'Looking Up': A review of "Get Rid A Di Wicked" by Lutan Fyah

Unfortunately it will likely never be the case in music that the quality of someone's work will always mirror their standing, but I do like to think that, on occasions, things do balance out. In Reggae and in many other genres we are seemingly of the attitude that certain individuals almost always from eras gone by are, essentially, beyond reproach and critique and to do so in the case of even a song is difficult to do outside of 'bad taste'. And though I like to think that nothing, musically speaking, is beyond critique (everyone does not have to like everything), in those particular cases, given all that has been accomplished and left for future generations to build upon - I'm fine with that. There're even examples which extend into the more modern scene as well and in Reggae, we're ripe with examples of that. People such as Beres Hammond and Luciano enjoy a similar level of wide-reaching respect and do you have any doubt that someday, fairly soon, they'll be joined by the likes of Tarrus Riley and Etana (and I may even begin to add Capleton to that lot. Despite all of the controversies he's experienced through the years, I fully expect the very near future to be exceedingly kind to The Prophet)? To go even further, we've also wonderfully seen instances of a substantial increase in profile from people who have really deserved it. One of the things I like to look at is what happened with Tanya Stephens just a few years ago. She released her two most popular and highly regarded projects, "Gangsta Blues" and "Rebelution", consecutively for VP Records back in 2004 and 2006, respectively and enjoyed the greatest stretch of her career. And if those two sets had never materialized, she probably would have still enjoyed a successful run because she spent those years making outstanding music and the masses let her know just how much we appreciated her efforts. Stephens' run wouldn't last, her next album, "Infallible", was a free album (and was far from its title) and the next one, last year's "Guilty", failed to make a significant impact as well, but it couldn't diminish her glowing prime. I'd also mention the work of Mark Wonder who also pushed an album, "Working Wonders", which was his most popular release and, if you recall, his release just before that, "The True Stories of Mark Wonder and Friends" was picked up and re-released a few years after its initial drop and I think his profile has risen considerably from then and that's because of all of his hard work through the years. And similar things have happened for Lloyd Brown, Ras Batch (biggup the Zion I Kings), Chezidek and others who have seen their albums somewhat suddenly become more intensely anticipated and beloved by fans. 

"Life of A King" [2013]

Just last year there was an album by the name of "Life of A King" from the great Lutan Fyah which, in retrospect, would go on to become one of his highest profile releases to date. That album, which came via Grillaras Productions, was immaculately promoted by the label (which, itself, enjoyed a very nice year in 2013) and was amongst the most discussed releases of the second half of the year. And it was stellar in my opinion. The Fyah has bona fide classic albums in his past (three, in my opinion) and is surely a favourite of ours and to see any album of his receive that type of attention was fantastic, particularly in the absence of such spotlight for a while which included exquisite sets such as 2012's "Truly" (biggup One Drop Records who you have to check on sporadically because they may have released an amazing album recently… and not told anyone about it). But as "Life of A King" did get that shine, it figured to be quite awhile before the next Lutan Fyah album managed to generate a similar buzz.  

Or maybe not. Enter Bread Back Productions. Headed by Richard Bramwell and themselves in the midst of enjoying a prominent rise in the music, particularly on the strength of an album of their own, are next up to release a Lutan Fyah album as, finally, "Get Rid A Di Wicked" has made its way to fruition. Last year, Bread Back scored a big blow as the masterminds behind "The Messiah", the GIANT album from the label's most well known and oft-collaborator, Sizzla Kalonji, which would, astoundingly, receive a Grammy nomination (common sense dictated that it deserved to be nominated, but common sense has never worked well with the Grammys when it has come to Reggae music) (for example, it is just the second week of June, right now, and I would presume that there is a… 90% chance than Ziggy Marley wins the 2015 Grammy and it doesn't really matter what anyone else does). Outside of Kalonji, the label has made a sizable impact with other names as well, such as Delly Ranx (who I believe is Bramwell's cousin), Louie Culture, Teflon, Norris Man and others (Bread Back has, to my knowledge, also been the label voicing the fiery UT Ras most in recent times as well) (biggup UT Ras), but Lutan Fyah has probably been their most active of vocalists so it was a great idea that the two decided to go ahead with a full album. As was the case with "The Messiah", "Get Rid A Di Wicked" is distributed by VP Records, this time through their unavoidably active VPAL imprint and it has also generated a significant buzz ahead of its release date. We initially mentioned this set way back in April when it was originally set to release but, a two month delay has done virtually nothing to diminish -- it's actually intensified -- the anticipation for this release. The album had a premiere, which actually streamed live online and, within a year which has been so glowing, it has managed to become one of the most talked about releases of its time - sharing the platform, most notably, with the still forthcoming "Easy To Love" by Maxi Priest. Personally, as a long time fan, I do love Lutan Fyah receiving this type of attention, especially concerning his albums and, as usual, I was really looking forward to hearing it. 

