The Vault Reviews: "Music Never Dies" by Lutan Fyah

Uncommon. Somethings just make good sense. Though we, as a species, may often behave in a manner which both suggests and displays that we have some type of an aversion to common sense, we do have our moments, here and there. Along with the nuggets of technological advancements that we have made throughout the years, musically speaking, we haven't done entirely terrible either. I have heard a few good songs in my day. Let's just take, for example, oh I don't know, let's take I Grade Records for a quick example today (what does "quick" mean, can anyone tell me because I HAVE NO CLUE!). What I'm wondering now is, after at least two decades into it (and having seen, literally hundred of once promising labels come and go), what the legacy of an imprint such as I Grade Records' might be someday. Because today, at least for myself, when I see their name attached to anything, it has my interest if, for no other reason, than because they are involved. Releases with their name virtually always carry some relatively high level of quality (even if you do not appreciate the vocal artist, you will appreciate the music) and they hardly, if ever, fail to reach those levels. What I do think their legacy will be and what it is, in many ways, already, is that IGR became the behind the scenes match of so many powerful vocal Reggae talents from out of the Virgin Islands. The label would not only make excellent music and put out big releases, but Laurent 'Tippy I' Alfred and company would, relatively quickly, become capable of providing the biggest stage for the music as well. And I'll expand on this in just a second (which means that I should probably write it all at the same time), but if you want a release to receive the greatest opportunity to shine, from promotion and attention, along with that quality, particularly coming out of the VI, you want that project to be attached to IGR. There is one obvious example for this case, but I'm sure that we'll get to him later on in this review (because he's on the album), but I look at artists such as Ras Batch, Ancient King, Army and others who have had at least respectable careers outside of working with IGR, but received such a larger push in working on projects with the label which would push them to not only a wider audience of fans, in general, but even more dedicated fans of the genre who may not have been very familiar with their work. And there're others still, such as NiyoRah, Ras Abja and Danny I, who's output we almost entirely associate with the label, who have provided us with memorable works throughout the years ["Now I feel your presence again. OH JAH!"]. 

And when something is so powerful, you do not keep it to yourself. You share it. You spread it around. And over the years, IGR has had no problem doing that at all. Currently (and it has been going on for quite awhile now), they are one third of the most formidable and increasingly esteemed Zion I Kings collective, which I have told you about three hundred times and will probably do so, happily, another three thousand (new release, The Mash Down Riddim, out now), along with the (continental) US based Lustre Kings Productions and Zion High Productions, respectively. And even beyond that, you could look at the case of the.... downright mythical Yahadanai from out of Guyana (one release, "One Atonement" from way back in 2004, has kind of made that man a legend for hardcore Reggae fans). There was Toussaint (and I don't even remember where Toussaint was from, but thankfully I'm detailed as hell so I can do research on my own blog to find out) from Indiana in the States, who linked with IGR on the STUNNING "Black Gold" from 2010. And we also had The Nazarenes, a pair of brothers directly from Ethiopia, who gave us "Meditation" in 2012, courtesy of IGR. Taking it a step further, I should probably mention 2011's "Kings Bell", an OUTSTANDING album produced by Jamaican Andrew 'Bassie' Campbell (for an artist we'll name later), which was distributed by I Grade Records. So, while time will likely remember their efforts being more localized to the Virgin Islands (and that's fine), I Grade Records has never had a problem with spreading the wealth and working with top talents, regardless of where they may originate (and that's only albums that they have released, we could also deal with the likes of Lloyd Brown and Ziggi Recado from Europe, Queen Omega, Marlon Asher and I-Sasha from Trinidad and so many others). 

