Trustworthy. I don't know how long this review is going to be but I know it's going to be much longer than necessary. I could SURELY cut out quite a bit of it and still get my point across but, of course, I won't. I've started doing smaller reviews for smaller releases and I will continue to do those but, most likely, even those are too long as well. That's me and if you frequent these pages to any degree (shame on you!), you know it and you probably expect it. I'm the guy that writes really long reviews and have for... well over twenty years at this point. When people send us material, it's what they expect from me as well (on that side, if your album is really, I would imagine it probably makes you feel quite nice to see someone talk THIS much about how wonderful of a job you've done) and I do my best. It's the little thing that sets me apart and I think, in that at least, I'm fairly reliable. I rely on others as well. When I have a feeling for something that music can do for me, I go looking for certain people, in particular. Maybe I'm working out and I need something really aggressive to help get me through, Bounty Killer has decades worth of tunes for just that situation. It encourages really digging deep and Bounty's the kind of guy, at his best, who will kill you and make fun of you for dying and I can't speak for anyone else but sometimes I NEED THAT during a hard workout... especially at my age. If I want to lose my mind with my kids, there's Bunji, Machel, Destra, Skinny Fabulous, Fay-Ann Lyons and a long line of others capable of providing the fam with an astounding level of beautiful delirium. Other times, still, I need to feed my brain. I'm an overthinker (which is why these reviews are the way they are) and I require SUBSTANCE. I need to be challenged, I need to hear someone who can do certain things with words that provoke thought. This is tricky because there're so many talented writers in and around Reggae music that have talents that can reach you in a very different manner. I think of someone like Jah 9, for example. Jah 9 is a poet (and a genius) and her words almost always seem to have a destination. She's headed somewhere and it's going to take some effort on the part of the listener if they're interested in going with her. Contrast that with someone like Vaughn Benjamin. That man provides information. He educates and if you've failed to arrive at least at a certain level, you will be COMPLETELY lost. Let's talk about Sizzla Kalonji in his prime. At his best, he put forth a level of both education and entertainment that, arguably, remains unmatched in the genre's history. Some of the things he put together were just JARRING! I'll also go to Lutan Fyah who comes off as this extremely hard working and diligent writer who can push material as vividly about a single emotion as he can relating some particular event. OTHERS STILL, such as Aidonia and our old friend Saik have an almost theatrical aspect to their work (Bunji Garlin gets in there as well) as they are capable of using words in a excitingly tongue-twisting way that forces you to be at your sharpest, just to keep up. Today we're going to take a look at someone who, in certain ways, contains aspects of them ALL; truly a lyricist whose attention to detail and SKILL is downright staggering.
2011
Kabaka Pyramid is a VERY interesting musician for several reasons. Already having a relatively surprising Grammy win to his credit (that album (more on it in a second) WAS the best from that year in my opinion but the Grammy award has, until recently, seemed to be something of a popularity contest. After Kabaka Pyramid and, most recently, Keznamdi, maybe times are a'changing), the Kingston native does something that I don't think I've seen in Reggae for a very long time: He revels in his SKILL. The most immediate comparison I can think of would take us back to the nascence of Vybz Kartel and even he didn't seem to do what Kabaka Pyramid does. Kartel was ridiculously gifted -- like Aidonia coming after him -- and though he clearly was aware of it, the celebration of his talents came more so through his fans.US. Kabaka Pyramid, on the other hand, has honed his craft to a deadly sting, he KNOWS it and if you do not, he's about to give you a GIANT opportunity to become good and acquainted.
2022
I'll go back to what I said about Vaughn Benjamin; in that his music is best enjoyed when you come with a certain level of knowledge, education (formal & informal) ('book smarts' & 'street smarts') and life-experience prior to listening (old Kalonji was also like that). The same goes for Kabaka Pyramid. If you don't have that background that you'll probably find yourself either all over Google while listening, or sitting there with a dictionary, encyclopaedia and a thesaurus ["Focus on di acronym fi open up mi chakra dem"] just to get through! Also, if you've been following along with his career, then MAYBE you'll have a memory of what he did in 2011, when the Pyramid dropped the "Rebel Music" EP. If you did THAT, then maybe what he's doing, a decade and a half later, with "Rebel Music - The Lyrics Tape" will carry even more weight with you that the already HEFTY "new Kabaka Pyramid album" thing that it has going for it, inherently. If you've been here for awhile, you might also be familiar with the previously alluded to "The Kalling", his most recent set prior to this one which reached in 2022 and would net the Pyramid that Grammy I was telling you about a minute ago (and there was also the compilation for the Pon Di Island Riddim last year). Like "The Kalling", "Rebel Music - The Lyrics Tape" comes to fruition via a union between the Pyramid's Bebble Rock Music imprint, and the Marleys' Ghetto Youths International. "The Kalling" was absolutely excellent and was as strong of a piece of evidence of his towering skill that exists. I don't think I've ever had a situation where my personal favourite album also registers as a Grammy winner (my favourites probably hardly ever even get nominated in the first place) but CLEARLY, we were all in agreement as to who was the real champion for that year. Given the immense level of competition in 2026, it'll be curious who eventually takes top honours for this year, however, I can assure that an undeniable, legit contender has just entered the arena. Let's get into it.
Have I mentioned just how completely ABSURD 2026 has been? On the very same day that Kabaka Pyramid released his new album, German star, Gentleman did the same with his first album in a long time, as did Ky-Mani Marley (who is a Marley); not to mention the line of big names we've seen with releases in Reggae throughout this year (see more here) Kabaka Pyramid throws his name in as well with "Rebel Music - The Lyrics Tape" which begins with one of its biggest shots, 'Stand Firm'. Featuring another fine lyricist, a favourite of ours and good friend of the Pyramid's, Pressure Busspipe, as well as the voice of the legendary Stepping Razor, Peter Tosh, 'Stand Firm' sets a mighty tone for what is to come after it. There are stretches of this tune, particularly early on, which are just.. explosive.
"Take up unuh head out yuh phones and device
Take a look around and ask, are wi really satisfied?
How many likkle girls ahgo dead before wi rise up?-
And expose di false leaders inna di disguise
Mi sticking to di task and mi nah apologize
If dem inna genocide, wi ah string dem up alive
DEM CANCEL MI SHOWS BUT MI SIT BACK AND REJOICE
AH SO MI GET FI KNOW THAT MI DID AH DO SOMETHING RIGHT!"
'Stand Firm' covers a lot of ground but, as you can see, it does so fairly specifically... which is just ODD! Again, however, Kabaka Pyramid hits points here which are of extremely rare air, lyrically, and what results is downright dazzling. Did I mention Pressure was on this tune as well?? I was going to say something like "Pressure steps up his game", or something like that, but that's inaccurate. Pressure's almost always on fire and he's steadily blazing on 'Stand Firm' which, EASILY sits amongst the finest tunes on "The Lyrics Tape". I talked a bit, earlier, about how you have all of these talented wordsmiths and, in some ways, Kabaka Pyramid has certain aspects of his styles which resembles all of what they do best and while that's true, he also has a style of his own: You play a riddim, he attacks it. What happens on the second tune on this album, 'From Weh Day' is just... kinda disturbing.