At last count, I think that "Get Rid A Di Wicked" may be Lutan Fyah's sixteenth [?] album. He does have at least sixteen sets that one could refer to as albums (although I don't think that most people would count "Music" and that's fine) and, looking back, he's come a very long way from his first, "Dem No Know Demself”, but as it was way back then -- a decade ago now -- I still find myself looking forward to his work almost as much as anyone else these days. So while he may not register in such aspects, superficially, the Fyah has already assembled an excellent record of longevity and it's only getting deeper. Getting the excavation started on his most recent release, "Get Rid A Di Wicked", is surely one of its finest selections, 'Tired A Di Suffering'. The big social/economical commentary was Lutan Fyah's cut of BB's Washington DC Riddim and it examines the kind of endlessly negative cycle of life and earning money that so many people are stuck in today. Despite the riddim (which is excellent) it is kind of a gloomy type of piece, lyrically, but that doesn't make it bad. There is room for gloomy when it sounds like this. Things, arguably, go even higher for the album's second song, the wonderful 'Children Safe'.

"Let's build a better future for the youths of today

Give dem guidance and show dem the way

Teach dem to love and remember fair-play

Be strong, work and play

A better future for the youths of today

Give dem guidance and show dem the way

Teach dem to love and remember fair-play

Be strong

Education first -

Language and arithmetic

Give dem math, science and technologies

We need skill and trade workmanship

Self-reliance to escape microchip

Hey, just prepare dem to escape the mind game of the matrix

Watch out cause babylon no stop play tricks

Teach dem to love and put away the hatred"

This tune would be on the other side of the opener: Though it definitely does cover some very serious and harsh subjects (mainly in its second verse), 'Children Safe' has a delightfulness about it and what it seems to do is to picture that these important things are going to happen and, of course, the entire world will benefit when it does. I also really enjoy how the track on that song continues after the vocals - always a nice touch. We do return to a darker route on the familiar 'Just So Downtown Run' but, again, it is done in a major way. 'Just So Downtown Run' is a BIG tune which has a very unique vibes to it -- it is kind of rigid, but it will surely get your head moving when you listen to -- and is a strong addition to "Get Rid A Di Wicked". As he has done on many occasions before, Lutan Fyah also turns his attention to the most wonderful person in the world, Mama, on the sublime 'My Mother'. He demonstrates that wholly on the song as he places an importance on Her situation and Her comfort, above all others - saying every other woman in his life (EVEN HIS SISTER!) can leave if they have to, but that he needs Mama. One of the most impressive offerings on this album, especially lyrically, 'My Mother' is a great tune.

Despite both its title and its cover, there is a whole heap of love to be found on "Get Rid A Di Wicked". I was actually surprised to see so many love songs but apparently it is a large part of the Fyah's plan to rid the planet of the wicked - to replace it with love. Of great interest would be previous single on the Long Life Riddim, 'This Love' which is the only combination you'll find on this album, this one linking Lutan Fyah with underrated but all kinds of talented veteran DJ, Lady G. An 'aggressive duet', 'This Love' is another mighty piece for this album and it is just what happens when you bring together two such powerful talents. 'Baby I Am Your Love' has a title which is corny. It is. I can't defend it - not even going to try. The actual song, however, isn't horrible and while I most surely will not cite it amongst my favourites from "Get Rid A Di Wicked" and I do not like it, it has an interesting sound to it and maybe something unlike I've EVER heard from Lutan Fyah in the past. The chanter does once again reach high and take you there courtesy of BB's 9 To 5 Riddim with another previous single, 'Jamaican Girl'. The song is damn hard to shake and that's probably why they made it and there's nothing wrong with that as Lutan Fyah makes it well known toward whom his allegiances and affections are directed. 'Enchanting Smile' is another song that I knew ahead of this album as it appeared on the Magnet Tempo Riddim from just last year or so. As far as love songs go, 'Enchanting Smile' is clearly one of the best on the album. In retrospect, the Fyah has generally made his brand of songs like this more complex than many of his peers (the best examples of that here would be both 'This Love' and the next song I'm going to tell you about) - they tend to focus on one or two things but focus PASSIONATELY. This song isn't on the levels of some of his best work in the subject but it does follow that winning pattern in my opinion. 'House & Land', on the other hand, does reach considerably higher to my ears. 