So, with that being said (all of that was so much fun to write), had you come to me about a half decade ago and asked me who I would most want I Grade to make a full album with, after saying that I would love for someone to go and find Yahadanai, chances are pretty good that my FIRST choice would have been Lutan Fyah. Along with being a personal favourite of mine, the scorching chanter from out of Spanish Town had been a top choice for both IGR and the ZIK over the years. I'll give you this stat because its fresh in my mind: The ZIK have a running Riddim Series compilation and only two artists, Cruzan superstar Pressure Busspipe (who has had a pair of his own full sets for IGR, "The Sound" and another one which I might tell you about in a little while) and Lutan Fyah, have appeared on all nine of them. He's also appeared on several of their albums from other artists (including "The Sound") and general compilations (do you remember "Joyful Noise"???) as well. He's even performed alongside Tippy and others. So the chemistry was clearly there, the only piece of business remaining was to make it 'official'. If I recall accurately, it just prior to the beginning of our hiatus that word reached that forthcoming would be an official album release from Lutan Fyah via I Grade Records and the Zion I Kings and I was all kinds of excited about it (I THINK there was a Sabbattical Ahdah release planned as well) (biggup Sabbattical Ahdah, if you want to see the type of influence IGR can have, Ahdah holds a similar position to Yahadanai, in having dropped one incredible set, but you won't find it, "Heart Ah Joy", physically or digitally, anywhere). "Music Never Dies" would reach fruition in early 2017 and it would do absolutely nothing but show that the musical relationship had been anchored ina most powerful brand of harmony which would be on full display throughout its HEALTHY fifty-five minutes. Directly, if you get into why, exactly, the Lutan Fyah & IGR/ZIK link has proven to be so strong, I think it has to do with styles. For his part, Lutan Fyah is an absolute powerhouse of a lyricist. I've said it in the past - the man has a very interesting, gritty but brilliant way of structuring his words which has really resonated with me and, clearly, so many others. For their part, IGR/ZIK excel in a similar manner. Their compositions can be STUNNING, but they aren't typically what I would call complex (they probably are, but I lack the vocabulary and musical knowledge to explain it), they are powerful vibes for anyone with any type of an ear for Roots Reggae music. So, at least to me, the link is a natural and most organic one. But is it REALLY?

Oh hell yeah it is. Lutan Fyah has had a variety of different albums (which I just don't feel like counting right now and he's even had one since this one, actually) for a variety of different producers and labels. He's had projects released by the likes of Greensleeves Records, VP, Rastar, Cousins (do you remember Cousins Records???) and for producers such as Xterminator, In The Streetz and Breadback. Interestingly, his sophomore set, "Time & Place" (more on that one later) came via the 'Kings' of ZIK, Lustre Kings Productions and was one of his finest. Returning to the folds, he once again came up with magic on his outstanding 2017 release, "Music Never Dies", from I Grade Records and the Zion I Kings. Things get up and going with the tune it was named after, one which I was really looking forward to hearing. It brought a smile to my face. It is a full JOY to listen to. The direction of things here isn't done in a stereotypical way, instead, it is emblematic of what I mean when I say that the Fyah has this beautifully rough way of building his ideas. This is a piece about not only the impact of music ["When the multitudes hear the music, dem jump and rejoice. Hey come, lets make a joyful noise"], but also every single aspect of life where it can be found ["Sweet sound of music up inna mi head. Di birds dem ah whistle dung inna di riverbed. Even di leaves of the trees is a musical instrument. Sweet sound and melodies of the insects"]. It actually got me to a point where I began to think of this: Can you imagine if we didn't have any music. If there was just SOUND but we had no ability to appreciate melody? It would be AWFUL and a song like this, hopefully, will have you appreciating just how good we have it. If not (you have a bunch of fucked up problems and you need to seek some help for yourself), try 'Kick It Inna Africa'. The first of three (technically) five-minute long tracks on "Music Never Dies", 'Kick It Inna Africa' is a GIANT of a tune. It is MAMMOTH! 

"MI TELL YUH STRAIGHT ABOUT THE LAST GOOD PLACE

The continent of love, real joy and grace

The land with the jewels weh di whole world praise

Jah know mi haffi reach out safe

Yes I've been asking this question, no one can relate: 

Why some African deny di faith?

And when it come to Africa, dem fail to create?

Realizing dem doubt, so dem infiltrate

Choose di wrong way, now dem start calculate

Dollar signs stick dem up, DEM LOOK WORRIED INNA FACE

Money dem ah run dung, it dem ah crave

So dem try and mussi block off di gate"

A pillar on this album (so is the title track and probably eight others) (you see where this is going), 'Kick It Inna Africa' is about repatriation, it's about strengthening and appreciating African for who She is as a functioning being. The way the artist weaves this one, it sounds SO nice. Also, you listen to just how wonderful it is and how it makes you feel. It's one of the nicest listens you'll hear on this album and any other one Lutan Fyah has done to my opinion. Is it possible to go higher? 'Beat Dem', his cut of Zion High's wicked Jah Warriah Riddim makes a very good attempt at it. Here we find the Fyah pushing up massive praises and doing so in a fairly aggressive tone. The results were impressive the first time I heard them and have only grown in stature throughout the years. Delightfully, this isn't our only encounter with 'Beat Dem' during "Music Never Dies", as it returns attached at the end in remixed version (Duppy Walk Remix). The two aren't drastically different (at all) to my ears, save for the ending portions. Take as a pair, individually or in any other way you can come up with (you can play them both at the same damn time if you want!), but what you have here is an outstanding opening and things continue right along. 

