I don't know what that is but that is not death.

Lion Land: A review of World Tap In by Akae Beka

Appreciation. As I get older (and older and older), I find that the importance to appreciate the moment that you're in is something that is increasing in value. From something as simple as the current calm to an inevitable storm; to something as crucial as my daughter, who I once held in one hand, now being damn near as tall as I am - if you enjoy something right now ENJOY it! If you appreciate someone right now, TELL THEM! Things change very quickly and, even if they change for the better, you will never have it exactly as you have it RIGHT NOW. When we bridge that gap and head towards the reason that we're hear today, things are certainly no different. Not too long ago, I can remember an era where Greensleeves Records (annoying, I thought at the time) released riddim albums at a rate of... maybe 10:1 to those from actual artists that they had signed. Who would have known that, just a few short years later, the practice would be gone (so would Greensleeves, basically) due to the fact that actual riddims are of a dwindling concept and what has replaced them, particularly on the Dancehall side is something other than Dancehall. Similarly, while we may've complained about struggling to keep up with the personal release schedules of certain individuals on the album side, I'd give up a bit to go back to those times. Sizzla, who I've been writing about quite a bit as of late, presents all type of fitting examples in this space. The once hyper-active legend of August Town can go an entire year without releasing a single album (and while, REALLY, such a thing doesn't come as a big surprise (everyone gets older and slows down - the blog you are currently reading is a perfect example of that) it is still noteworthy) and when he does come up with something, it sounds NOTHING as it did in his most devastating of halcyon days [years]. The same line of thought would apply to just a few others in some aspects (I do struggle, and do so MIGHTILY, however, to think of someone whose work has deviated as much as Sizzla's has) with the prevailing line of thinking being that, things have changed SO much and will never go back to the way they are and DAMN! I MISS IT! Although, with that being said, there're still somewhat healthy lines to the past that we stumble across occasionally and, just as it is of a supreme level of significance to acknowledge and appreciate the current moment, it's just as crucial as we ENJOY and celebrate times like these. 

We were presented with such a "time" just a couple of years ago in the form of an album by the name of "Living Testament". That set came courtesy of the very active (and interesting) Trinity Farm Music (with Go A Chant Productions) and was dubbed the final recorded album from the great Vaughn Benjamin and Akae Beka. It was fantastic and would even go on to take our top honours in 2024 as the Album of The Year. Despite the fact that it was called the final complete work of Benjamin (and I'm not suggesting that it isn't, the album we're talking about today could have very well been recorded after "Living Testament"), there was absolutely no doubt in my mind that today's situation was on the horizon but, as I said, I made the most of that release and I still am (currently POUNDING 'Holding the Amen Key') ["Among the ministers of The King's High Court"]. I think that we got spoiled by Akae Beka. Even when the pacing of others slowed down a bit, they were still quite active and would go on to reach a point where, despite making a brand of music that would probably be incapable of being any further from "mainstream", their music had begun to attract a wider level of attention and deservedly so. Some of the later Akae Beka sets have been SCALDING. 