"Hey mi got house and land fi you

Hey girl mi got car and van fi you

Hey girl mi got all sorts of plans fi you

Your love has got me there

Mi seh you need to live this big life, si di keys fi mi car

And anywhere you been, I can make you reach far

Money's not a problem, take mi wallet and gwan

And go live like seh there's no tomorrow

If you wanna sail across the ocean then walk on the glacier

Take you to Afrika, straight down to Asia

First class flight to Ethiopia - five star accommodations in Addis Ababa"

The tune also features this downright intoxicating vibe to it, which is as big of a part of its appeal as any other feature it carries and the Fyah doesn't waste the opportunity and, instead, produces one of the most pleasing songs to listen to on the album. Finally, though it isn't completely like the rest, I'll also mention 'Gospel Grind'. The artist actually had a tune called 'Gospel Winer' from 2012-13 which was very good and, I don't know if you'd call this one a remake or a remix, but they're related in some way and though the sound here is much different, it's still a very good song as he deals with a woman who is… just a little too involved in her church activities. It is not as strong as the original version but still more than solid. 

Like I said, there is a lot of love to be found on "Get Rid A Di Wicked" and if all of that weren't enough for you, check even 'More Love'. This song is no 'love song' in the typical way the phrase is designated, but it is the largest chunk of LOVE to be spread on this album and a GORGEOUS selection which calls for love to be used as shield against wickedness in the world. Following 'More Love', Lutan Fyah expresses his love for another living thing and his desire to shield it from wickedness as well on 'Ganja Man'. This tune appeared on Bread Back's Grass Root Riddim and, today, it is even stronger than the first time that I heard it. This tune isn't much in the way of something you've never heard before, however, what I do really like about it is the approach. It is well one of the most aggressive pieces on the album and the album needed some of that which is provided here on a still otherwise big tune. Also check 'Ambition' which is another song with a very distinctive type of vibes for a Lutan Fyah song (from the way it starts, you almost get to thinking that it sounds like a Kartel song. Which may be the very first time that you'll make that comparison) and I didn't like this song the first few times that I heard it, but it has grown on me slightly. Unsurprisingly, the lyrics are the main-attraction on 'Ambition', as Lutan Fyah says to go for your goals as hard as you can and to not let adversity, big or small, completely drag you down.  The title track changes the vibes once again and though it settles us down just a bit, the quality remains high. 

"Satan haffi drop him fork and run

Dash weh all dem nuclear, all dem bombs and all dem gun

No si weh dem tun when dem hear di Rasta come

Dem caan come take my soul or break my bones

Wi will fight cah wi find it necessary

And I know my rights and di burden is getting heavy

Also mi know seh dem system, it no ready

Oh Rastafari, Rastafari!

Come mek wi go get rid a wicked -

Once and for all

Come mek wi go get rid a wicked

Slew dem inna di brawl

Di battle line is already drawn

Di warriors ready fi kick it gideon

Mi just ah wait - 

Until, babylon fruits dem ripe and drop off and spill 

Di youths dem will approach dem with some militant skill

WI TAKING IT TO DEM WITH A RIGHTEOUS WILL!"

'Get Rid A Di Wicked', the song, is SPECTACULAR! I don't want to go too far but it is certainly one of the best Lutan Fyah songs that I've heard in the past couple of years or so and I guess it should speak even higher to the quality of the album named after it that it is not my favourite song on the album named after it. That distinction goes to the MASSIVE closer, 'Jail Wall'. You can take this song in the most literal way possible if you like and I still think that you walk away from it thinking it to be an excellent piece, but if you make it a bit more broad and apply the concept of tearing down this wall to mean just overcoming any negative obstacle in life, I think it goes much, MUCH higher. This song makes you feel like doing something important and I am sure that was the objective for it as Lutan Fyah sparkles at the album's pinnacle.

"Ghetto youths go bruk down jail wall

Too much concrete, steel and bars

Living in a system of pagan

And as you get pay, di pay gone

So mi just go bruk down jail wall

Too much concrete, steel and bars

Living in a system of pagan

I tell you as wi get pay, di pay gone 

Now they wonder why di youths get negative

When it comes to education, there's no privilege

When di violence bring di hate and all di suffering, nuff youth waan go foreign

Hey, wi been lock down inna prison

So many times wi dig deep, yet wi can't find a lick

Push wi head above di water, dem try sink wi down deep

So many youths get locked down fi a spliff

Caan take di foolishness"

BOOM! Again, I took it as a song meant to energize the masses to trample over any type of adversity we may face in our life and, in that, I found a gem of a selection. Interestingly, attached to the end of "Get Rid A Di Wicked" is an interview with the chanter, conducted by Genie Sweetness. It's well over ten minutes long and I just think that it was a good idea! These days you see dubs and instrumentals and remixes and all sorts of other things now becoming more and more prevalent on albums - but an interview? It is a nice twist and, perhaps, yet another way to help fans to pay even more attention to and to become even more acquainted with this towering talent. Of particular note in the actual interview is Lutan Fyah speaking on how the album came to be and what his intentions were behind some of the music appearing on it. A very good idea in my opinion. 