"Biggup every veteran weh ah support young artiste
GONGZILLA FLY DI GATE SO, LOYALTY, WI NAH SWITCH
A dem yah kinda ting a weh Jamaica start miss
Reggae music it left behind and it ah mek mi heart start twist
Mi just ah do mi part fi keep di fyah chanting
Rastafari governance, ah It mi walk wid
Some worry dem ah si
Chris Ellis, Black AM I and Ghetto Youths mi par wid
Mi fly across di world, every flipping continent
Then mi land back a Jamaica and it's not so prominent
Pure folly just ah gwan and it's not an accident
WI HAFFI REPAVE DI ROAD AND LAY DOWN SOME BLACK CEMENT"
WHAT?! What the hell is that?! The Pyramid breaks all sorts of laws and shit and commits atrocities against mankind that should probably get him locked up and I LOVE every single moment of it! That IS the single best tune on the album and one of the standouts from Kabaka Pyramid's entire career. Things slow down a bit on 'Rebel Music [I'm Back]' but the quality doesn't miss a step and although it's kind of Hip Hoppish, which isn't a favourite of mine, it's a nice change of pace in my opinion.
"Bebble pon mi chestplate
I put my life in these records so just press play
Mi go deep inna di levels like an x-ray
Wah mi read woulda put pressure pon yuh head space
Dem a dead-weight
MI HAVE DI WEIGHT OF DI WORLD ON MY SHOULDERS SO EVERYDAY A LEG DAY"
"Many are called but di chosen are few
Haffi close - who yuh holding on to
Some a dem a vampire, yah soul dem waan use
Drain yuh like battery
Blow you like fuse
DON'T KNOW DEMSELF, MI SURE DEM CONFUSED
DI MORE DEM CONSUME, DI MORE DEM UNTRUE"
You could say the same (hopefully you've caught on with what I'm doing for EVERY SINGLE TRACK on this album by now) (thought I'd try something, fittingly, different this time) with the old school Dancehallish 'We Dem Wah', breezing itself to near the head of this lyrical masterclass.
"A which natty dat, just ah chat a buncha ting
A siddung pon di riddim, like a lizard pon di limb
Ah grab di microphone, a bagga lyrics him ah fling
And slew Goliath just like a David wid a sling
DI PEOPLE DEM AH LISTEN AND YOU COULDA DROP A PIN
AND GRANNY MESMERIZED AND SHE NUH KNOW WHAT HAPPEN
Style weh mi gi her have her waistline ah spin
Lockdown Jamaica and mi lockdown foreign
Fly cross di stage, a bagga lyrics man ah bring
Retro style but di style genuine
Flow dem precise like a needle or a pin
WI NO SIDEKICK LIKE BATMAN NOR ROBIN
SUPERMAN AH TEST MI AND HIM STILL NEVA WIN
Give him two high foot and just go kick off him chin"
Kabaka Pyramid puts nary a damn TOE in a wrong position during the entire duration of 'We Dem Wah'. It's the type of song I would have LOVED to take back thirty or forty years ago and put it in the age of its riddim, just to see how fans from back then (my parents' age) would have reacted to it. In 2026, it's flames. No site of the fires outing on 'Cyaa Cool Di Fyah', AT ALL and DIRECTLY.
"Wi light a fyah pon dem depopulation plan
Tell dem seh wi dem caan hide no information from
Bill Gates and him vaccines are di greatest scam
So dem create dem disease fi get dem paycheques stamped
Dem have di money fi end world poverty
BUT DEM AH FLY, GO A MOON AGAINST THE EARTH'S GRAVITY"
"The Lyrics Tape" wraps up its first half with another of its definitive highlights. I hope you've been paying attention, taking notes (there may be a quiz at some point) and let us proceed!
"Jah Jah shine yuh light inna di darkness
Know seh mi nuh perfect, mi nah faultless
Still mi just ah work and trust di process
Protect mi from di demons dem weh heartless
Mi name might not be trending still, regardless
DEM NAH GO SI NO ENDING TO MY PROGRESS
Wid certain type of energy, mi nah flex
Dem lef mi out dem plans but still mi nah vex
Mi just ah do mi ting, ya know
Work pon mi vocals; mi well waan fi sing, ya know
Nuff nah no hope and wi dem si win, ya know
So you can achieve anything once yuh skilled enough
Caan be delusional all if yuh know yah great
NUFF LOST IN DELUSION AND SEH DEM AH RUN DI PLACE
RASTA A NO RAT, MI NAH GO RUN INNA DEM RACE
No time - lava splash inna dem face"
You really could have named the whole damn album "Higher Learning" and have been just fine because that's what it is. This tune, I'll get into just a little bit more because I really like its direction and although it kind of spirals to make that point (and that's a good thing), 'Higher Learning' is DEFINITELY one of the most direct on this album. The song is just about progressing and improving -- whatever that may mean for you -- and you put that in the context of "learning". You can also say "thriving" or "winning" or even "trying" and maybe even "failing" (sometimes you must go back in order to go forward) and the Pyramid acknowledges all of that. 'Higher Learning' is BRILLIANT. Most of the songs on this album sorta/kinda are or are in at least spurts and bits and pieces but I have to stress in this instance because that umbrella-ing theme really ties in well with the actual music. 'My Baby' is your changeup and it's probably precisely what you're thinking: It's a love song.
"And she loves mi and I love her
Spend time with me while I'm on earth
YOUR STYLE BRINGS PEACE, I know your worth
A diamond piece; the finest pearls
Yuh style and grace is clear to si
Just know your place is here with mi
I si your face everywhere I be
I keep you safe, you're the air I breathe
Who dem waan fi trick, dem caan fool mi
Girl you a di only one mi si that really knew mi
So much compassion, you're patiently rooted
ALLA MY FLAWS, I JUST TRY TO IMPROVE IT
Still she love mi and still she nuh judge mi
And when I was struggling, she put no one above mi
And now we mek it out and we're living in luxury
But di only ting that matters - when yuh kiss and yuh hug mi"
Love songs are tough. They can be kind of sappy and just... too damn mushy at times and I'm not going to exaggerate the quality of 'My Baby' (that doesn't sound right but you know what I mean). It does NOT rank amongst the best on "The Lyrics Tape" but READ IT! Is it one of the best WRITTEN love songs of its kind that I've heard??? Yeah. Yeah. Probably! It's very good, very SMOOTH and just styling as the obligatory love song and leaving it as such will prevent you from hearing some truly impressing wordplay - even in this capacity that you RARELY think of for such displays (it is super unusual because love songs usually win with a SOUND. This sound isn't amazing but what is said, on the other hand, is a different matter altogether. Maybe 'My Baby' did work for you but didn't necessarily get you moving at all. If that's the case (and even if it isn't), check one of the goodest (HUH) times to be had, 'Rotation'.
"They don't want to si us unite
Wid Reggae music, we'll be alright
Just gimme more roots and mi heritage
Music is where it is
It help mi pick and choose all di truths from di heresy
Fat piece a riddim, mek I use up di leverage
FLOWING LIKE DI JUICE AND DI BEVERAGE"
'Rotation' also serves a purpose and a damn delightful one. Listen to this beautiful sound and let it do whatever it does for you... then pass it on. Play it for someone else. Let them hear it and love it and maybe they'll pass it on as well. Love the riddim there as well. It isn't THE GREATEST THING I'VE EVER HEAR but it works well for that tune. Something about the early days of 'Roll Up' REALLY caught my attention and I did think I was about to hear something special and, in spurts, I suppose, I did.
