Principles. If I were to tell you that I heard a song which had the words "pickup truck", "old dog" and maybe "shotgun", chances are pretty good that you'd predict that what I was listening to was Country music and you'd probably be correct. Though you're unlikely to find a genre of music which doesn't mention those things in some way or another, they're almost universally known to be extremely prevalent (whether or not it's accurate or outdated (or just flat-out wrong) doesn't even matter and I couldn't tell you) topics of focus in that genre, so that's probably where your mind would go. Similarly, if I told you I heard lyrics which aggressively told me to "JUMP", "WAVE" AND "MISBEHAVE", and there was some type of sweating involved, you would guess Soca. Although probably underrated lyrically in a few ways, those are (well earned) hallmark traits of Soca music.... and I kinda love it. And again, while you won't find any style of music that uses words which does not mention those things, when you glue them all together, it equals Soca. I hesitate to use the word 'foundational' or 'fundamental' at the risk of sounding overly dramatic about jumping, waving and a pickup truck, but they are as ingrained in those genres as anything else that may come out of someone's mouth. In Dancehall music things are also extremely simple. When it comes to topics of Dancehall songs we have the 'Three G's' -- Girls, Guns and Ganja -- and then everything else revolves around them. If I asked you to think of a Dancehall tune which didn't fall into one of those categories, you might struggle quite a bit really (particularly if you think of 'Dancehall' in the genuine sense and not... that stuff they do nowadays) to come up with something which fully ignored them all. It is just the nature of the genre, earned through years and years of output. And while I'm completely less familiar with other styles of music, I'm sure fans of Hip-Hop, Pop, R&B, Rock and everything else could say the same about those (and I'm sitting here thinking that Gospel music may, in fact, be the easiest to recognize). Of course, while it's a wider array of topics than the three G's, Roots Reggae music is also the same. Roots is interesting because, as I've said in the past, you can take ideology and themes which're most often associated with Roots and put it into Dancehall, Soca or some other geographically related sound and people will often either, full on, call that song Roots or say something like 'it has Roots overtones' or 'textures' - things like that. Unlike most others (and I think I know why) (we can go ahead and call that the 'Marley effect'), the message behind Roots Reggae music is so durable that it can transcend genres if put into certain hands. It is truly an artform which is inspired by and held to the ideas which form it - 'message music'.
And we know those messages very well. Like Gospel, the centering theme of Roots Reggae music is a spiritual one, but I have to say that one of the best things about the philosophies behind and surrounding Roots music is just how wonderfully they're made concrete and tangible. How something can go from 'Hail The King' and 'Praise His Imperial Majesty' (which is only meaningful to people who follow that path in life), to something like 'treat your bother and sister better' and 'BE SURE TO THANK PEOPLE WHEN THEY DO SOMETHING FOR YOU' (that's very important and is applicable to everyone) is one of the most beautiful transitions I know of in music. It makes something which is limited to a very small sector of the population --those who either are Rastafari or have similar beliefs -- and opens to pretty much anyone with a good head on their shoulders. We also, directly, see ideas such as, peace, perseverance, respecting our elders, doing better at raising children, respecting nature, being sure to point out corruption, standing up for marginalized people and SELF ESTEEM constantly explored in Roots music. Even if you take that from someone who does not enjoy the sound (those poor, poor souls) or maybe doesn't even know it exists, you're going to find people who would think that such a sound, at worst, would be quite helpful to a lot of people (and I feel the need to mention here, perhaps the greatest EXAMINATION of unity in the history of Reggae music as, in 2014, Vaughn Benjamin dissected the term on his downright brilliant "Beauty For Ashes" album).
Another central theme which is found prevalently in Roots Reggae music is that of unity and bringing people together figuratively and literally (I digress here, but for a genre which is frequently (particularly in the past) criticized for being judgmental, Roots brings up unity SO often that it's hard to believe that such a judgment exists (even though it surely does) because when you pull in so many people, you're sure to have people who come from different backgrounds and lead a wide array of different lives). You could argue that unification of people is THE most important tangible idea of Roots Reggae music because it, alone, can lead into so many of the others as we make a peace amongst ourselves. Because of that, I was very much drawn to this particular project from back in 2018 which not only seemed to, figuratively, lift up the theme of unity, but did so as directly as any project like it has ever done, the Unity Riddim. Delivered by one May.B Unity from out of France for Culture Studio-Maxy Production (with Livity Records distributing) (and Zojak Worldwide handling the digital side), the Unity Riddim would take things up several notches as it LITERALLY brought people (and great minds) amongst each other, as each and every one of its fourteen vocal tracks were combinations.... and they weren't just Random Artist A alongside Random Artist B, the Unity Riddim brought together some serious talents and did so in a way that may've never been done previously in most of those cases. For nerds like You and me, this was some dream matchup type of stuff in a few instances! So many times we judge riddims for the vocal talents that're featured on them and here was no different as, had you separated this (and made twenty-eight different songs instead of fourteen), you still would have had one of the most impressive rosters of artists in recent times, but placing them with one another was incredible to pull off (even more so if you stop and consider what it must've taken, in terms of effort and money, to bring all these individuals to the same place either physically or remotely). Prior to this, May.B Unity and Maxy Productions had done at least a trio of releases in the form of the Danger (2012), Bounce (2013) and Love U (2014) Riddims, respectively. All three releases were at least some form of solid (the Love U and Danger were very good, actually, with the Bounce not being too far behind) and featured colourful lineups of vocal talents. The Unity, however, took things up not only in their ambitions, but the track itself was LOVELY and their finest composition to date in my opinion. It likely wouldn't have taken much (you could've made the 'Vacant Riddim' -- literally no riddim at all -- and likely had some big results, with some of these parings), but fortunately the riddim, as the stage presented, was well crafted for such a large moment (it is exquisite) and absolutely no one disappointed! Let's take a listen.