As I said, Lutan Fyah has been very active across various ZIK produced sets and, as you might expect, "Music Never Dies" features quite a few of those works (although, wonderfully, not all of them). One of the most prominent (and, arguably most beautiful) was 'Put A Fyah In Deh' which is, at least on paper, the signature moment of "Music Never Dies" for me. Just looking through the tracklist, it leaps out at me, I sing it immediately and it makes me smile. Gifted with and backed by the GORGEOUS Lifetime Riddim (the horns on that thing are so damn subtle but completely perfect!), 'Put A Fyah In Deh' is a call for change. Things have to go in a different way, you have to light a fire under the right asses to get things moving in a better direction for us all. There is also and obvious, but clever, play on words with the title - maybe if we all put more FYAH in deh and started listening to this man just a bit more, things would be nicer (if nothing else, we'd all feel better). 'Perfect Storm' was the title track of the then forthcoming seventh installment of the ZIK's Riddim Series. TEARS!

"Signs of the time, some man stay beyond time

Some born to live, some live to die-

Just like 'hello', 'goodbye'

We come, we go

We go, we come

Earth, sea and sky

We come, we go

We go, we come

Give thanks for each breath of life

HEY WHILE WI HIP AND WI SLIP AND WI SQUANDER POSSIBILIITIES

SCATTERED ALL WI CHANCES, LOST DI CONNECTIVITY

PROCRASTINATING ALL THE WHILE-

THEN YOU SIT AND YOU FEED ON THE FEELING OF INSUFFICIENCY 

WITH A SPLIFF ON YAH LIP

A BOOM DRAW OF SENSI

HARVEST IS FEW BUT THE REAPERS ARE PLENTY 

SIT AROUND AND IGNORE THE OPPORTUNITIES

IN A STATE OF ILLUSION VOLUNTARILY

UNFORTUNATELY

LIVE ON IT'S A QUANTUM REALITY

Perfect storm, Rasta bring a perfect storm

Perfect storm, I & I ah bring a perfect storm"

The final verse here is amongst the very best I have EVER heard from Lutan Fyah (which is saying SO MUCH in my case). It is DAZZLING! And he uses it, in full, to produce an incredible message, packaged alongside that equally impressive riddim for what is the crowning moment on "Music Never Dies" in my opinion. You could very well say the same thing about (damn near every song here) about 'Too Much Ramshackle' which was an official single for "Music Never Dies".  The Fyah uses IGR's golden Lion Of Judah Riddim as a backdrop for a scintillating social commentary - saying that too many things have broken down in the current system, figuratively and literally, and they need to be replaced (literally, we need to replace some people who aren't doing their jobs well enough). 'Too Much Ramshackle' is another instance where lyrics and delivery blend so well with the vibes of the song. There were thirteen other vocal tracks on the Lion Of Judah (including the downright obliterating 'Conquering Lion') ["The Conquering Lion of the Tribe!"], several of them were fantastic (biggup Danny I), but you're going to have an impossible time convincing me that when it was completed (while it was being built!) Tippy didn't fully have it in mind that Lutan Fyah would fully have to have an effort on this composition with the way it so snuggly fits 'Too Much Ramshackle'. I haven't chosen a favourite of the Riddim Series just yet, but if I were going to, ZHP's blissful old school licked H.I.M. Teachings would definitely be amongst the top contenders. Across this one, the Fyah breaks out his calculator, turns accountant and begins to run figures on the misappropriated finances of the system with 'Test A Money'. The underpinning point here is that the money exists that is needed to improve so many things in the world, but those who are in charge of distributing that wealth are putting into so many different, largely negative, things ["Spending many millions fi artillery. Numerous casualties, the war bring"]. This song, from a sonic point of view, is a fascinating one, because its second half isn't very lyrical. It almost seems like Lutan Fyah had something to say, said it, and then spent a nice bit of time reflecting on what he'd said. It can be read as being a very personal moment here, but in whatever way you take it, at least for me, it was a very nice addition to an already excellent piece.