"Sometime it's hard
When everything ah stress mi out, mi need a draw
Di only thing weh get mi out this prison wall
MI FIND OUT FROM MI SMALL - SEH DI HERB AH LIFT MI UP WHEN TIME MI FALL
Mi no really waan depend pon dis, but mi haffi mention this-
More time mi waan fi travel to a next dimension quick
Mi nuh waan fi use nothin weh psychedelic
Cause mi dun psyche already
And this anxiety a kinda heavy
I just wanna roll up and set my mind at ease
I just wanna roll up and smoke some high grade trees"
The kind of easy nature (it's.... calm but there is a underlying sternness to it, I should say) to 'Roll Up', when bubbling around the topic, gives this one a unique feel to it. The beginning (right when it first kicks in), however, is downright EPIC as everything starts to develop with this beautiful drumming. Lastly I the very HEAVY 'Action', which I had heard prior to the album's release and while it isn't another remake of the tune of the same name by Nadine Sutherland, Terror Fabulous and about sixteen other dudes, it is a nice way to end "The Lyrics Tape".
"Mi nuh dweet fi di likes
Mi nuh dweet fi di comments
Just ah do mi best wid my God-given talents"
Like several of the tunes here, 'Action' is really just a statement. It's poetic and it has a musical aspect (it is a song) but Kabaka Pyramid had something to say, he found a way to say it and 'Action' was what come of it.
There're a few tunes on "Rebel Music - The Lyrics Tape" that don't really follow the expected course of having a chorus and bridges and things like that. They're literally comprised of Kabaka Pyramid just getting things off his chest or displaying his "God-given talents" and that's just fine. I also want to say something of the music on this album. It most certainly is not the main attraction but, for the most part, it's just fine and it never threatens to take the show away from the actual star, which're the words being spoken.
Overall, I do hope that we appreciate Kabaka Pyramid and the others that I've mentioned and others still - like REEMAH, Jr. Gong (who is an executive producer for this release through Ghetto Youths International) and CAPLETON) - for such a powerful talent that they possess because it's something that, again, doesn't tend to be stressed so much in Reggae the way it does in other genres, particularly Hip Hop. In saying that, the Pyramid has clearly been influenced by Hip Hop so that maybe explains his immediate confidence in his lyrical ability, especially. Confidence can be misguided or just flat out wrong, however, and we've seen examples of that in the past. This is not one of those cases. In an arena of talented gifted writers, on "Rebel Music - The Lyrics Tape"Kabaka Pyramid explicitly states his case for PERHAPS having the single sharpest pen of them all. Excellent.
In what is becoming an all too often tradition around here of sorts, today we give thanks and honour the contributions of someone who we, most unfortunately, recently lost physically. From the time Fantan Mojah made his grand arrival via his signature LARGE, anthemic brand of Roots music, he announced himself as someone who would be damn difficult to ignore over the course of the next quarter-century or so; along the way providing the genre with some of its most unforgettable tunes of the era. At the peak of his popularity, 'The Macka Tree' was one of Reggae music's most reliable hitmakers of his era and he has left us with a BEAUTIFUL body of work as he rests.
Today, just as we did with Cocoa Tea and Determine before him, we pay tribute to someone who is set to perform his first sold-out show in Zion. Signatures: Fantan Mojah
1. 'Thanks & Praise'
Here to stay. There may be (there ARE) HUNDREDS of Roots tunes with the title 'Thanks & Praise' or something very similar (i.e. 'Give Thanks & Praise', 'Thanks & Praises'...). It's a very common title and if you listen to Fantan Mojah's version of it, you won't hear a damn thing that you won't likely find on any of the others in terms of ideology. What differs it is such a POWERFUL combination of passion, energy and conviction with that SWEET AS ALL HELL riddim. Around twenty years ago, the world's leading Dancehall producer, Don Corleon, ventured out of his comfort zone and showed that his kingdom covered farrrrr more ground that just songs about girls, guns and ganja with the very well received Drop Leaf Riddim. He would do it again, almost immediately, with the Seasons Riddim which was arguably even stronger. It would carry bona fide hits from the likes of Morgan Heritage, Wayne Wonder, the aforementioned Jah Cure, Vybz Kartel, Natural Black (who scored with the single greatest song he's ever done, 'Far From Reality') and Mojah. With the exception of Natural Black and maybe Cure (whose 'Love Is' was just a damn devastating display of his most STRANGE of gifts that has ever existed) I'd CLEARLY put 'Thanks & Praise' ahead of the pack and when you REALLY dig into some of that material, that's saying ENDLESS about the nature of 'Thanks & Praise'. No it wasn't revolutionary in the slightest and it wasn't doing anything that hadn't been done countless times before (or since) but in its own UNIQUE way, 'Thanks & Praise' was magical and it still is.
2. 'Hail The King'
Take nothing at all. Let's talk about how incredibly interesting 'Hail The King' is for a minute. It'd been a minute since the last time I'd laid ears on this tune and, even after alllllll these years, I find it downright JARRING. It is such a nice song and it hits you on so many different layers. You know where I am with it in 2026?? I'm thinking about EFFORT. I'm thinking about the punchline:
"IT NO TAKE NOTHING AT ALL FI HAIL THE KING!"
Saying that to praise His Majesty requires NOTHING AT ALL from you. It won't cost you any money, you don't have to go anywhere, you don't have to break a sweat, you don't even have to talk to anyone! It is as simple for you as rising in the morning! It should be a natural process that occurs in your body and, from the standpoint that Mojah was coming from, and considering the effort and passion he put into it, he almost comes off as a bit frustrated with the masses but he's doing part. He's done his part. Now I must do mine and you must do yours.
3. 'Stronger'
Make me stronger. The title track from Mojah's second album, the Maximum Sound produced 'Stronger' (biggup Frenchie) was another sizable hit from the Macka Tree. A kind of a dual-leveled effort, 'Stronger' was both a praising tune and one which dealt with responding to negativity and those who may be working against you in a slightly more tangible sense as well. Yes. It was fairly well written but the lion's share of the appeal for 'Stronger' were the sonics. Although it didn't have the performance of some of their others, strictly as a music composition - the Jah Powers Riddim which supports here was probably one of the finest tracks Maximum Sound has EVER done and this was, FAR AND AWAY, its biggest moment (respect to Jah Mason though who did quite well with his 'Things Will Be Better').
'Stronger' was exhilarating, it was powerful and one of the STRONGEST of its time and Fantan Mojah's entire body of work.
4. 'Tell Lie Pon Rasta'
CONSPIRACY!Frenchie & Maximum Sound were back at the helm of another sizable hit registered by the Macka Tree, the hard-to-forget 'Tell Lie Pon Rasta' which utilized their gorgeous Session Riddim (where it reigned supreme). The song found Mojah (appropriately) concerned with the image and perception of Rastafari and how the walk is so often misunderstood.
"Dem talk alotta things bout Rastafari
Bout how wi a cult, wi a Blackheart man
Dem seh Rasta mean and Rasta no clean
And how wi nuh have no self-esteem"
The song's direction has always at least somewhat reminded me of another favourite of mine, 'Rasta Still Deh Bout' by Lutan Fyah & Josie Mel and while 'Tell Lie Pon Rasta' was most certainly a bit more on the proverbial 'front foot' both songs have etched themselves in my memory for similar reasons and I'm still celebrating them both as much I possibly can!