Overall, "Get Rid A Di Wicked" not only becomes the second consecutive album from Lutan Fyah that has managed to generate such a nice amount of hype prior to its release (and it is likely to be the second of at least three as the second half of 2014 will probably bring us his first album for I Grade Records and the Zion I King who promote albums as well as anyone in Reggae music today) it also becomes the second which manages to live up to that hype to my opinion. I will say that I think that this album requires a little time and I would not, at all, be surprised to see my opinion change on it, for better or worse, with the passage of even more time because of how many different things are going here. Subtly, it isn't as straight-forward as it seems to be and I think as we move further away from it, it will stand out more as somewhat of a variant within his catalogue. HOWEVER, speaking for right now (which is all I can do), "Get Rid A Di Wicked" is very strong. The blend of Bread Back Productions and Lutan Fyah continues to turn out consistent winners and should this one bring a wider fan base than usual (and it should), what those fans will find is yet another solid set from an artist who, despite being at an advanced stage of his career, may still actually be on the rise. 

Rated: 4.25/5

Bread Back Productions/VPAL

2014

CD + Digital

Review #517

'For The Ears!': A review of "We I Open" by Jahmali

A projectile. There exists absolutely no limit at all on the different ways in which an artist can get and then keep the attention of the masses. Be it something wholly negative, ridiculous and absurd or something (in the rarely taken route) overwhelmingly positive which may occur out of the studio, either road can take you straight to prominence and keep you there (unfortunately in some cases) indefinitely. However, the most fertile method for a musician to rise, fortunately, is… making good music and, again, this is accomplished in a variety of different ways. For example, if for no other reason at all than because of what they're capable of doing with the spoken word, it'll be DAMN hard for us to forget the likes of Aidonia, Bunji Garlin, an early Vibez Kartel [WHAT!] - ever. I picture leagues of up and comers, years from now, with similar styles greatly crediting that lot with what they're doing and we've already seen it begin. On the other end of the spectrum of that almost extraterrestrial-like command of syllables and soliloquies would be the attraction of VOICE and we've been damn fortunate as fans of Reggae music to have enjoyed some fantastic and lasting singers. We can deal with people from the more modern era such as Luciano and the great Beres Hammond at the head, but even if you follow those paths further along, you run into truly devastating voices. Of course you cannot talk about powerful vocals in Reggae without mentioning the possessor of the greatest one ever given to a human being, Jah Cure. The Cure's music, even if it isn't the best song, will likely always be able to generate some type of interest because listening to him sing ANYTHING is interesting. Others, still, like Bushman at his best, certainly Alaine particularly with the type of music that she makes, the great Chezidek, Glen Washington and others all carry a similar trait because of just how they're able to differentiate their music from every other name in music and exactly what they choose to do with it. Another name who perfectly fits into place in that group and has shown us precisely why for his entire career has been Jahmali. In his particular case, it was years and years ago when he gave Reggae music its greatest taste of what he could do - a flavour which it will likely never be able to fully shake away.

"El Shaddai" [1998]

El Shaddai! If he never sang another song ever again in his entire life, we still wouldn't be able to completely write away the work that Jahmali has contributed to the music because he's largely responsible for having made one of the greatest songs Reggae has ever produced. 'El Shaddai' was and remains his opus and although I don't think that the song gets the respect, today, that it deserves for anyone who ever heard it as a fan, again, it stands as a PILLAR of a song. The tune would also eponymously head Jahmali's Penthouse Records produced debut album in 1998 (which was also fantastic from beginning to end) (had an AMAZING tune called 'Zion Awaits') and although, given his start, Jahmali hasn't had the type of career one would have predicted at the time, that early work, lead by 'El Shaddai’, is enough for him to have earned a spot of tremendous esteem and, happily, he's obviously not the type to totally rest on his past accomplishments. 