Akae Beka & Higher Bound Productions

So the prospects of getting my paws on a new one, regardless of when it was recorded, were damn appetizing and they always will be. Vaughn Benjamin -- PHYSICALLY (and only physically) -- left us in late 2019 but because of the type of work that he left behind, it hasn't seemed so. Not only have there been more releases but the older material remains just as enjoyable to listen to and to work through in order to find the true meaning and inspiration of one of the very few undeniable geniuses I have ever come across. It's still as challenging and rewarding as ever from songs that're... decades old at this point. Benjamin's work is truly the gift that keeps on giving. Along with missing certain sounds and situations that have faded away over the years, I also miss the delightfully infrequently frequent way we ran into certain entities. If you look at Midnite and then Akae Beka, in particular, Benjamin would record with certain labels that you either wouldn't see AT ALL without him or others that you would run into they got more of the spotlight on their output via their releases with him. You think of outfits such as Rastar, Fifth Son Records (a personal favourite of mine). Iaahden, Natural Vibes.... and. of course, Afrikan Roots Lab and Rastafaria. Without the physical presence of Vaughn Benjamin, you worried about some of these labels and some of them, CLEARLY, have exited the business, while others have DELIGHTFULLY stuck around (and this is, of course, without mentioning the likes of the Zion I Kings). Another body that would have been in that lot would definitely be Higher Bound Productions. I'm going to be a bit circular here but I will bring myself back and do so quickly: Headed by one Ishence, whether you realize it or not, HBP has been very productive in their time and even without Akae Beka. The US based imprint has worked with the likes of Ancient King ["Ethiopie"], Danny I, Ras Abja ["Songs Fa Jah"] and even the reclusive Army (whose "Dredlocks Time" may just be the single finest album Higher Bound has ever done) through the years so, if you pay any attention at all to Virgins Islands Roots music, chances are pretty decent that you've ran into their work somewhere along the way. Even if you're not, the fact that they've also released FOUR full Akae Beka/Midnite sets, should have popped up on your radar at some point during the last twenty years or so. There was the FUN "Bless Go Roun" ["Rinse out the dirty cup!"] (always fondly remember that album and then I go back and have a listen and it's even better than I recall) from 2007, which preceded "Ark A Law" by three years. Solid and impressive they both were, Benjamin & Higher Bound hit higher heights three more years on when they sent out the GORGEOUS "Free Indeed" (simply one of the best albums Benjamin has ever done for anyone in my opinion) and kept the quality high with the most recent entry, 2019's 'Hail The King". 

And let's talk about "Free Indeed" & "Hail The King" for just a second. We started a new series called "Signatures". It's most recent entry, #14, was for Bushman; but the very first was for Akae Beka. If you are unfamiliar, Signatures is just a compiling of my favourite songs from a given artist and, apparently, my favourite Akae Beka songs include one song each from "Free Indeed" & "Hail The King", respectively. Those two songs, 'Hemp Scroll' & 'New Race' were NECESSITIES for that list. It would have been incomplete without either! So, when you take ALLLLL of that and add on top their most recent history, if/when the new Akae Beka album, that I presumed but didn't know was on its way, were to come from Higher Bound, not only would I have no problem with that at all, I'd also be pretty damn excited about it... even more than usual. LUCKY ME! The early part of the second third of 2026 now delivers to us an Akae Beka album of full music that I've never heard [!], "World Tap In"! BOOM! The feeling going into these records, for me, is always an interesting one. You may not think that Akae Beka makes a brand of Roots music that is necessarily exciting but that's where I'm at! I am downright THRILLED to be diving into a new album and, again, when it comes aligned with such a proven source, it magnifies it even more. Even the album cover (biggup Marcus Wilson) gives me that wonderful nostalgic feeling! LET'S GET INTO IT!

Along with, obviously, that of of Vaughn Benjamin (who also serves as producer along with HBP), "World Tap" also features the work of a lineup of venerable players of instrument such as Ras L, Kenyatta Itola and the great Tuff Lion, all of whom have a long line of working with Akae Beka/Midnite throughout the years. So, at least on paper, if you were coming to this album expecting something of a deviation, you most certainly will not get what you're looking for. For the rest of us, however, we get precisely what we want out of "World Tap In" which gets up and going courtesy of what, kinda/sorta, would be its initial single (it's the only song present here that I heard a tiny bit of before it launched), the wholly destructive 'Kingdom'. The way this song comes in... it makes me tingle! The hair on my arm stands up when I hear that damn pulse because I can only imagine what is to come atop it in a second. The song sits as a table-setter. It sets the stage for what is to follow in direction and I don't have to go too far to tell you what direction that is (you know exactly what this song is about) and does so with a very OPEN and inviting style. Let's stick with that for just a second: You'll find, literally, thousands of Roots songs that are more suitable for people who may not be typical fans of the genre than 'Kingdom' ["Kingdom of Jah remain"] and are maybe easing their way into it but this is the litmus test for what is to follow. If you like 'Kingdom', I think there's a pretty good chance that "World Tap In" is for you. FORTUNATELY FOR ME, I absolutely love it. I hear so much natural emotion in this tune with this man singing about his King that it proved to be a downright HUMBLING start to this release. The responsibility for keeping the quality up following the opener goes to a song which, RIDICULOUSLY, threatens to outpace 'Kingdom', the multi-multi-faceted 'World Volatile'. On one hand, you've heard Benjamin do something like this before. He will get into topics centered around financial matters and such themes (the one that immediately came to my mind was "All I's On You' from "Beauty For Ashes") and though they typically aren't (they never are) CLOSED off and straight-forward), I don't know if he's ever done one as all-encompassing as this stunner.