5. 'How Can I Be Ungrateful' featuring Zareb
After all that Jah has done for me. While putting this list together, it has occurred to me that I could legitimately make a strong case that THREE tunes that're combinations between Mojah and criminally underrated, sweet singing Clarendon native Zareb (formerly Mr. Flash) (before that he was Singing Flasher) could make this list. I'm still working on it and I'd be surprised if at least two of them don't make the final cut but when I got them all together the one that I was most certain about was this complete GEM of a tune produced by Shore Jam on their LOVELY but overlooked Ruff Life Riddim (Natty King had a golden piece of tune on it as well).
"Jah give me health and strength upon di battlefield
Teach mi how to love my brother and mi sister that is real
JAH YOU FULFILL MY NEEDS SO MI NAH GO STEAL
Rastafari blessing never conceal
Di wicked dem ah pray fi mi ting pop dung a road
The Most High a mi Guidline, dat a fi mi code
Preach violence: Eye fi an eye, soul fi a soul
When dem check seh mi dun lef get a new episode"
The song's title (and chorus) spoke for itself. How in the world can be an ingrate, given everything that I have going for me in my life. There're ALWAYS people in worse situations than you, so it's important to appreciate EVERYTHING that you have going for you in your life.
6. 'Rastafari Is The Ruler' featuring Zareb
What a joy it bring. If you didn't get the message on 'How Can I Be Ungrateful', Mojah and Zareb come back with the harsher 'Rastafari Is The Ruler' to make sure everyone is clear precisely where they stand. Mojah, for his part, really stepped up the intensity on 'Rastafari Is The Ruler' but we ultimately arrived at the same point, when contrasted by Zagreb's very smooth vocals. A somewhat overlooked ultra-passionate and LOVELY tune that has stuck with me through the years and, again, one of several testaments to just how well these two worked together.
7. 'Hungry'
Open up the door! As we always do, we begin with what I think is likely Fantan Mojah's most memorable tune and it was also probably his first. The absolutely MAMMOTH 'Hungry' would not only go to signal what was coming in the way of the burgeoning vocalist but, more specifically, the work he would go on to do with Downsound Records, who lent the St. Elizabeth up and comer their reimagined Invasion Riddim, which he would return to them with a crown!
I use the word ANTHEM to describe much of Fantan Mojah's music. An anthem for me is a song with a big, bright sound that sticks in your head and you can literally picture people singing along to it, WITH PURPOSE, there's a cause behind it. That describes 'Hungry' perfectly and, all of these years on, we're still singing it.
8. 'Nuh Build Great Man' featuring Jah Cure
Babylon be still. I don't think I'm going too far at all by calling this LUSH combination with the single greatest voice ever placed in a human being better a CLASSIC. 'Nuh Build Great Man' did a heavy amount of damage in its day and its presence on a list like this of mine was a definite.
"Dem nuh build great man
Dem only kill great man
Babylon be still and no underrate man"
For my ears, 'Nuh Build Man' was a SUPPORTIVE anthem. It was about seeing people who're doing positive things (like making music, for example) and putting your backing (whatever that may mean for you) behind them. I can say that such a song, theoretically, probably isn't terribly rare in the genre but you don't usually hear them sounding like this. So while the subject matter wasn't necessarily outlandish, the QUALITY of the material most certainly was: One of THE best songs Mojah or The Cure have ever done.
9. 'Vampire'
Rubber tire.London Individuals pulled in a load of big names for their gorgeous Billion Riddim, including Fantan Mojah who, arguably, gave them their single biggest track altogether. I think this one just may be the most unlikely of my entire list but I've always LOVED 'Vampire'. There're certain songs on which the artist almost sounds like... they are OVERWHELMED with just... disgust. That was this song. Mojah comes off like certain people's behaviour is SO DAMN NASTY that it has led him to make 'Vampire' with such a brilliant level of passion. It isn't messy or overdone at all. 'Vampire' hit every mark for me and has, quietly, become one of Mojah's strongest selections altogether for me.
10. 'Most High Jah'
Deliver me. The infamous Flava McGregor was at the height of his powers when he delivered to the world the biologically perfect Rub-A-Dub Riddim (THAT THING WAS FLAWLESS ON A MOLECULAR LEVEL!). The track would give life to a number of hits from the likes of Etana, I-Octane, Morgan Heritage, Capleton, Richie Spice and Ginjah ["NEVER LOST MY WAYYYYYYYY!"] [BOOM!] but, to my opinion, it was Mojah taking top honours with the HALTING 'Most High Jah'. Not only was it the best song on the Rub-A-Dub but it's also my favourite song that he's ever done. Period! 'Most High Jah' featured a version of Fantan Mojah that came off as highly emotional (he sounded like he was going through some things when he recorded it) at times but not to, obviously, the detriment of the tune's quality - it enhanced it! Listening to it now, of course, 'Most High Jah' has an even greater significance for what has happened and it hits me even harder in 2026.
11. 'Authentic Love' featuring Zareb
What I'm searching for. I told you this might happen. After considering everything, you will find THREE tunes featuring Mojah alongside Zareb on this list and for good reason. The final of the trio also just happened to be the title track for the singer's (very overlooked but SOLID) debut album from nearly twenty years ago now. 'Authentic Love' was just a GORGEOUS love song across a cut of the Hard Drugs Riddim. Love songs can be sorta odd and you won't find the ranks of these posts full of them but there is definitely something to be said when someone gets it RIGHT. 'Authentic Love' was beautiful and ENTERTAINING. It wasn't some sappy 'oh baby I love you forever' type of track and, at least for me, stands as a signature for both Mojah and Zareb.
It's too bad that we'll never get them back together again but what they've left us with as a a pair (and there're other tunes they've done) (check 'Good Meditation' - also a big tune) stands as some of the best work of both and unforgettable in my mind.
12. 'Rasta Got Soul'
"Many are gone but not forgotten"
...how damn fitting is this song now. 'Rasta Got Soul' was Fantan Mojah's tribute to this wonderful artform and those who came before and paved the way allowing individuals like himself to soar as they did and still are and now... he's joined them!
"No, you caan influence mi fi go do another ting
FROM MI BORN A REGGAE MUSIC MI AH SING
Some don't know di history and don't know di ting
Big mouth dem nuh stop labbering
Nuff nah show respect to di elder dem
Wi haffi crown dem heights, dem a di great legends
YOU CAN'T COME TELL MI SEH YOU A DI MAN WHEN REGGAE MUSIC YUH NUH OVERSTAND
And nuff a dem nuh know bout di music
Dem just ah hustle and to try fi abuse it
Dem nuh sew no seed!
Dem waan fi reap and ah sell wi out cheap
Respect to di youths dem weh buss from di ghetto
Cross di world, dem mad Reggae music ah echo [ECHO]
Nuff a dem a bandwagonist
Dem caan follow this
Listen di lion, wi ah roar!
RASTA GOT SOUL
REGGAE MUSIC ROCKING MY BONE"
Sometimes you get a certain feeling that the person singing the song had a REALLY good time singing that particular song; I get THAT feeling from Fantan Mojah on 'Rasta Got Soul'. If you were to ask him, I think he'd call it one of his favourite songs from his career and it resonated with the people, scoring as one of his biggest hits to the surprise of absolutely no one.
