Powerful. I don't think it necessarily has to exist, but I think it is very nice if we can, eventually, find some type of 'tangible' or even 'lasting' effect of this wonderful music that we listen to. While its first step would be its creation and then its presentation, what WE ultimately do with it may be even more important. If you go along that line, as well, you may also end up confronted with the idea of quality. Is it an inborn trait of "BETTER" music to be better received by the masses and if it is, what the hell does "better" mean? Who defines it? "Better" according to whom??? As far as the music we cover around here, obviously, these questions are most compelling in the realm of Roots Reggae (although, to be fair, Soca may just be THE most tangible and immediately effective genre in the world, as if the instruction is to "jump and wave", if you feel that tune, your ass is jumping and waving) where the messages tend to be extremely ambitious. Be it a call of unity or to ease the violence, which would be on the lower end of things, Roots Reggae music (historically and currently) has always been a music which has had great hopes to make massive changes in the world. Measuring its efficacy would probably be damn near impossible as you can't read someone's mind and figure out exactly what the motivation and inspiration for their actions truly is, but I would think that the best case scenario would be to plant the seed in a person who will eventually be faced with making a choice between a negative and a positive. With that being said, it is a hope of mine that, perhaps, some young person out there who will eventually become someone who carries a ton of social power and has the ability to enact the changes spoken about in Roots music, has spent a large portion of their youth growing up listening to a few of the genre's most mighty of wordsmiths. If such a youth does exist (and I'm confident that they do) he or she (most likely a "she") will be a very remarkable kid. They'll have a structure within them that I (and maybe You) didn't have at that age; moreover, like the artists themselves, they'll have the ability to convey that message to people in a way which is both nutritional and joyous to listen to.
I'm sitting here thinking of what my response might be if, as an old man, I hear a leader of some country in an interview say something along the lines of, "when I was a child Vaughn Benjamin's music played endlessly in my parents' home". That would most likely be the way through when it comes to the life's work of one of Reggae's..... most uniquely devastating of talents. Maybe it would not have (it wouldn't have) taken me as long to appreciate his output as it did had I grown up with an ear for it. I didn't have that opportunity, but my kids are having it now (literally, I'm playing it right now) and maybe yours are as well and there're hundreds of thousands, if not millions, more across the world who're being afforded the FORTUNE of being raised in a generation where Benjamin's music has been so popular. What they're receiving is an early start on the wonderful road to comprehension of his words (a road which has many stops but no end at all, thankfully) and, again, I am damn curious to see what they do with it.
But where to start? I could name you some of my personal favourite albums from throughout the years (i.e. "Beauty For Ashes", "Standing Ground", "Rule The Time", "In Awe", "Jah Grid"... might be a pretty good idea for a list one day, so maybe I should stop now) but I'm sitting here thinking of something in the way of more 'open' and accessible sets from Vaughn Benjamin... and I'm struggling. Generally, in terms of the entire genre of Roots Reggae music, I'd look for an album which has music that isn't fully the (BEAUTIFUL) heavy sound which is native to the sound, but even in those instances, I'm thinking newer fans ay struggle mightily with the interpretation of what they're hearing (just as older fans do). In Benjamin's case, on the other hand, I think that were I looking for a decent entry point for listeners of any age, I might look for an album which did come with a more reachable sound, one which was relatively recent (although "Ras Mek Peace" might be a decent pick as well) and an album which was not only strong lyrically (good luck finding one that wasn't) but also healthy as far as the variety of topics he touches on. Actually, I think a pretty good choice would be an album from 2017 when Benjamin, in his Akae Beka form, linked with Uhuru Boys Productions and Uhuru Boys Records (I don't know the distinction between the two, but you will find both of their insignias on this project) and sent up "JahSayDo". By my count, the set was the fourth officially from Akae Beka, following "Homage To The Land" ["MANY CITIES HAVE JUST DECIDED!"] from two years earlier and 2016's "Livicated" ["Every foreign language, every denomination. Every background, creed. Every occupation"] and "Portals" ["People go through similar things same time"] (BOOOM!) and it was (and may still be) the most varied. Previously, even before our hiatus, I had written about Uhuru Boys Productions in reference to what I believe was their first release ever, The Red Alert Riddim. Even back then I wondered about the relationship between the Uhuru Boys and Rastar Records (specifically, I thought they may even be the same) and while I'm still not completely certain these days, it did come to no surprise that the UB's first full album release for an artist was an Akae Beka album as Rastar has done more work with Vaughn Benjamin over the years than virtually anyone outside of I Grade Records (and biggup Rastar, they've done Akae Beka releases of their own that I'll have to get to someday and, if my research is correct, they're currently planning on releasing a book from Benjamin shortly and more music) (I think my favourite Benjamin/Rastar album is probably "Better World Rasta". I think their most popular is probably "Children Of Jah"). The Red Alert was varied as well. It featured a STAGGERING roster of vocalists on a Hip-Hoppish vibe (along with Benjamin, there was NiyoRah, Black Uhuru, Ras Attitude, Jah Mason, Warrior King, Richie Spice, Chuck Fenda and Norris Man) (DAMN!), which has actually aged quite well if you want to go back and have a listen. So, when "JahSayDo" arrived -- an Akae Beka album from the Uhuru Boys -- I was definitely expecting something that was just a bit different.