"World volatile just to make decision

Leaders with constituencies of millions

For the wellness of the land and who have dominion

Changes at a rate beyond human comprehension

To ease the vibes and cool the tension 

Mass-media inna the world must make distractions-

To prevent unrest inna the nation central

A leader to face the stiff faceness of the situation-

At the market of ideas, where they making their mention

Market stumble, fall down and stock prices regression

It's like to where to seek in the world for stable vision

The ideal human-commercial interaction

Where, just fairness appeals to the participants

World volatile just to make decisions

Leaders with constituencies of millions"

Now you take that and leave it there and you have a song that is sort of a financial commentary but, later, Benjamin, on the same damn track, comes in with:

"Of augmentation and it's about diminution

It's who get reduce-ed and who get augmentation, addition

THIS IS INTENSE, WORLD COMMERCIAL COMPETITION

Nations has never before gone on a mission to secure their place on the world platform

SPORTSMAN DEXTERITY, POWER, SPEED AND FORM

IN THE SCIENCES IS WHERE IT GOES ON 

THE ROYALTIES REGARDING THE PATENT AND THE LAWS

THE REWARD FOR DILIGENCE - THE CAUSE FOR APPLAUSE [!]

Then in come the generation of the mystic radiant

The same racist concepts can't hold dem yah stagnant

WHERE LOVE IS NOT STOLEN

WHERE IS RECIPROCAL-

HAILE CIVIC DUTY, LOVE OF COUNTRY, LOVE OF WOMAN AND MAN, BOY AND GIRL

THIS LOVE WOULD MAKE THE ONE LOVE TOTAL"

I mean... what do you even do with that?? Where do we go from here after he goes and does something like that? Maybe we should all just pack it in and go and find something else to do! Until we figure it out: 'World Volatile' is one of my favourite songs on this album (with respect to the 'Kingdom' and a  certain plant that I'm going to tell you about in a second) as it is this TOTAL battering ram of ideology that challenges you as a listener in ways that only Akae Beka's music can (go from analyzing stocks to talking about the power of appreciation....). I should also mention the riddim which is on the VERY simple side but is GORGEOUS! Next in is the delightful bounce of 'Asking Some More'. I'm predicting that this one will get lost. It will be heard and enjoyed on a superficial level but if you grind it down, even a little your gift is brilliance. It just is. Where I am currently with 'Asking Some More' is that it is a track on the importance of education and awareness. Of course, I'm not strictly speaking about the type of knowledge attained in a classroom (although there's nothing wrong with that); this is a more experience based - instantly applicable - type of insight. Benjamin approaches this one from all angles including, wonderfully, a historical one.

"Nameless Ethiopians, remotest men of all-

Came to the west inna handcuff, inna chain and ball

Inna modern contemporary, standing tall

BECAUSE OF AMNESIA, WE DON'T RECALL"

And then there's the "plant" I alluded to before, the MAMMOTH 'Sycamore Tree'. There is a certain FORCE behind Benjamin's vocals here that I'm struggling to recall hearing previously on this level. There're points during 'Sycamore Tree' where his voice gets a little raspy and it almost seems like he's a little pissed off (maybe 'Sha-tee') ["Deputy & legacy"] but when you check it out, 'Sycamore Tree' is a biblical tune, almost entirely. I make this case for other artists but so rarely for Akae Beka because he doesn't change it much; but, at least here, the delivery adds so much to the vibes here and it absolutely TRAPPED me as a punchline/headliner for "World Tap In"...