Thank you for your contributions to this wonderful artform, Fantan Mojah and REST EASY!
Have you been paying attention to what's been going on this year? No, I mean REALLY paying attention to what's been going on?? If you have, then certainly You, like me, are something past impressed by what we've are seeing unfold in 2026 in terms of releases. If you haven't, then watch this. I'm going to miss someone because this is completely off the top of my head. We have gotten full albums or EPs from the following in the first two-thirds of 2026:
...yep. Reggae fans (who give a damn about albums) have been eating good in this year and you could make a case that it's only going to get better (It's 2026 and we get albums from Capleton, Buju & Beenie! Obviously, someone's missing but I'm not getting my hopes up for THAT) (biggup Bounty). If all goes according to plan, then the day this goes up, we will have a RIDICULOUS trio of albums released at the same time as German star, Gentleman, Grammy winner, Kabaka Pyramid and Ky-mani Marley (his name is Marley, he's probably been nominated for a Grammy at some point in his career) all are set to release their latest creations on the very same day (I mentioned Queen Ifrica & Ginjah in this list, also were on the same day - which happened to be my date of birth). On top of that, next month we're also getting an album from Anthony B, called "World Of Love" (yes. That is an awful title but I'm thinking the actual music will be pretty good) and even Al Pancho is popping up with a release (though I'm listening to clips right now and it isn't sounding very good).
Out today
Out today
Out today
And I'm still fairly optimistic for the final third of the year. I think we still get at least one or two big names showing up with releases. Sean Paul has been active this year, so has Busy Signal and, who knows, though it is looking crowded on that side with a trio of Marley siblings... perhaps the (in my opinion) greatest of them all, Jr. Gong, will bless 2026 with his monstrous talents for the first time in damn near a decade. Regardless, you know there're still FOUR complete months to go and if the first eight have been any indication, we're still healthy for the rest of the year. Just thought you'd like to know.
Unshock. Sometimes you go into these things and you just don't know what the fuck to expect. Be it some oddly overactive artist (biggup Sizzla back in da day), someone announcing that some album that they're doing is going to be more on the experimental side, someone just unpredictable, in general (biggup Perfect) or for some other reason; sometimes you don't know even remotely what you're getting into when you listen to an album... and then there are times like these. On the other side of the examples I just gave you would be several others which virtually guarantee what you're going to hear (quality, of course, being a different story - just talking about SOUND right now). Not too long ago, we told you about a new EP from VI standout, Pressure Busspipe by the name of "All For A Time". The set found Pressure, once again, linking with the venerable Zion I Kings, a pairing which has not only proven to be ultra-fruitful and productive but has also managed to produce a very signature sound; everyone and everyone's mom knew precisely what we were getting into in that instance (...in that particular case, the quality was also assured, actually). And that could be the signal that gives you an overview of what's going on. Sure, someone working alongside someone else doesn't always have to be the same thing but an oft-pairing of artist and label/s making a certain type of sound can definitely be a strong forecast of what is to come. This is true despite the fact that Pressure is someone who has changed things up in his career. He's made Soca and Dancehall and even an entire album full of love songs at one point. In other cases, they can just TELL you what to expect. That occurred on Buju Banton's most recent release, "Too Too Bad", which he billed, essentially, as a sequel to "Too Bad", an album built upon hardcore Dancehall music almost entirely. Again, we can talk about the results of said direction at another time (we already did that) but the route to be taken was crystal clear and, there especially, became a major selling point in the marketing of "Too Too Bad". Also, just as someone like a Perfect Giddimani can be very erratic (and I mean that in a good way), there're others who can be just as routine and calculable. When.... Mark Wonder makes an album (any time now Mr. Wonder), for example, you know what to expect because his history and his present has taught us what he does.
And sometimes you can just... kinda... sometimes you can LOOK AT SOMETHING and have a pretty good idea where it's going. Let's say... oh, I don't know... let's say BEENIE MAN, just to name someone, was going to release an album in 2026. Most likely you'd have a pretty good idea as to how it would sound, regardless of the producer. Beenie is someone who has long entered the 'crossover' category, so whatever he does, you'd expect it to at least have some more international flavours to it, namely Hip-Hop & R&B (and maybe a little Pop as well). There'd be some big name crossover guests and some sounds that would well appeal to a wider audience. That's what he did at his peak and he's still doing it to this very day in regards to his album releases (I've been listening to a lot of "Undisputed" lately) (probably better than it was given credit for being). You'd also expect there to be an attempt to appeal to some of his more traditional heads (like You & Me) and doing that by incorporating more traditional Dancehall and Reggae music and maybe even bringing in a few names from that spectrum as well; maybe even with a few very familiar riddims. I'd also think that he'd look to make a big statement in the Dancehall. Something proclaiming himself as KING (remember that).
SHOCKINGLY (not really), that turns out to be a decent description of the latest creation of the Dancehall beacon, "Eminence". Though it seems as if we've gotten used to Beenie taking a long time between full releases, it was just three years ago when he delivered the Grammy nominated "Sim Simma"; while It was a decade ago now that the album ahead of it, "Unstoppable", dropped. I'm going to place "Sim Simma", "Unstoppable" and now "Eminence" in the same little group as they almost seem to come off as Beenie almost enjoying a 'victory lap', of sorts. The albums haven't been crazily popular (as far as I know) or amazing in quality but they've generated a considerable amount of buzz and have done well in terms of attention. Also, it most certainly doesn't appear that Beenie Man is ready for retirement anytime soon as he's continued to put forth a strong effort at such a progressed and downright legendary stage of his career. "Eminence" finds the 'Who Am I' star linking with Billboard King Records and one of our personal old favourites, Kemar 'Flava' McGregor. Once upon a time, in the very early days of this blog, McGregor would have been THE producer of choice. The man sat on a mountain and is still to be respected so, even now, the idea of BKR making an album with Beenie Man, on paper, was pretty inviting. At some point along the way I got a look at the tracklist of "Eminence" and I got even more convinced that what I was thinking that it might be was going to turn out to be the case. I am no fan or expert of Hip-Hop at all but there's a certain quality that comes with these type of 'broader' releases and that's numerous combinations. There're a lot of people featured on "Eminence" not named Beenie Man and there are a few occasions that you run into songs that you presume will receive some run in more international circles... as expected. While I don't think that "Eminence" will necessarily get that type of outward PUSH, again, Beenie is someone who has attained a level of respect amongst international fans and I would expect quite a few of them to be interested in "Eminence". When/If they do get here, however, will they like what they hear???