And I was right. Thankfully, however, I wasn't 'too' right or 'over' right. By no means was this album disparate to an annoying degree. Were you a listener who came looking for strictly more typical Roots Reggae music, there was enough of it here to make you happy in my opinion. It didn't seem forced at all. I do not think that someone set out to make some extremely diverse Akae Beka album; instead, I think that the producer just made what sounded RIGHT for them and the quality of what you hear refelcts that. Coming through at nearly an hour's worth of music spread across fifteen tunes, "JahSayDo" was HEALTHY in size and strength. Two of the three tunes at the head of the album had a very BRIGHT vibes to them which was quite surprising for some reason. I just didn't think it would get up as it did (and I'm not complaining about it). The first of them was a glowing single for "JahSayDo", 'One Foot in Front'. You'll rarely hear a Vaughn Benjamin song with background singers and this one features them doing well alongside the chanter in an atypically melody-conscious mood (how many of his songs have you heard where it appears as if he doesn't give a damn about the riddim behind him?). Furthermore, the piece is a fitting opener because not only is it just delightful to listen to, but the idea within it -- to take things slowly, 'one step at a time' -- is so easily digestible and discernible. On top of that, it also winds and spirals just a touch, so it gives you a bit of a taste of what is to come. It mayn't (contracting 'may' and 'not'!) (DAMN!) always be so immediate (it won't) but specifically for what it is, 'One Foot in Front' was kind of excellent. The third song, 'Aloudallowed', was more sweetness for the senses.... but in this instance, it was FULL GENIUS! That song is about four and a half minutes of brilliance!
"YES. It's allowed-
To shout aloud-
Into a raucous crowd
Whole nation proud aloud"
IT IS OKAY TO BE HAPPY! IT IS OKAY TO CELEBRATE AND TO BE EXCITED AND ENJOY YOURSELF! YOU DO NOT HAVE TO APOLOGIZE FOR IT! That is the sentiment heard on 'Aloudallowed' and it is one which I don't think we've heard enough from anyone. Leave it to someone like (there is no one "like") Benjamin to push a vibe which is so light and easy, but so deeply important. This one is almost therapeutic on a level. If you're in a depression or just a down point in life, this may be a small scrap of alleviation for you, but if you're really able to take it in, it could even be so much more. Oh! And I have to mention (I am contractually obligated to) the drums on 'Aloudallowed'. As the song progresses, they become increasingly joyous to listen to. Sandwiched between 'One Foot in Front' and 'Aloudallowed' is a track which almost sounds melancholy by comparison to the pair, 'Heavenly Story'. I would imagine that Benjamin spent one wonderful night just staring in the sky and the next day when he woke up he had all the inspiration he needed to write this one. That is exactly what it is: He is taking a look at the stars and constellations (he even mentions Orion and the Pleiades by name) and bringing them full circle to Ethiopia and His Imperial Majesty. Unlike the tune which follows it, though I cannot specifically recall him doing a song like this one, 'Heavenly Story' coming from Vaughn Benjamin wasn't surprising at all. It's expectedly unexpected from someone who routinely appears to have