"Treasure Box" [2000]

Way back in 2000 Jahmali would deliver his overlooked sophomore set, the sublime "Treasure Box" which was actually produced by the legendary Bobby Digital (if ever you feel like crying, track down that album and listen to the tune called 'Wash Our Troubles') (… and even if you don't feel like crying, just take a listen to that album, it was so good) and over the past decade+ from then, he hasn't been the most active of names. Thankfully, however, he didn't retire or find something else to do with all of his time and over the years Jahmali's is a name which has popped up on projects from the likes of Flava McGregor, I Dwell Records, Reggae Fever, Funky Dividends and others. Most recently, Jahmali made a stirring appearance across Zion High Productions' large Jah Warriah Riddim with 'How U Ago'. In terms of, specifically, one day giving another album to the masses, surely the most noteworthy label of those "others" has been the ALWAYS active and wonderfully inescapable ReggaeLand Productions from out of Spain. We've thoroughly covered the works of ReggaeLand over the course of the past two or three years now which, along with pushing a few very strong riddim projects, has also included a fine and full line of artist's albums. At the head of them all, in my opinion, was Anthony Que's downright divine (every time I listen to that album, still, I find new things to like from it) "No Fear No Man" from back in 2012. And the label has also done projects from Singer Jah, Malijah, Achis Reggae favourite Chantelle Ernandez and, most recently there was Mikey General with "Hailelujah Song" just late last year. Now, with their first full release of 2014 (unless I'm overlooking something) (and I may be), ReggaeLand brings forth the first new Jahmali album in fourteen years, "We I Open". As I alluded to, this album does not come as a total surprise as artist and label have produced output in recent times and, along with the aforementioned names and others such as Jah Nattoh (biggup Jah Nattoh), Wayne Daniel and Norris Man (and I am FULLY expecting a Norris Man/ReggaeLand album at some point, given just how active both have been - at some point, it HAS to happen), Jahmali has become somewhat of a mainstay on their releases and "We I Open" is the culmination of all of those efforts. And not only has ReggaeLand been active, they've also been really good (Quantity & Quality), so when combined with an album drought from the singer and recent work by the label, I was DAMN looking forward to this album and, as I knew it would, it managed well live up to expectations. 

Unlike names I mentioned such as Jah Cure and Chezidek, there isn't anything too bizarre about Jahmali's voice. He's just EXCELLENT at singing. Still, the best way I can describe what he does, vocally, is to infuse such a remarkable amount of passion into his songs that you cannot ignore it. And, despite the zeal, the sound is effortless. The man was born to be a singer and he sings just as much from his heart as he does from his vocal chords. And Jahmali places those dazzling tones on full display throughout his new album, "We I Open" for ReggaeLand, which gets up and going with its namesake tune. The first thing that got my attention from the opener was the fact that it rides the same riddim which backs Anthony Que's gorgeous 'Cyaa Stop Jah Blessings' (a SWEET guitar on that track) from the aforementioned "No Fear No Man" set and, though those standards are soaring, to my opinion, Jahmali matches the masterful Mr. Que. 

"We I open, yes we I open

We I open, yes we I open

WE HEART BROKEN, YET WE NOT BROKEN

We I open, yes we I open

We I open, yes we I open

We I open, yes we I open

Here is a fact weh babylon don't like -

Dem no like it when di youths dem I-nite

Afraid a revolution might ignite

Dat simply mean di veil come off we eyes

But education is the first foundation -

Of survival and unification

Wi nah go run wid guns and ammunition

BOOK YOUR SEATS ON THE TRAIN TO ZION!"

BOOM! Though I do hear one song on the album which I favour over it, it was no surprise that 'We I Open' was chosen as the title of this album. As a song, it is a beautiful composition and a joy to listen to. The second song on the album was the first of a few which were completely familiar to my ears. The somewhat funny (it's hilarious!) 'Selecta Man' rides ReggaeLand's sweet Cultura Riddim and it finds Jahmali feuding with the skullduggery of a selector who is ruining his advances at a woman who has caught his eye. The very clever tune is a large highlight here and I don't know if I've never really paid it a proper attention (although I sung along with the chorus immediately) or if I just haven't heard it in a while, but this tune sounded better than I recall, so definitely don't just pass it by. 'Worst Criminal', although new to my ears, is backed by the track which underpinned Que's 'Rastaman House'. Jahmali also does well on that golden composition as he deals with the misguided and full-on repulsive intentions of a group of the worst kind of people in the world and there is also a solid remix of the tune at the end of the album. Neither riddim nor lyrics in the case of the biblical 'Wicked Devices' caught my memory, but I'm happy that "We I Open" has given us all the opportunity to become acquainted as it is another big tune. Be sure to pay attention to what is said on this song, but the vocal performance here is AMAZING and the highlight of the song. Next is 'Real Life Champion', another piece which was new to my ears and one which is even stronger than the song preceding it on the album to my opinion. This selection is one about basically seeking a higher standard when you go to giving terms like 'champion' and focusing on the greater things in life outside of things of purely material value. One of the best riddims on this entire album is on 'Real Life Champion' as well. 