Probably not ALL of it but some of it. Beenie Man does something similar to the aforementioned Pressure Busspipe and Chronixx with their most recent sets as "Eminence" arrives just a couple of days ahead of the completion of his fifty-third rotation of the sun. To start things off, he picks up nice singer, Rènata (who has her own album, her first, "Self Expressions", which just launched a few weeks ago) and they head to Miami and link up with Hip-Hopper, Rick Ross (I actually think Flava McGregor, himself, is also calling Miami home these days as well) for '305/876'. This tune reminds of an old R&B song whose title escapes me now (and I could just be wrong about that) and I have to say that it grew on me just a bit. Beenie drops a few wordy pearls ["Wi neva stop til wi hit di bullseye. Di baddest riddim play by Robbie & Sly"] and Rènata, with her somewhat unusual voice, definitely helps to light things up. I still don't LOVE the opener but it's probably better than I would have thought after my first spinthrough. Rick Rock returns later on, along with Rotimi, on the kind of meh 'Hat Tip'. This one is spiritual and it does have a BIG sound to it but 'Hat Tip' is a very average song and slightly behind the opener. For the album's second tune, Beenie pulls in good friend and long time collaborator, American R&B songstress Mya for, 'Don't Rush'. I don't know how many times these two have worked together and I don't feel like looking it up but SURELY their most memorable track would be the classic remix for 'Girls Dem Sugar'. 'Don't Rush' is absolutely nowhere near that level and.... I don't particularly enjoy it at all, REALLY. BY FAR the coolest thing about this one is that it seems to utilize a version of the same track that originally underpinned a song called 'That's The Way Love Goes' by Janet Jackson (who Beenie's also worked with in the past). That's it. That is THE best thing that I can say about this song but "Eminence" would have been more eminent had it been left on the cutting room floor. They could have kept 'Do It' as well, in my opinion. This song features American rapper, Lola Brooke, a name that is completely new to me anddddd, it also sounds kinda familiar, like some old song with a name that I can't quite put my finger on. This may just be my least favourite tune on "Eminence" altogether. Brooke seems to be a fairly straightforward rapper and talented enough (coming from someone who's never been a fan of the genre, admittedly) which isn't my thing but 'Do It' seems to... be offkey at times. The vocals, especially at the chorus, don't mesh really well with the music in my opinion and it just does not do a single thing for me.
I may not know very much (anything) about Lola Brooke but the next name to join Beenie Man here is well familiar as is the song on which she joins as the spectacular Etana lends her ridiculous talents to 'Guide Over Us'. The first thing I thought when I saw these two together was probably about what a unique combination they made for. Though Etana has definitely branched out in recent times, Beenie Man + Etana still comes off as a little strange, doesn't it?? Maybe it's just me. Anyway. Their tune together is anything but "strange" and, instead, is fairly terrestrial (the video, on the other hand, is another story. You look at that video and try to make it make sense with the actual song... GOOD LUCK!. There is way too much ass in it to have some kind of correlation. The song, itself, is decent though surely nothing special but the very fact that these two worked together is an attractive point for "Eminence" - a pairing of genuine Reggae & Dancehall royalty.
The big names continue to join Beenie Man for this album. Without a doubt, one of the finest such moments comes during the delightful 'Make Out' which pulls in R&B veteran vocalist, Ashanti and rapper, T.I. In the case of the latter, I'm pretty sure that the very first time I ever even heard TI's name was on a song he did with Beenie, maybe twenty years ago now by the name of 'I'm Serious'; so the two have a history together and Ashanti is no stranger to the spectrum at least, having mined gold alongside Machel Montano a few years ago on 'The Road'. 'Make Out' is VERY good. It's a beautiful summer-ish sounding type of song that finds just enough of an edge to not be too... sappy. Also managing just fine is 'For You', which is sort of a remake of the classic 'Anything For You' and, just as was the case on the original, this cut features several different names. Joining Beenie, amongst others are Snoop Dogg and Ele (who does EXCELLENT with his small contribution). There're almost TEN people on this track by my count and it isn't even four minutes long so yes, it does come off as a bit rapid but, again, it's a fun time and almost everyone manages to score well with the biggest credits going to the aforementioned Ele as well as Pamputtae. Reggae vet, Stevie Face, lends his gorgeous vocals to 'If I Follow My Heart' which isn't a total loss, I suppose, but it also isn't very good. Where 'Make Out' avoids the trap of being entirely too damn mushy; 'If I Follow My Heart' most certainly does not. It falls right into the hole.
When the friends take a step back and leave Beenie Man on his own, "Eminence" shines its brightest... for the most part... arguably. Not included in that statement AT ALL is the wholly awful 'She's A Good Girl'.
"Girl you born pon a pum pum farm!"
And that's all that needs to be said about that one. There's also the AIGHT 'Bands' with its big sound. 'Bands' actually has a place on this album because it is somewhat related to my favourite song here, that it follows. THAT tune is also kind of bragging about the levels that Beenie has attained (and nothing wrong with that. You did the work - enjoy it!) but it's almost vacant at times and I'll go into this more in a minute but there's a nice distinction to be made between similar songs and why one sticks out and another does not. Substantially better than both the songs that I just told you about but still a distance from GREAT would be the closer of "Eminence" 'Heavenly Father'. It's pretty much what you'd expect (sound familiar??), with Beenie offering up a prayer to close out on. Though largely unremarkable (a year from now, you will not remember it being on "Eminence"), it isn't fully devoid of any quality at all; it does have its moments, just not a lot of them. A step up from that (you see where this is going) would probably be 'Friends For Life' which finds Beenie touching up a classic riddim whose name I always forget. 'Friends For Life' actually has a bit of substance to it and one (or two) which I've been high on for years now. Appreciate people while they're in your life and make them know it because, "Nobody never promised tomorrow". I think more could have been done with this song but, to its credit, 'Friends For Life' does crawl out of its shell more and more as it progresses; ultimately with Beenie Man seemingly set out more to make a point than to make a song. 'Kingsteppa' actually made me smile and it was around here that I started to catch on what was happening DIRECTLY with "Eminence" (and not surprised by it at all). This one is an ode to Ini Kamoze's legendary 'Here Comes The Hotsteppa' and that vibe did something to my brain! It got me all nostalgia'd out (and my Wife too) and it's not going to change lives (none of this stuff is) but WHO CARES! 'Kingsteppa' is a damn good time! More good, fun stuff comes through on 'Marijuana in the Kouchie'.
"And mi nah smoke cigarette cah mi nah waan mess up mi lung
Mi fit like a Honda cause e very morning mi run
To how mi love Mary Jane it cause problems with mi and mi hun
And mi nah memba and ah hum, mi just ah hummmm"
Across another classic riddim, 'Di Doctor' absolutely glows and 'Marijuana in the Kouchie' represents one of the all too infrequent times where it appears that he is genuinely having a great time (again, more on that in just a second). The results stand up for it as, EASILY, it ranks as one of the biggest highlights from "Eminence". Even better is the damn infectious 'Doll'. The vibe on this one is just perfect for what it is and also showing up is the wordplay. Songs like this don't tend to leave much of an impact but there is a difference with 'Doll'. It's a fairly straightforward but ALL SORTS OF FUN gal tune and it scratches an itch that "Eminence" definitely needed taken care of. THE most eminent moment of "Eminence" is the song that I alluded to when I said, "I'd also think that he'd look to make a big statement in the Dancehall. Something proclaiming himself as KING (remember that)". This the HAMMER of this album. It doesn't really have a set course but Beenie does provide what I believe is the punchline of "Eminence":
"Mi nah go nowhere"
As a testament to his longevity (and around for SO long at such a high level. He now has peers in Dancehall (or whatever that shit they make these days is) that were not on the planet when he started making hits and he's older than their parents) and efficiency, he tears into 'Immortal' unlike anything else present ["Over two-thousand hit song. 'Sim Simma' and 'Romie', unuh choose one"] and, again, provides us with a most needed thrill in the process. BOOM!