It was during several of the tunes on "Music Never Dies" that were new to my eyes and ears that I REALLY took in its quality. When you get into the 'flesh' of the album and it remains SPECTACULAR, you know that you're dealing with a special release. The most obvious big moment would surely be 'So Di World Ah Run' which features Lutan Fyah alongside an absolutely FLAMING Leaf of Life and someone I've alluded to a few times in this review already, the incomparable Vaughn Benjamin. Off the top of my head, this is at least the fourth combination of the Fyah and Benjamin. They have well demonstrated themselves capable of producing magic together (probably my favourite would still be 'When JAH Arise' from the "Beauty For Ashes" album ["Moisturize your circuitry!"] and adding a fire-breathing LoL who incinerates everything in sight on the opening verse.

"Mi go check I Wayne pon di lava ground

 Nah eat no flesh, but wi nah maaga down

 From wi a likkle youth, wi a likke youth- 

Dem ah buy wata gun, dem ah buy wata gun 

But, no daddy, no gun 

No daddy, no gun 

When my son and daughta come" 

The Fyah then comes in and scorches anything which may remain:

"These are the last days fi mek di Fyah gwan blaze

The system is fulfilling, babylon dem ah come a fate

Di world is in trouble!

Everything fake

Dem waan fi bomb up di earth and run go space

Afta dem destroy di family

Feed dem wid insanity

Mislead di youths dem inna drugs and pornography

Worshipping technology 

New name is scientology

Run inna dem strategy 

Ghetto youth no sell your soul!

So whosoever tek dis pon dem head

Yes, di system will bring yuh down

Yah nah go no weh

Lef yuh dead

Then no care what friends and family ah said

Widout di mark inna yuh head, you caan buy or sell

Di innocent work for a paycheck to pay the monthly bills, the monthly bills

Yet, still they find themselves in debts

And di prison dem full up and di graveyard filled"

Before leaving the final blow to be struck by Benjamin:

"Daniel inna Susa

Black the Almight say -

"Seal up di vision til a time weh in di future behold"

Eyes like a fire

Diverse historical chronologies were told

Travel outta Susa, Iran

End up inna China

Put Jah wrath inna India

Hail Haile Selassie I, reclaim dem honour

INNA SPIRITUALITY IS OVER RELIGION, QUEEN AND DOGMA

Dogma seh all god, seh dem god complex rememba

HE was unknown to dem by the name of Jahovia

Left di Remnant of Judah up inna Ithiopia

Dung to di four winds, St. Croix, Antigua, Jamaica

Ting nah go settle til di justice step in yah 

ALL DI RIGHTEOUS INCLINATIONS  COME INNA ONE ORDER

Inna one order"

'So Di World Ah Run' is MIGHTY! It is chaotic at times, it is troubled, but it is a GEM of an offering. Fiercely lyrical, it's true beauty is appreciated by those willing to take the time to fully take it and for such listeners, you will not forget this, even if you try to (and why would you ever do such a thing). The delightful 'Real Woman' is another one which you'll have a hard time shaking from your memory bank, but in this case, this song is kind of 'tricky', in my opinion. Sure, you can just have a very light listen to it and thoroughly enjoy it. It has a very nice vibes, very easy and laidback and if you choose a more cursory approach to it, that is fine and enjoy yourself. HOWEVER, if at any point you really tune in to what the Fyah is saying, 'Real Woman' becomes something stronger and reaches higher heights.

"You've got all kinda girls that come in, I can tell

For style, some for material fame as well

Housewife and gold diggers and guess and spell

BUT A NO EVERYONE A JEZEBELLE

I mean the real grassroot, weh everyone have to look up to

She's the mother of all, I mean a woman of virtue

She no flirt, she no bicker, she no spin inna circle

She no linger around, she no move uncertain

AND SHE'S LIKE NONE I KNOW! [She's amazing]

HER WAYS IS NONE LIKE THEM AND THOSE

SHE'S LIKE NONE I KNOW! [She's amazing]

She's a different kinda -

Jah bless the day I find her

Made specially fi I

She's mine and no other guy

This love I can't deny

She's a real woman

Strong, strong woman

Hey she's a pillar to mi castle and mi don't find no fault

She neva collapse and she no plunder mi heart

And di best mi ever come across

And I gotta assure you, she's a vigilant

Mi tell yuh bout conscious woman, she no act up smart

She no front, she no pose up fi get no applause

And when it come to beauty - no question mark

Mi tell yuh dis yah woman mek mi laugh"