The second half of "We I Open" unwraps with another previous single, the downright WARM 'Do It For Love' which was featured on ReggaeLand's relatively recent The Change Riddim. Again, this is a song which is so wonderfully sang that it dominates my opinion of it, but if you break it down just a bit, what you find is a top inspirational effort which is set within the confines of a relationship, but can really apply to almost any type of situation in my opinion. A gorgeous song. On 'Ancestors' Jahmali pays tribute to those who came before and does so to the tune of one of the best lyrical displays on this album. Specifically, he deals with the disconnect modern society seems to have with the ancestors and how important it is to remove that type of mentality. It's also a very nice song to listen to and very pleasing. As I said with 'Selecta Man', it also applies to 'No Weapon' which takes top honours on "We I Open" in my opinion. The song which was Jahmali's cut of the Dem Talking Riddim is MAMMOTH! 

“There's no weapon weh can stop a dis yah Armageddon

So wi hold and Jah mek wi strong

To bless up today, to see another one

When you don't know the repercussion

And you just keep on doing wrong -

Every day weh Jah send come

You're not aware of the reciprocal whose gonna save you from -

Crushing under babylon wall, when it ah fall

The better you give is the best you receive

Don't accept defeat

Give thanks and praises, now dem finally see it"

'No Weapon' is magical and apparently ReggaeLand agrees as, just like 'Worst Criminal', it too is featured in a remixed version at the end of the album. 'Courageously' blows through with a well refreshing sound just as Anthony Que's 'Blowing In The Wind', with which it shares a track -- Reggae Reasoning Riddim -- and it, which is a call for some strong souls to stand up and take some risks and show some bravery, also SHINES!

"They used to laugh and ask what we mean -

When Rasta tell dem fi eat up di greens

Neglect di herb weh Jah gave for meat

SO Jah LICK DEM WID DISEASE"

I talked about passion in referring to Jahmali's voice - if you want to hear PASSION, hear 'Courageously'! As is the premise of the song, you feel like getting up and doing something after this record rolls in and it doesn't stop after it's come and gone. Finally, the last non-remix on "We I Open" is the nearly stellar 'Silver Nutmeg' which Jahmali sends up as a credit for Reggae music. He almost sings it as a love song, at times, and I suppose that's exactly what it was meant to be on the very colourful selection. 

Jahmali

Overall, while I wish we didn't have to wait nearly a decade and a half for it, Jahmali's third album proves to be as mighty as you expected it to be. I do want to mention, to the credit of ReggaeLand, that the music here is outstanding throughout and when placed beneath a voice like this one, it sounds even greater to my ears (as I alluded to). This is probably my second favourite album that they've ever done and, hopefully, they can line up future recordings with Jahmali as well as my only real critique of this album would be its length. One or two more songs would have been nice (so would a combination with Anthony Que, but that's probably asking too much). To put it simply, Jahmali has one of the best voices Reggae music has ever seen and although he hasn't given us much of a cause to celebrate it in recent times, he returns in a major way with "We I Open". When he sounds like this, I can listen to him sing songs all day long. Well done. 

Rated: 4.30/5

ReggaeLand Productions

2014

Digital

Review #516

'With Feeling': A review of "Guidance" by I Jahson

Shine it. I'm someone who, though I definitely respect eras of years and years gone by, will always show the most amount of love and appreciation to artists and musicians of the current generation. One of my largest reasons for doing this is because of just how much talent we currently have in the world today when it comes to Reggae music. And certainly that is a credit to those who came before and paved the proverbial way by laying the foundation and giving the music such a powerful platform where, today, anywhere you find people (virtually anywhere at all), you're going to find not only Reggae musicians, but TALENTED Reggae musicians, as well as fans of the music. That is remarkable and each and every time someone runs into the works of one of these artist, as a whole, the music takes a little step forward. And I'm always interested by some of the travels people make and some of the various locales that individuals end up in to thrive and make good music and just how nice it is that THIS is what brings them together. One of the most interesting examples of this would surely be the case of Achis Reggae favourite, Lion D. While Italy may not be known as a powerhouse of Reggae music, with names such as Lion D, Raphael and others… maybe it should be! The Lion's most unusual track taken to Reggae music, alone, is a really fascinating story, but it is made even more gripping when you consider his heavy capabilities. Similarly, I look at someone like Jah Turban. Jamaican born, the chanter found his way to Denmark, of all places, and found producers and labels and has gone onto to enjoy successes (which hopefully will include a debut album at some point). And just recently we also dealt with the wonderful second album from Ras Mc Bean ["Inlightment", in stores now] who, from being born in Guyana, has found a home performing and recording for labels a throughout Europe. Incidentally, another name which very much comes to mind is that of South African standout, Black Dillinger. Dillinger has enjoyed a tremendous amount of success, also mainly in Europe and one of his most consistent and familiar stops has sent him to Austria where he's also found an interesting and talented group of producers… and he is not the only one.  