Two things I want to touch one about the balance of this release. When Beenie Man is, in my opinion, at his absolute best - yes, he's impressive lyrically and he makes a really catchy and flaring brand of Dancehall but it's also ENTERTAINING. He doesn't take himself very seriously at all (he's the ever iconoclast to Bounty Killer's rough and gruff style) and it's a BEAUTIFUL quality that comes through in his music when he's really on his game... just ask Romie... and his big fat sister Naomi. You don't find a lot of that during "Eminence", unfortunately. A song like 'She's A Good Girl', for example (and it's the final time I mention it, I promise), is playful and it's dirty as hell but it isn't really fun to listen to outside of it being awful. The approach actually sounds a little RIGID and formulaic and it isn't alone in that. Also worth mentioning is the preponderance of familiar sounds. All of the old riddims and melodies that come through seems like the intent was even more so focused on capturing that international ear. As a more hardened head I don't have much of a problem with that particular aspect --and it works better in some instances than in others-- but, along with the various names involved, it's another piece of evidence as to exactly what was the thought behind "Eminence".
Overall, I don't want to seem like I'm being too hard on this one because it's not far, at all, from what I presumed it would be when I saw the tracklist in terms of quality. I wasn't expecting "Eminence" to be some fantastic, best of the year type of album and it most certainly is not; it's right in the middle. Some of it is (one of it) is truly bad, some of it borders on the spectacular and MOST of it is somewhere in between. That's something else that sort of gives me that inclination that it best stands as a "victory lap" type of set and... hell, he's earned it. While you will neither find Beenie Man at his best or anywhere near it on "Eminence", consistently, but what you will find, in spots, is the handiwork of an undeniable, bona fide legend and one who is, OBVIOUSLY, at a point in his career (and has been for years) where he is well aware of his stature, and he should be.... but you knew all of that already.
Names. Lately, within the past few years or so, I've been attempting to stress the importance of celebrating talents and the people who possess them while they are still here and capable of appreciating it. This year, MOST UNFORTUNATELY, has already shown us just how fleeting time can be and, before you know it, circumstances have changed irrevocably and that moment is forever gone. For the most part, I don't think we, as humans in general, do a very good job of this, which I think goes to explain just how well we do actually do at the moment that someone we respect has left us... seemingly trying to make up for lost time. Sometimes, however, we do it quite well and get it 'right' (whatever that means) and the best evidence we have with this, at least around these parts, is tracing the level of attention and appreciation an artist has accumulated throughout their career and particularly noticing when things started to increase (or decrease) for them. In some cases, which seem to be very rare, what happens is that someone will announce their presence on the strength of a standalone, massive hit and then demonstrate themselves capable of matching those heights on a somewhat semi-consistent basis. Think of someone like an I Wayne or Warrior King who reached the masses courtesy of one giant hit, initially, and then proved that it was no fluke by supplying us with music of a similar quality and doing so almost immediately. Things can also have more of a gradual run which is far more common. In these instances, there may be several hits of varying degrees (which is, in and of itself, part of that slower process) and is far more common in my opinion. This approach is what has the capability of building legends as these instances are examples of people who simultaneously introduce themselves and their considerable talents to us at virtually the same time and if I were to ask you who you grew up listening to, most likely your answer would be full of names who grew on you (or your parents more likely) in a much slower way and gave you (your parents... or whoever raised you) years and years of joy.
At the height of that might be a moment where you take a minute and look up and... you just happen to notice that someone who you've been listening to for years has 'suddenly' (not really) (not AT ALL, actually) become a very big deal at a certain level of their career, whether you'd realized it or taken a REALLY good look at recently. Last year gave us a MIGHTY example of this in the form of "Exile" by Chronixx. If ever you had any question regarding the star power of Chronixx, take a long look at the majority response to that album. How I felt (and still do, btw) about is besides the point, the fact is that it was a very big deal in the minds and ears of many fans. While I do not think the release that we're going to talk about today will rise to those levels, who knows, I could be wrong.
Have you checked in on Queen Ifrica lately??? You probably have but I pose the question because it's been a minute since we've written about her despite the fact that, for me, the diminutive (in height and ONLY in height) [tallawah indeed] Mobay native has well seen her profile raise over the course of the past decade or so. And speaking of "decades" perhaps the reason that we haven't covered her work much as of late is because of the fact that she's only released a single album over the course of the past decade. That set, 2017's "Rise", was her third altogether and the second, following 2009's "Montego Bay" ["Yad the east or forever hold your piece!"], for VP Records (absolutely ridiculous that album is now seventeen years old). Prior to that, you have to go wayyyyyy back to 2007 for her debut, "Fyah Muma", for Tony Rebel's Flame Productions. 'Montego Bay" was special. It was her opus (and it still is) and "Climb" (although slightly bloated) wasn't terribly far behind it. Having risen even further since those days, the idea of Queen Ifrica releasing an album in 2026 (and on my 45th date of birth, actually) is downright appetizing and I would love to get my hands on such a set... so biggup the Queen who, along with Junior Brown & Nuh Rush Records (in association with Tuff Gong) (biggup Bob), has now released her senior set, "Breath Of Life". There have been some big names doing major work on the album side this year (more on that in a few days) and when you add Ifrica's to the pot, she's definitely ranking, on paper, as one of the biggest. I had certain expectations of this year -- like Capleton & Buju -- but the prospects of Queen Ifrica doing a full project was nowhere on my radar and when I saw that it was offering, I got DAMN EXCITED. For me, the Queen has spent the last few years, musically, as someone who would pop up with that big tune at precisely the "right" moment, just when you had begun to think that it was time for her to give you something. She's been terribly reliable and, I suppose, that the timing for the new album was nearly perfect as well; had you told me we'd be getting this back in December, it would have well been amongst my most anticipated. Clearly I haven't been alone in that either as, from what I can tell, "Breath Of Life" is in the process of generating a nice amount of very early buzz (and I think that as outspoken as the Queen has been, outside of the studio, has also aided in lifting her profile amongst fans) and that is excellent but, of course, the main question regarding an album is DOES IT DELIVER??? Well... let's talk about that.
"Breath Of Life" does end up in a good place ultimately but it does take a while for things to progress to that point in my opinion. For me, when she's at her absolute best, Ifrica is a very compelling blend of sweet & spicy and she can hit both areas effectively, as well as everywhere in between. At her best, Queen Ifrica can literally do EVERYTHING: From a traditional straightforward chant to an ultra-aggressive, agitated delivery (and, for the type of work that she does, she has a very nice singing voice when she does use it). So perhaps that's where my mind was as I dug into "Breath Of Life" which gets going in a predominately slower fashion (and then stays there for awhile) with its very light and breezy eponymous track. Try as I might... I could not get into 'Breath Of Life'! It's nice and it's pretty decent as an opener (it does have its moments, especially in the middle stages) to set the table for what is to come but I found it unremarkable in just about every way. Next in is a song that may be slightly stronger but one which left me with a similar feeling as the one before it, the lovers oriented 'Speechless'. I can't quite describe it but there is definitely something to the sonic appeal of 'Speechless' that I do enjoy but, whatever it is, it isn't huge. It's a nice sound to listen to and that is the best thing that I was left with from it. The golden-aged (damn near Doo-Woppish) 'Pelican' is considerably better than the two tunes ahead of it but, again, I wouldn't call it a great song necessarily. Very pleasing to the ears?? DEFINITELY. She also adds a bit of spice to the song for what may be the very first shot fired, in the most subtle possible way, on "Breath Of Life". 'Spoonful', as a good sign, is a further step ahead of 'Pelican', as it comes in (at least initially) in a similarly vibed style. To its credit, 'Spoonful' is a pretty clever love song which finds the Queen interesting in a someone that 'belongs' to a someone else who isn't doing right by them... or at least not as right as Ifrica thinks SHE can.