"FROM THE OLD LION LAND, WHERE THE VIBE FIERY"

I have found 'Hemp Scroll'. I have located 'New Race'. 'Sycamore Tree' THRILLS as the single finest moment on the album. By comparison, the vocals of the tune behind it, 'As We Will', are much lighter than 'Sycamore Tree' but they also work in its case. It almost reminds me a little of the title track from "Free Indeed" ["Work of light and word of truth that King Selassie I reveal"] as far as its sound. 'As We Will', in its direction is a fairly broad life observation. It's about the balance of all things -- good & evil, heavy & light --and how they play a role in the things we do and the decisions we make. It comes from a spiritual source, obviously, but you could well apply facets of the song into tangible, everyday life. I thought I had a pretty solid idea of what 'Across The Eons' could be about and I was fairly close (for a change) as it sits as both a praising piece and one which attempts to link the present with the past ["Reaching across the eons to hold hands, to break bread and give thanks"]. It does have a more directly biblical heart, particularly later on but, again, you could just as easily take it to mean that the foundation and teachings set by our ancestors can be helpful to us all these years later. So, if you do take the effort, you could also give it a more grounded significance. Oh and 'Across The Eons' is also kinda beautiful but I'll talk about that more in a minute. I'll also mention 'Cover InI' right here because I've been stuck on it for the better part of an hour now. 'Cover InI' is a pure praise and nothing else and it is simply glorious. I want to emphasize the "simply" part of that statement because it doesn't even attempt much else (which is rare for Vaughn Benjamin) and he says a couple of things during the song which definitely caught my attention and did so in a very, again, plain and uncomplicated way. "I keep The King in front I face continually", he says and the goes on to talk about both the rewards of doing so and the struggle to maintain that type of FOCUS. Speaking of "focus", that is the secondary thought I have regarding 'Cover InI'. He also says, "Higher man over material sensibility"; essentially saying that there are many things (and people) that can distract you from The Source but the greatest joy is not straying and not falling for them. BOOM!

As always, you go into an album and you're very curious about the title track and 'World Tap In' is no exception. This one took me a minute... and then another minute and then another one and that is largely due to its sound. Maybe its just me but I hear a lot of things going on in the background on 'World Tap In'. There's a certain GRUMBLE behind it (it sounds like someone is doing something, physically, in the background but doing it in a way while trying to stay on the melody) that can be a bit distracting and, for as aggressive as the song comes off, for his part Benjamin doesn't match it. He just goes about his business. His business in this instance is awareness. It is the idea that if we TRULY cut through a lot of the bullshit that we are served that our successes can soar. He goes SO FAR as to even get biological ["Pure water, clean air and all that thing"] in his image of upliftment so, if you dare to get through the sonics here (and maybe (probably) that was only an issue for me), a diamond awaits. Like You, I had a pretty good idea of what to expect from 'In Your Hands' and it did give me that but it also delivered something more unanticipated. There's something very VINTAGE about it. It's that beautiful, old school, disheveled and kind of messy Midnite sound and I mean that in a good way. It's what I used to run away from when I was younger and what became addictive for me when I was finally able to appreciate this work. I LOVED finding a song like this one "World Tap In".

Going back, I was also pretty happy to find the downright hypnotic 'Your Needs' as well. If you've ever seen an Akae Beka performance, perhaps you've seen Benjamin in some type of rapture, lost in his sound and, presumably, some type of JOY. I get that when I listen to 'Your Needs'. Just the sound of it and how his delivery hardly changes (WHAT he says changes, obviously, but not much in HOW he says it) signals to me that he was REALLY feeling the vibe here. What he does with it is to speak about how everyone has a role to play in building prosperity ["The people that hold things to together. Make systems work, run efficiency; and training and order. What are your needs?"]. 'Your Needs' is RIPE with ideology and I think it'll end up being one of the songs I listen to most from "World Tap In". Finally, the album goes out on a very high note, with one of its legitimate champions, the mystical and curious 'Freedom Route'. 

"The long march is on

Sounds like boots are on the move

The displaced people seeking rest and food and mood

Pace yourself

The journey's long

Take your palce among the strong

Pray that goodness lead in front

Greater numbers from month-to-month

Politicians who are rude and flaunt-

Take your hopes and dash dem down

Turn your smile into a frown

Turn their thorns into a crown

Jah be with who makes it out 

All about the freedom route

All along the freedom route

Jah be with who makes it out"

I won't go into it too much (because I'm about to right now) but the closer has such a LOVELY sound to it. It is so nice to hear! Its 'route', in my opinion, is about how we all need to be willing to help one another and to also be able to receive and ASK for help when we need it, ourselves. There is a journey that we must all make and MAYBE you can make by yourself but your chances improve greatly when you have someone standing next to you and in front of you and behind you...