"Better Tomorrow" by Black Dillinger [2011]

On his most recent release, 2011's "Better Tomorrow", Black Dillinger linked up with Richvibes Records from out of Austria to produce, easily, the most colourful and varied release of his career. Three years on and Richvibes is back with another full length set from another big talent from out of Africa, Zimbabwe's I Jahson. I Jahson is one of those names that has relatively consistently found its way onto my radars over the course of the past couple of years, but I didn't particularly know a great deal about him and I'm sure I'm not the only one. In retrospect, nearly all (if not completely all) of what I know from him, in terms of his actual output has come on the Richvibes label and, to no surprise, artist and label now team up to bring to the world a little "Guidance".

Outside of their work with Black Dillinger, Richvibes has also recorded songs with the likes of Ward 21 (showing a great range - spanning from Black Dillinger to the madness that is Ward 21 [big new album, "Still Disturbed", in stores now]) and from what I've heard from them, if you can say anything of their style, King Richman and company definitely combine a variety of different styles in their music. And while that may not be something favoured by some Roots Reggae fans who pick up this album -- and, at times, I may be amongst that more rigid type of group -- something tells me that it isn't going to be the greatest of problems when it comes to this one. When I heard the early bits from "Guidance", I thought that it had some type of quality to it that would surely be interesting to take a look at and, going through the album, that quality (whatever it was) didn't dissipate or diminish, it became even more clear. What was it?! I Jahson is very, very talented. Primarily, he comes through with this intoxicatingly laidback but ultra focused type of chant which, comfortably, allows him to kind of drift back and forth into a diverse set of sounds which, obviously, matches him up well with what Richvibes does. When he turns up the fire just a bit the focus intensifies and his abilities become even more glaring (and… I don't need to tell you what that does with this type of music). Because of that, his travels to Austria and to Richvibes, at least in my opinion, becomes even more crucial because of how rare such a link would be theoretically (a Zimbabwean goes to Austria and develops into a Reggae star) (WHAT!). Whatever the course that brought I Jahson and Richvibes together, you're likely to be thankful for it when you get a listen to "Guidance". As I alluded to, over the past two or three years or so, the label, just as they had for Black Dillinger, had been releasing singles from I Jahson which would lead one to think that "Guidance" was always the eventual goal and because it had taken such a vast period of time, I think that such a strategy was a good one. In Dillinger's case, "Better Tomorrow" was his third album (and he can do album #4 anytime now!) but, for Jahson, I think that it just allowed fans to get comfortable seeing his name about and though I may not have been absolutely devastated by everything that I heard (and I never am) (neither are you), but I what I did hear made me want to hear more and, of course, see what was in store for the chanter. What was to come was "Guidance" and we don't have to wait and see anymore! Let's discuss!

As a writer, the things to like about the artist continue. He composes songs which, for the most part, have a very clear and relatable theme. Certainly I'm someone who doesn't mind going through and trying to analyze DEEP songs and meanings, but his way is more straight to the point and that, too, can also be delightful (think of people like Lloyd Brown and Tanya Stephens). Following a very dramatic intro, I Jahson gets to the point on his new album, "Guidance" with one of the album's previous singles, the sublime 'Source of Life'. This song is my favourite on the whole of the album - it is just a great tune which comes off so easy and organic and, on it, I Jahson delivers a message about how music mirrors life. I also hear a lot of pride in the song as well as it seems as if he's humbled by what it is he gets to do with his life and the opportunity to make music like this. And, despite its prevailingly relaxed tones, I also do hear a whole heap of passion here as well and it is a JOY to listen to ["Music is a source of life. Keep it clean and pure"]. Then Richvibes begins to paint and we get into the downright dazzling 'True Colors'.