"Mi will be yuh doctor, even check yuh vital
She just ah treat yuh like a instrumental
Everything one place, it like intramural
Yuh need fi mek a linkup, mek wi trod go rural
Wi friendship no ordinary, more like unusual
Baby, let's make it official
Let's make it official"
There's another song, 'Bad Girl', that doesn't make much of an impact but sounds pretty divine at times ["Original badness, no AI antics. Every robot bow to it"] but I come away from the first five songs of "Breath Of Life" entertained to some degree but not overly impressed. I also come away thinking that Queen Ifrica is likely enjoying life these days. She sounds COMPLETELY in love with someone.
'My Highgrade', is a love song of a different variety and it's also, by far, the best song on the album up to that point [#6] with that downright FILTHY riddim supporting it. Let's talk about this tune for a minute. First of all, for as immaculate as it is at times, there's also (especially later on) a nice... almost improvised type of vibes to it. Certain parts of it sound like Queen Ifrica just came up with it off the top of her head and decided to leave it in the final version of the tune, which is such a nice mix of sounds. Her delivery is also winning on 'My Highgrade' as she largely employs a GRUFF type of chat which comes off as not like she's angry but she's trying to make sure that you pay full attention. Also more than mentioning (for the second time) is the music here. As it progresses, you start to hear more things -- like HORNS; glorious glorious horns -- and the base track is almost Hip Hoppish which I'm typically no fan of but it works for me on what is the first undeniable highlight from this album. Another heavy offering chases 'My Highgrade', the EXCELLENT praiser, 'Excellent Jah'.
"Birds and di bees and ah praise Fari
Rivers and trees and di clear, blue sky
America to England - tension high
'PEACE & LOVE' a di great old cry
Put it pon pause, everyone stand by
War & crime you fi tell goodbye
Easy fi happen but I don't know why
Every nation ah beg, unuh nah comply"
Loosely redolent of the epic 'Alpha & Omega' by the aforementioned Chronixx; somewhere in the midst of this song is the archetype of what Queen Ifrica is best at, musically. 'Excellent Jah' is a prime example of her in her best form and demonstrating something that is almost uniquely hers as an artist (someone else who is really good at kind of varying approaches like this would be Reemah but she kind of builds intensities. Ifrica just kind of explodes at times). Here, she uses that fine form to give thanks to the Supreme in a THICK way.
"No matter what time of day it is"
There's something infectiously pulsing going on with 'Weeping Willow' which seems as if it is building and building itself in the background. It does touch its crescendo ["IF NOT NOW THEN WHEN?!"] but its is the journey to that point that is most rewarding. The tune is an African unity peace and it has a certain grandness about it. If you were to just listen to the instrumentals of this one, I would expect even that to sound like something of a major importance is happening here. With the vocals added and the theme actually set, 'Weeping Willow' is nearly special. 'Mom Like Me' is ALLLLLLLLLLLL kinds of interesting. In Reggae music, if you've hung around to any length of time, chances are high that you've probably ran into more than a few tunes giving thanks to Mama above almost anyone and any THING else. 'Mom Like Me' is like the opposite point-of-view of all of those tunes. Here she deals with all of the joys and hardships you go through as parents watching your kids grow up and living being supportive through their successes and failures. I'm sure it exists but I'm having a hard time coming up with a similar song, at least one from recent times. MAYBE the only one even remotely close would actually be the next song, which takes things even further, 'New Version Of Me'. This song actually features Queen Ifrica alongside her own kids! The one you know will be Imeru Tafari but there're also his younger siblings Tanzie & Malawi (I don't know who Imeru's father is but the Tanzie's and Malawi's is Tony Rebel). This one is just a BEAUTIFUL full celebration of the entire family with mama saying how proud she is of her children, after all of the work she put in:
"I Clean your nose
Wipe your asses
Make sure that you're early for classes"
And the youths returning the love on how much she's inspired them to get where they're going in life:
"My Mother love endless
And dem qualities dem mi look fah inna mi empress
Di true meaning of selfless
Determined and perseverance, that is relentless"
Taken together, 'Mom Like Me' & 'New Version Of Me' are very original and unique musical experiences and it shows that Queen Ifrica and Nuh Rush REALLY got to thinking of some strong ideas to put into this album and they both light thing up on "Breath Of Life".
Take 'Change The World' and compare and contrast it with the songs at the beginning of the album. It has a big and open, inviting sound like some of them do but it's stronger than all of them and immediately so (literally as soon as Ifrica utters a single word, the song takes an instant step ahead). The tune may just be either the single best or joint best written on the whole of the album and one of the best of its kind in recent memory from Ifrica as well. While, again, shining on the music with just a dash or two of spice to bring some flames to the vibes. Fantastic tune. I was expecting something on the light and probably more jovial type when I saw the title 'Raggamuffin Style' but, instead, Ifrica uses the moment to display some substance! The song is about hard work, hustling and doing everything you need to do to take care of yourself and put food on your table.
"Mi certain, I will never be nobody else's burden
TRY AND GET OVER YOUR PROBLEMS LIKE A HURDLE
No trust dem if you know dem will hurt you
Dem treat you like a dirt too
You better know your virtue
Jah love and He'll never desert you
Rise up all kings & queens, I urge you!
Make sure you fast and you pray, that work too
HIM love deh haffi purge you"
Another big winner and a nice surprise as well! Finally, for the first time in what seems like a pretty long time, the album's absolute pinnacle is at its tail as previous single, 'Lanton' is pretty damn special.
It may've taken a few playthroughs to grow on me initially but these days, 'Lanton' is in the stars when it comes to her catalogue: It's one of the best songs Queen Ifrica has ever done, period; it's the best song on "Breath Of Life; it's one of the best songs I've heard in 2026 from anyone. It's very speciiic in its approach but what I take from the song is that we all screw up sometimes. We all have bad stretches in life and during thes moments, there's something or SOMEONE who can help us out and lead us back to where we need to be. Ifrica's route taken to bring that message into the light is fucking genius. It just is.
Overall, when you review an album, obviously you have to take the entire thing into consideration and if a nice sized portion of it (like damn near half of it) is less than stellar then the album is less than stellar and that is most definitely the case with "Breath Of Life". HOWEVER, I'm confident to say that the best that it has to offer ranks favourably alongside the best that Queen Ifrica has ever done. A song like 'Lanton'... that song can go anywhere. Drop it on either "Climb" or "Montego Bay" and it's just fine and it isn't the only song here that I can say that about. As a whole, "Breath Of Life" may leave a little something to be desired but, when it is good, it is GREAT, and those bites are everything you would hope for from someone in Queen Ifrica who just might STILL be on the rise.... even after all of these years.