Okay! I do want to very briefly elabourate on what I just mentioned and refrained from mentioning several times throughout this review. Musically, "World Tap In" is exquisite. It is REALLY good but, because of its subtleties and simplicities, I don't think that this album will ultimately be appreciated for just how pleasing of a listen (on the most casual of levels) that it actually is. I go back to the "Bless Go Roun" set and it's seriously approaching those levels and, it's a better album than "BGR" was in my opinion. Credit goes to Higher Bound Productions there because they made them both. 

Overall, because we don't know when or even if we'll get another opportunity like this (although I think we will and I'm REALLY hoping that someone out there is working on putting together a 'greatest hits' type of release for Akae Beka) (but I doubt it), I'm definitely making the most of "World Tap In" and, outside of this review, I'm looking forward to enjoying and digging into all of these songs for years to come. That is a gift that is most unique to the music of Akae Beka. Sure, it can be pleasing and fulfilling and gratifying at once but the way Vaughn Benjamin made music... it almost came with a time-delayed function. Much of his work will carry even more value years on from now. "World Tap In" is not only another winner from Akae Beka and Higher Bound Productions, it's also another VERY healthy collection of music to add to a catalogue that is truly immortal and I got EXACTLY what I was hoping for and DAMN I'M HAPPY!

Rated: 4.40/5

Higher Bound Productions

2026

{Note: Album is available on vinyl}

Completely Random Thoughts: Vintage Sizzla??

Okay so, I had tons & tons of fun putting together the Sizzla 50, a list of fifty random songs in celebration of Kalonji completing his fiftieth year on the planet. Putting that together fairly quickly (I don't know if it took more than two or three hours) was a BEAUTIFUL dosage of nostalgia and, despite the fact that I had so much room to work with, I still left out quite a few tunes that I had originally planned to put on the list (such as the entire "Ghetto Youth-ology" album, for example). It was a fun journey back through the classics and, on one hand, it made me miss them, while on the other it made SO appreciative of how well we had it back then.

Typically, when we talk about Sizzla Kalonji at his absolute best, the discussion centers around the work that went into a pair of albums, "Praise Ye Jah" and "Black Woman & Child", which is completely fair. Those two releases have reached a legendary status and that's fine. They're deserving. The latter is the single greatest album I have ever heard in my life to this very day and, all these years later, I still find myself running into new things that I hear on "PYJ". I wanted to take a little look at some of Sizzla's earlier work that didn't/doesn't get as much attention, in retrospect, as "Black Woman & Child" and "Praise Ye Jah" but definitely are big demonstrations of a supreme level of skill. 

The biggest example of this is probably "Royal Son Of Ethiopia" for Greensleeves, from way back in 1999. There used to be a fairly strong contingent of individuals who maintained that "Royal Son" was every bit as strong as "BW&C" & "PYJ" and although I do not agree... the album lays a serious claim to being the solidified #3 out of his catalogue. The very first song on the album, 'As in the Beginning', was literally PERFECT (probably in the top ten of my favourite Sizzla songs altogether) and although it was the highlight of the album, it was the brightest of stars in a sky FULL of them. That set was absolutely LOADED and other standouts included the likes of 'Eastern Mountain' with Luciano, the intoxicating 'Burn Dem Turf', the blistering 'Ripe Leaf' ('Ripe Leaf' was PROBLEMS!), 'A Wah Dat', 'Break Free', 'Babylon Homework' ["Who dem go fool seh Black man a monkey? Black man, Black woman a di first monarchy!"], 'Break Free' and I could go on and on. 