at least on eye on the bigger picture.... and pictures do not come much bigger than this one. On the opener, the artist was going easy on us, he was being as direct and clear as he possibly could. By the time we arrive at 'Platune', however, he is warmed up the task at hand and tuned in and his more constant challenging self. What I ultimately took from it was the idea that, despite everything going on in the world and how it stays changing (biggup Danny I), there is a space for us all somewhere inside of it all. With its title, there's also this ever-present sense of unity and FAMILY (not just being near someone, but depending on them and having them depend on you) ["Love will put a heart in tune, even if that means give people room"], so he presents the concept in both micro and macro variations. Also, again, though it certainly does not leap out at you, the MUSIC on 'Platune' is angelic! It is SO BEAUTIFUL! And rounding out our first third of songs from "JahSayDo" was 'Play The Song' which was our first bite of a little Hip-Hop. To my ears, this one actually follows 'Platune' in another way than just literally on the album. Its course is quite similar as Benjamin seemingly suggests that we're all here, in some way, to 'play our song' - play our part in the world. We have to support others and be supported by others as well. There's a line here where he says:
"DON'T LET MALICE SEPARATION BE THE SCOLD THAT BREAKS US DOWN"
Which really gave me some clarity. The word "separation" is so critical because it plainly says that the further we move apart, the more we are in error. I really enjoyed that stretch, in particular, as the latest in a line of so many golden small moments (probably millions by this point) where Vaughn Benjamin, ever so slightly seems to reveal just a hair of his motivations and pulls back the proverbial curtain of ideology in a particular moment (which is downright delicious for an overthinker like myself) ["Kind words and good emanation frequency"].
From a strictly sonic point of view, the title track from "JahSayDo" is downright strange. I don't know what to call that thing. It's a little.... yep. Yeah. I do not know what genre to call it and there is a vintage Benjamin level of disconnect between vocals and riddim but that's fine. It does hold some value like almost every one of his songs, however, in what is said. On this one, things are fairly simple again ["Make the future into what Jah say do"] but the level of 'fairly-simpleness' in his case is different from anyone else's that you'll listen to. The result of that is, despite how odd 'JahSayDo' sounds (it most certainly does) and how 'spacey' it may be (that's probably not the best word but I don't feel like figuring it out), is a song which, after a few spins, does begin to grow on you. I'd still hesitate to call it a favourite here, but ask me a again later. Keeping that line of thought going of more eccentrically vibed selections from "JahSayDo", check the frenetic Hip-Hop on 'Kingdom Freeup'. Apart from its sounds which is exactly what I called it, it's electric "frenetic Hip-Hop" to my ears, this one is all kinds of fascinating. Because of the way Benjamin personalizes it (it is more broad at its beginning, but it spreads itself out very soon thereafter - basically at the same time), I'm thinking that his idea of 'kingdom' isn't a literal place; instead, it's more of an individual.