For me (and I may be the only one) (because the rest of you are wrong), 'Real Woman' is every bit as strong (and somewhat reminiscent of) as 'She's Royal', Tarrus Riley's megashot from a disturbingly long decade and a half ago (Tarrus Riley, at his best, may just make the most digestible form of Roots Reggae.... like ever) (even if you not enjoy Reggae music (you poor thing you) you can find something in that man's music that you'll gravitate towards and probably do so without much effort). They're both pieces which just display the necessity and POWER of strong women and how important it is to actuall SAY that. 'Nah Go Down' is HEAVY! It just is. This one, in particular, really reminds me of an older form of Lutan Fyah who, in one way, can be connected to Vaughn Benjamin in the fact that they both have these moments where it seems as if they woke up that day and walked into the studio to make a point. That was the only thing on their mind - was to get that message out. The results are always something to behold and if you need an example, definitely check 'Nah  Go Down'. In this instance, the point being made is one that we all need to make more of an effort to live better and more productive lives. No one is perfect and because of that we ALL have some aspect in our lives which we can do better. The filth and the nastiness comes in when we recognize that what we're doing is fucked up and we still do it to the point where we become a product of the combination of all of our flaws, losing our way fully ["...some forgot how to be clean, so dem go dirty instead"]. This is pure message music from the Fyah, but feel free to enjoy that LOVELY riddim behind him. It's amongst the best "Music Never Dies" has to offer. And the final two tunes I have to tell you about, 'Bredrin Still' and 'Take That Back' are two which I have come to place in a pairing. It isn't that they sound so similar (they do not) or that even the message is the same (it is not). What they are, on the message side, are two halves of one prevailing, GIANT, thought. Taken together, you REALLY become capable of seeing a bigger point being made here, which is brilliance (and I'm wondering if it were by a design that they are placed consecutively on the album or by coincidence) to my ears. For its part, 'Bredrin Still' is a build about Lutan Fyah's life, to a degree. He goes from speaking about his humble beginnings to dealing with the successes that he's enjoyed in his life and his career and the status that he has attained (and he has). He then uses those to say, no matter how far he's come - he's just like You and I, because he's experienced both the ups and downs, so the idea that he may be better than anyone is absurd. Now you take that and you link it up with 'Take That Back' and you'll find exactly why that is his attitude:

"Some say dem big in business, gotta a lotta money

No time to pray or give thanks

Feeling like they are so blessed, always inna  hurry

Just secure di dutty wealth inna di bank

Yes, they've got properties and beautiful cars

Children go to good schools

NOW YOU TREAT DI POOR AS  YUH FOOTSTOOLS

YOU LEFT DEM TO WASTE AND NOW YUH GWAN LIKE YUH RULE"

If this is the way you say you love Jah-

You can keep that back

Now you wanna say you really love Jah

You can take that back

It's you who show no love from yuh heart

Life seem so funny, dem ah grin and ah laugh

Is this the way you say you love Jah?

You can take that back"

Clearly Lutan Fyah has seen people (maybe even some of his peers) enjoy successes in their lives and begin treating others like shit. This is about being humble and, again, you take it back and relate it to the vibes of what immediately precedes it and the final product becomes one of TREATING PEOPLE (YOURSELF INCLUDED) BETTER because, no matter how much you achieve in this world, there is Someone who has reached infinitely higher than you and there always will be and HE treats people with respect and class.

Overall, for about a decade for me, there was a fairly simple hierarchy when it came to the quality of Lutan Fyah's projects. At the head was "Phantom War". It is the best album he has ever done. It is one of the best that anyone has ever done (tells you how I feel about that album when you know that we used to (and may once again) do a feature called 'Modern Classics', the very first entry was "Phantom War"). After that, firmly, was "Time & Place" (another Modern Classic) and the compilation "Africa" (another one). Well, since "Music Never Dies" reached, I've at least had to reconsider the order near the top. It will be a mighty long minute before I get around to (if I ever do) writing it up, but this one ranks just as highly as albums declared classics on these pages (it would be interesting to think of what would come next after those four now. He had a woefully overlooked one by the name of "Truly" which might come fifth) (there was also "Justice") (biggup Philadub) (I'm also thinking of albums like "You Brings Blessings" and "Never Surrender My Faith". It was absolutely fantastic from beginning to end. I tried to make the case vividly, but where this album truly shines is in its consistency. You have big, BIG tunes, which may catch your eye and that you are familiar with, then you have tracks which stand out for no reason at all.... until you listen to them. Then, they GLOW! Every single song on "Music Never Dies" is a winner. They are all excellent to my opinion and it came to no surprise at all. On paper, in reality or via any other set of circumstances you can come up with Lutan Fyah Meets I Grade Records and the Zion I Kings is a HUGE deal. If you need proof of that, you only need to listen to this album. AMAZING!

Rated: 5/5

I Grade Records

CD + Digital

2017