As I said, "Royal Son Of Ethiopia" was Sizzla's Greensleeves album for 1999, if you go and look at what he was doing for VP Records around the same time, you don't see anything quite impressive, singularly, but you see a group of albums whose best represent some of the finest work of the entire genre at the time. Lumping together the three VP albums of 98-00 -- "Freedom Cry", "Be I Strong" & "Words Of Truth" -- when you take THE best that they had to offer, in full... BOOM! For its part, "Freedom Cry" was FUN. It leads into a point that I'll probably end this post on so I'll save it for a minute but it was a really good time of a Roots Reggae album of its time. It's very melodic in tunes such as 'Saturated', 'Long Journey', the kind of funky 'Rain Shower', 'Ancient Memories', 'Lovely Morning' and even 'Till It Some More' to a degree. Take that and combine it with the class of the album, 'Real', 'Love Amongst Me Brethren' ["To Sizzla, that is heaven"] and 'Dem Ah Try Ah Thing' and you have an album which may not represent the chanter at his absolute zenith but PAINFULLY close to it. While 1999's "Be I Strong" wasn't as fit as "Freedom Cry" it, too, also served up some unforgettable material on its highest side and it had a certain 'levelling' quality to it (which makes no sense at all but I'm going to explain it). The two signature tunes, at least on paper, from "Be I Strong" were the title track and "The Vibes" which featured Capleton. Neither one of those songs are amazing. They're pretty good and there's nothing wrong with them but there was far better material to be found there and most of it is gone. You don't remember damn near BRILLIANT Dancehallish Roots tracks like 'Powerfull', 'Men & People', 'No Chance', 'Stop Violate' and 'Love Is All' very often. And that's what I meant by "levelling". "Be I Strong" hit a certain level of quality and, for the most part, it just STUCK there. It never went too far up or down and, if you enjoyed that sound, listening back to it today shows a different side of what came before it in sound but one still honouring the downright monstrous talent behind it. Then there was "Words Of Truth" which kind of sits out on an island of its own because of the fact that the album came accompanied by a second disc which was a live performance of Sizzla's (which was and remains a VERY cool addition by VP). That fact will probably always keep this album not too far forgotten but, perhaps, we do tend to overlook what was going on with disc #1 a quarter of a century later. 'Enemies Are Confounded' ["Babylon! You're a dirty bastard!"], 'Them No Good', 'Attack' [BOOM!], 'Love Ah Di Way', 'Step Up' and the GORGEOUS opener that was 'Lift Mine Eyes' were EXCELLENT tracks present on "Words Of Truth". Again, they weren't his best but they weren't galaxies away either and they represented fine, collective, next steps and expansions on his sound in my opinion. 

What Kalonji would do with VP in the next two years isn't worth discussing because it's been talked about ad nauseum (and if you do need more, check HERE and HERE) and deservingly so; both albums were fantastic (and I just thought of a cool conclusion to this, so I'll bring up one in a minute). But let's go back and see what the next two years had in store for Sizzla on the Greensleeves side. In the year 2000, they'd push out the absolutely FANTASTIC "Bobo Ashanti" which, for me, is a top ten level Sizzla album (and it isn't eighth, ninth or tenth) and would've been a Modern Classic were it not for the fact that it missed the cutoff by a year. "Bobo Ashanti" is headlined by a tune, 'The World', which is one of a very few in the conversation for being THE single greatest song I've ever heard from Sizzla altogether and what followed were SUPREME winners such as 'Strength and Hope', 'Wicked Naw Go Prosper', 'Grow U Locks' ["....and wear yuh turban. Pon di disobedient di fire burn pon!"], 'Attack', 'Courage', 'Do Good' and others still. Charged with following "Bobo Ashanti" was an album which, although it didn't reach those levels, admittedly, has WELL become a personal favourite of mine, 2001's "Rastafari Teach I Everything". Highlighted by a downright GLORIOUS ode to Mother Africa, 'Beautiful', I think "Rastafari Teach I Everything" is, arguably, THE most underrated release of Sizzla's entire career (I'm REALLY biased if you haven't figured that out) as it is STOCKED with excellent tracks and no one remembers! 'Better Make Sure', the THUMPING 'Stay Clean', 'Energy', even 'Give Her The Loving' was solid, 'Escape From Prison', the title track, 'Revenge' and, of course, the all sorts of fun ganja tune, 'Yes, I Get High' ["Rastafari a who we are. Identify me now - BY MI SKIN COLOUR, YOU KNOW THAT I'M A STAR!"]. Always at least solid, over the course of the past decade or so, "Rastafari Teach I Everything" has become special to me and, again, it fits so wonderfully into the type and the QUALITY level of work that Sizzla was doing at the time. The Sizzla & Greensleeves releases would lose their way shortly thereafter with albums such as "Rise To The Occasion", "Soul Deep" and that other one whose name I can never remember and don't feel like looking up (Street or Ghetto SOMETHING) ranging somewhere between awkward and awful; before righting the ship somewhat with "Life" and COMPLETELY with fine albums "Waterhouse Redemption" and "Ghetto Youth-ology", making way for the MAMMOTH "I-Space" in 2007. 