"Gun lust, flesh lust weh dem ah dignify nuff
SUFFER ALLA REPROBATE, REPROACH AND REBUFF
When you hear di mindset behind it muck up
When Rastafari coulda order dem up
Come inna dem mind like spontaneous pop-up
MEK DEM KNOW AH SEH CONSCIOUS IS RIGHTEOUS
Likkle voice inside well it speak to your corrupt
Caan get him out inna your chest box up
Caan get him out and if your head locks up
Only one way fi control that live up
RIGHTEOUSNESS HAVE ANOTHER KINGDOM FREE UP
ANOTHER KINGDOM FREE UP
RIGHTEOUSNESS HAVE ANOTHER KINGDOM FREE UP
Spirit king lion, righteous stand up
Righteousness have another kingdom free up
Creative inna purpose and innovate tough
Righteousness have another kingdom free up
Rastafari have another, alla kingdom free up
All nationality weh love Jah, come up
SOME A DEM AHGO ROUGH
DEM A NO BUTTERCUP
Like spin di cycle, PC pop-up
And di disciple ah rule dem like bible
Isaiah chapter three sixty di cycle
Design fi dancefloor emotional tidal
WAVE IF YOU KNOW WHAT DI SYSTEM IDOL
ONE THING WEH MEK IT NEVER FUNNY, GENOCIDAL
LOVE IS THE RULER
LOVE IS THE TITLE"
I could well see how you could interpret that as him speaking to a group of people, but he's speaking to them as individuals in my opinion - as in when ONE person moves in a righteous direction, that person becomes free! Not being a Hip-Hop fan, the vibes of 'Kingdom Freeup' don't thrill me, but I could dig (and have) dig my claws into its substance HAPPILY for a few hours. 'Hear Them Out, Hear Their Mouth' is another one which features an unusual sound. I think I'm going to call this one a little Hip-Hop and a little Jazz, with something else thrown in as well (yep, that's what I'm going to call it "something else") (and I am damn impressed by myself having gotten through that description without using the word 'fusion'). This one goes in a variety of different directions lyrically but what I went on to take it from it, in full, is the notion that everyone comes with something attached to them. We all have opinions and views on things and the best course of action is to at least make an attempt to listen to someone. They may not agree with you and they may be saying something that you do not want to hear, but giving them an opportunity to voice it (and then really listening to what they have to say) is not INTRINSICALLY a negative thing. I'm also going to mention the final two selections on "JahSayDo", 'Double' and 'Wisdom'. The sonics on the former are very different (there's this... kind of bounce to it, which is kind of rigid, at least as far as bounces go, and it never really goes too far beyond that) yet, whatever it is, Benjamin absolutely puts it to the sword with one of the finest lyrical displays on the whole of this release ["Different facts ah clap, ah mek things overreact. NOW THE GENERATION'S TRIGGER FINGER PON COCK. THEY TRY TO CRUSH A SNOWBALL TO HOLD AN AVALANCHE BACK"]. 'Wisdom', on the other hand, has a variety of different sounds going on within it. There's a frequent electric pulsing built inside of this otherwise (and including) GLOWING vibe. The total result is a downright ornate track and, again, the artist is in a pretty strong form. Along with being a big performance on the spoken side (and 'Wisdom' another one which is fairly simple to follow - it's a praising tune and one which is highlighted by an IMMEDIATE link between its title, His Majesty and a complete and reliable BALANCE in the world) (you get all of that in the first three or four lines spoken), 'Wisdom', on his own personal scale, is a relatively good vocal performance from Benjamin and, just as our opener did, the album's closer also features backing vocals.
And then there's the boom. The finest tune I hear on "JahSayDo" is also one which very much has a distinct sound of its own as well but in this case, that sound is entirely the creation of the artist. The riddim itself is quite terrestrial (gorgeous for what it is, but terrestrial). 'A, Ah', is TRULY something spectacular!
"You can find di priciple of Christ inna secular
IRREGULAR ROAD YOU WILL FIND SOME PEOPLE WHO EXCEL INNA
You will find compassion inna regular
Beauty and order law just must be felt as overpower
When dem si di large desert, dem there approach you not
And when di ocean of molten lava-
How dem they careful of
Wi si it what -
Di sun army step up and drink, swallow
Tornado scatter and stampede order
Fling round eighteen-wheeler
When a little paper roll up avalanche because-
How dare you assume that was a ski-slope fah?
IT WAS THE VISITATION VIBRATION FROM HELICOPTER
DEM WHO KNOW FI HAILE UP TO HAILE UP A SONG
INA A, AH"
"Now that science catch up and find out what di ancient tell dem
Dem waan more hemo-global and chloro-full ease too
It's vegan-vitality di world getting to cling to
THE KING OF KINGS TOO
THE LORD OF SATURN RINGS TOO
Every dove sing to di culture of Rasta fi neva depart
IS RASTAFARI LAW WRITTEN UPON WI HEART
LION HEART"
The first thing you notice about it is the peculiar vocal approach Benjamin takes on and I think the reason he does that directly relates to the meaning of the tune. 'A, Ah' is about the power of chanting! It is celebrating the REASON for making songs like this and its motivation. When I figured out what was going on it was downright STUNNING and from the Midnite-Akae Beka conversion, 'A, Ah' stands as one of my favourites.