"When I was young, I never showed my colours

But now mi is a man big, strong -

Jah give I the powers"

The song has an African 'swing' to it, but it also has sounds of like old school Dancehall (which is the approach Jahson takes here at times) and they all form a perfect blend to one of the most sonically pleasing selections to be found on "Guidance". The same could well be said about 'Rise Pon Dem' which follows 'True Colors'. This is an aggressive shot taken at corruptive and oppressive society which rates very highly here. I HAVE to mention in this case, however, the riddim which does all kinds of developing in its time and I Jahson doesn't let the moment go to waste and, instead, he also delivers one of his finest lyrical performances on the album as well.

Along with 'Source of Life' (which also comes with a top notch acoustic version), to my eyes, "Guidance" also contains three other which're familiar. One of them is the album's only combination, 'You Must Be' which features the aforementioned Black Dillinger and was carried by his also aforementioned "Better Tomorrow" album. The hype piece is one which is just asking for a little more from the world -- asking for someone to stand up -- ["You must be something that you never been before"] and it has been awhile from since I last heard this song and I don't quite remember it sounding this good. It's aged well as the two styles blend so well together and both artists shine. You may also recognize 'Iraq', which is also given two mixes on this album [the original and a Reggae version]. The song is very clever as it places I Jahson right in the midst of war in the world and the approach he takes with it is so simple that it seems like the type of things that you would worry about. He misses his Mother! And the atrocities are starting to get to him ["Even the baby did drop. Man all explode deh pon di spot"]. In a genre like Reggae, you‘ll hear thousands of antiviolence and antiwar tunes, but I really appreciate originality like the point of view taken on I Jahson's contribution. And there‘s also the lovely 'Yard' on which, whether physically or mentally, Jahson goes home and away from ills of the world. I do enjoy the mental side of this song as the chanter talks about thoughts and even having dreams which work enough to allow him to mentally drift away for awhile. Big tune.

And while I may not know of it well right now, apparently it's time I also got familiar with 'No Slackness' which is the next single coming from "Guidance". The infectious Dancehall tune is sure to get heads rocking (like mine, right now) and I‘m almost certain that was the approach to a piece like this one and there‘s nothing wrong with that. Surely the same intent was behind 'Blazing' which is the final new song on the album (just ahead of the two mixes of 'Source of Life' and 'Iraq') and, with its HUGE sound, is likely to have the same effect. As I often say in the cases of songs such as this one, though you come looking for the moment of the music, if you can, try to give an ear to what is actually being said on the tune as well because if you don't, you'll miss something really nice in my opinion. Just ahead of 'Blazing', fittingly, is the album's obligatory ganja tune, 'Malawi Gold' which comes equipped with its very own skit, 'Take A Puff' (which is just a streamlined portion of the full song). Both are impressive and, when placed together, are kind of magnified. And biggup the background singer there - whoever she is, she has a fine voice and makes a strong display.

Though it takes a surprisingly long time to get up and going, the album's title track is captivating. I'm still not exactly sure what I think of it -- the sound on this one… is just all over the place! -- and it sounds like someone really tried to do something different with it. And though it's more direct, one could say the same with the somewhat Hip-Hoppish 'Evil System' as well. That being said, however, 'Frienemy' is gold. On it we find I Jahson telling all to be aware of who you keep company with and who you refer to as your 'friend' because they may not really be what and who they seem to be. He also keeps things a little bright and seems to say that if you are actually wary about such things, it will help you tremendously in life. And the riddim on that song is divine! Finally, check 'Chat No Nonsense', which is kind of the other part of 'No Slackness' in some respects. This song is just about setting a proper example for those who look up to you (and for yourself) and trying to do the best that you can in that. It, also, has a unique and hard to describe sound, but it ultimately does work and is a solid offering. 

Overall, there is so many discussable aspects of this record that we can look at and one which I do want to focus on is how accessible it is. Roots Reggae, even in its modern form, isn‘t always THE most ‘open‘ of genres of music, but if you enjoy it a little and several other styles, "Guidance" is definitely for you. And that‘s something which is not, at least not in my opinion inherently inaccessible for more seasoned fans, who should also enjoy parts of this album as well. The music, in general, is damn good (particularly the background singing, which I mentioned, and the guitar work) and certainly very diverse. For his part, I Jahson gives a strong exhibition of what he is capable of during an important phase of his career. So many people who haven‘t heard of him or heard his work may show up for "Guidance" and, when they do, what they‘ll hear is the product of years and years of someone growing as an artist and a most remarkable journey to fruition. 

Rated: 3.85/5

RichVibes Records

2014

CD + Digital 

Review #515