And, before we do end, I'd also be doing you a disservice if I didn't mention another pair of albums from the time, "Good Ways" & "Liberate Yourself". The former is the followup to "BW&C". Produced by the brilliant Bobby Digital, "Good Ways" featured a very loose but old school type of vibes and it carried some serious HAMMERS such as 'Bless Me'... I was about to go down and list a heap of tunes like I've been doing thus far but fuck it.... pretty much the entire album was a HAMMER! I would point to one song, specifically, that was an excellent dose of what was to come on the Dancehall end: Sizzla's cut of Jazzwad's WICKED Riott Riddim. It was aggressive, POSITIVE and uplifting music which would soon become a giant staple of his output. Like "Words Of Truth", "Liberate Yourself" came with a wildcard. It also came alongside a second disc; this one a straight compilation with the likes of Bushman, Kulcha Knox, Terry Ganzie, Prezident Brown and even the legendary aforementioned Garnet Silk and Luciano, amongst others. As for the actual album, while it most certainly was NOT great (and that opener... probably turned more than a few people off from listening to all that came after it) ('Inna Africa' may just be Sizzla's WORST time from the period altogether), it was saved from total quality oblivion by 'Forever Be Strong', the striking 'Waan Go Home' (probably the best song on that album), 'Fire Fi Bun', 'By Your Words' and maybe one or two others. While "Liberate Yourself" may lack (it does) in overall strength and levels, it does give you glimpses CONSTANTLY of the brightness of its source. Generally speaking, LISTEN to the work Sizzla was doing. I point out in certain individuals -- whose music I absolutely LOVE -- such as Vaughn Benjamin and Lutan Fyah, who I regard as being bona fide masters of the spoken word with some of the things they're capable of doing, lyrically; but aren't necessarily the most gifted at making melodies. Benjamin, for his part, often doesn't even seem to give a damn about the riddim behind him, while Lutan Fyah (although he's better than he was earlier in his career) can come off as being somewhat rigid and less malleable). Sizzla was positively BRILLIANT with his words AND he made a brand of modern Roots which was WHOLLY ENTERTAINING and gratifying to the ears. He could glue himself to a riddim of several different types and do so with a poignancy virtually without equal. Also, he had a way of writing which combined both the spiritual and tangible worlds effectively. You did not have to seek His Majesty to find clarity in his words and, at his absolute best, he spoke to EVERYONE willing to take the time to listen and, again, listening wasn't labourious. You did so willingly!

There is an elephant in this room which I alluded to but did not mention outright when it comes the "vintage" level or "PRIME" of Sizzla Kalonji and that is "Da Real Thing". Despite coming years following "Praise Ye Jah" and "Black Woman & Child", "Da Real Thing", arguably, has had even more influence on the genre and played a greater role in bringing new ears to the flock (given just how outwardly popular it became) (and remains). The title of that album is significant because, if I recall correctly, its maestro, the aforementioned Bobby Digital, insisted on it. The story was that Sizzla, himself wanted to name it "Thank U Mamma", after its best (in my opinion) track but he relented and it became "Da Real Thing". There's an obvious connection here but I think that, given the fact that someone SO DAMN responsible for supplying much of the ammunition which we recognize as Sizzla's finest output wanted to, ESSENTIALLY, declare another album to BE part of that. It was just three words but they included an album into a certain level and also excluded it from one (<that being more of the Dancehall oriented and controversial material that Sizzla was doing around the time). That is VERY POWERFUL coming from who it's coming from. It sounds like something You and I would do, as fans. So, while we look at two very large pillars as being THE examples of a level that remains Sizzla's finest after all these years (and do so fairly enough), perhaps that thought is INCOMPLETE; because when we examine the entire general era, in full, what we find is that the genius seeped into other areas, whether we realized it or not. Combine that with a level of [over]activity that may be unmatched and where you end is at an EXTREMELY robust catalogue - particularly LOADED with diamonds at the front.