The remaining songs on "JahSayDo" have a couple of things in common: They're all very much modern Roots Reggae music and they are all some form of exceptional in my opinion. Check 'Kind Words' (and tell me the beginning of that song doesn't make you think Tarrus Riley is about to start singing "She's royal! So royal!" Vibes and messaging are perfectly in synch on this one as the UB provide Benjamin with a riddim just as sweet as the worded picture he paints. There's a very wonderful lyrical blip on 'Kind Words' which he repeats throughout:
"Her kind words I REMEMBER"
I took that phrase, "I remember", as showing just how impactful saying or doing something nice to/for someone can be. You, right now, can probably think of something small that someone once did for you and it will make you feel good (and I'll try not to go off too far on this one.... even though I really want to). See, and now when you have the opportunity to do so, you can DIRECTLY take a song like 'Kind Words' and use it in your life. If you see someone wearing something nice, you tell them they look nice. If someone drops something around you, you stop and help them pick it up. Little things like that --even YEARS later-- can have such a profound effect on people and bring some joy to them. The golden one-drop securing the social commentary, 'Urgency' ["Who came out wholesome, clean?"] just may be the greatest musical display on "JahSayDo". It is strong! The song also reminds me (for some reason, I'm sure no one else will hear it), mightily, of 'What About Sudan' from "King's Bell", which is a great thing ["His Majesty rose to the challenge alone!"] (album just celebrated it's tenth anniversary a few days ago). As was it was for that big selection, 'Urgency' is also one of the best songs on this album. I like the kind of 'moody' separation between much of the delivery with near serenity of the chorus ["If they could get away clean"], which kind of adds to the 'urgency'. I have no idea how to properly describe it, but there is this infectious type of.... grumble which highlights the riddim on 'Run Down' (if you've heard it, you know exactly what I'm talking about. It literally sounds like the villain in a cartoon is arriving) and I would really like to hear an instrumental of that one. The song itself isn't terribly dissimilar to 'Urgency'. It's another social commentary which has a leaning to focus on anti-violence (which is what 'Urgency' does, specifically) but, here, it's about the things that people are willing to do and BECOME willing to do for money given their situations. It is a fantastic piece which is another one which features Vaughn Benjamin on a lyrical tirade. And lastly may just be my second favourite song on the entire project, the lovely 'Elixir' (biggup Malika Madremana) (it's been too damn long!).
"Dem still have on dem complacent face
They all were wrong when dem state dem case
Major money that unite fi control di pace
Si demself inna defeat, inna puzzled state
WORLDWIDE WEB HAVE HOLES THAT NEED REPAIR
WHEN DI NET BREAK BIG FISH AHGO ESCAPE-
YOU HEAR?
Di elixir, hemp fiber"
Did you hear what the fuck he just said?! "WHEN DI NET BREAK, BIG FISH AHGO ESCAPE"! DAMN! The feeling is to go back and rewrite this review and declare 'Elixir' its finest moment altogether, because it is just a FANTASTIC piece of work, even by this artist's own extremely high standards. Fittingly, it comes in with this very subtly ROYAL type of vibes: When you listen to this song, it sounds important. Whether you know (or even care) precisely what is going on, your instincts can tell you there is something extra special about it. As you have always been told: Trust your instincts.
Overall, I attempted to structure this review to highlight something that I have always felt about "JahSayDo" and maybe I did that for others or not, but I definitely highlighted and reinforced it for myself. If you are eighteen years old or eighty years old and you never caught on to the music of Vaughn Benjamin/Midnite/Akae Beka and you're thinking about somewhere to start, "JahSayDo", at least in my opinion, would make for an excellent choice. This is true regardless of your background. If you are a casual Reggae listener or an intense fan, the album's sound has great enough of a scope to please newcomers and long indoctrinated heads alike. Lyrically, again, it isn't simple but as far as his music goes, you'll have three or four pieces to kind of ease you into things before heading down this fantastic road. With that being said, by any standards to which I rate albums, though it may be (it is) strange at times, "JahSayDo" was another gem from a highly-carat-ed catalogue - one which may just change the world one day, if it already hasn't.
Rated: 4.35/5
Uhuru Boys Productions/Uhuru Boys Records
2017
CD + Digital
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