Although very rarely, such things have been done by others in making certain specifications as far as who voiced a particular riddim or how they went about doing it. In 2019 Achis Reggae favourite, Oneness Records released the sterling Lioness Order Riddim, which only featured female artists (such as another couple of our favourites, Queen Omega and Sara Lugo and even Queen Ifrica) and, just last year, Swick B did the same thing in Soca music with the Queendom Riddim which featured the likes of Alison Hinds, Patrice Roberts and Nadia Batson. And speaking of females, let us deal with the critiques right now - the main one being that there're fourteen vocal tracks on the Destiny with two artists each on both. Twenty-eight artists appear altogether and not a single one of them is a female. That ain't right! We're better than that. Hopefully if such a release is every given a sequel (I would be very surprised if were), that would be remedied (given what the label shows themselves capable here, asking for an Etana/Queen Ifrica combination isn't being greedy) (you'll see what I mean in a second). While I do have a problem with there not being the presence of a woman's voice present on the Unity Riddim, I have no complaints AT ALL with its opener, 'Bless My Life' which, ridiculously (and I mean that in a good way) carried both Chezidek & Warrior King! WHAT! Never have ever said that I would want to hear these two make a song together and I wouldn't think that the call would have been great to make it happen with both being singers of the higher pitch (and you generally see them paired with chanters/DJ's for the contrast), but just because it may not have been in high demand doesn't mean that what resulted was not MAMMOTH - because it was. This one just made me smile as it hits on a topic that I'm always well attracted to: The idea of being thankful for whatever it is that you do have going for you. Many people have very hard lives but NO ONE has NOTHING to be thankful for, if even for the air you breathe (or the air that someone that you love breathes if you don't give a damn about yourself) (that's your business) and that is at the heart of 'Bless My Life' ["Jah bless my life. And it's alright. Mi nah complain, whether sun or rain, you know I'm satisfied"]. These two have a lot more to show gratitude to The Almighty for and so do the rest of us after listening to such a lovely track. A favourite of mine checks in on the next tune up, 'Life', which gives us the incomparable Mark Wonder alongside Jah Rain. If you've spent pretty much any time at all around these parts then you know how highly I rate Wonder, his work is constantly discussed on these pages and, going forward, it will continue to be if I have anything to do with it (.... and I do because I write all this stuff). For his part, Jah Rain is and has been for some time, an artist who I have always found compelling. I listen to his work and I think I hear someone very familiar in a distinctly unfamiliar form. If Vybz Kartel came up as Roots artist, I would think he would sound quite a lot like Rain. The St. Andrew native is brimming with lyrics ["The limit is a state of mind. Dung deh and wise up from di age of nine. Fight against yah brother is a waste of time. Think The Creator blind? But HIM seeth all things, just live in love"] and has a very strange timing with his delivery, reminiscent of the once mighty Portmore lyrics prodigy (should you require more, you may want to check out his 2021 EP, "Guidance & Protection"). This would have been another case where I wasn't dying for a combination between Rain and Mark Wonder but I'm better off for having heard it as the two deliver a GOLDEN piece which says that we are not all doomed and have choices to make within our own destiny.
Along with two or three more contenders, 'World Peace' is in the discussion of being my single favourite song on the Unity Riddim, this time we see a meeting of the minds between the legendary Capleton & the always flaming Elijah Prophet.
"You come and tell mi world peace when a you same one create di war
Yes, my brothers are dying, don't know what dem fighting for
You come and tell mi world peace when a you same one start di war
Yes, my brothers are dying, don't know what they fighting for
Some ah think over with dem
You si dem alla kill all dem owna friend
Well nuttin neva real nor sober wid dem
Ova di cliff, wi nah go ova wid dem
Alright, so why you want fi tek a life?
And you neva mek a life?
Rasta is di Ultimate, di youths dem want a betta life
Si dem now, every man waan fi live di best of life
BUT BABYLON DEM HAVE A PHOBIA FI DI BREATH OF LIFE"
This antiviolence selection features both artists in an outstanding form and, while this is another situation where I was so excited to hear these two together, given their styles, I'm not at all surprised at how strong the eventual tune was. 'World Peace' is fantastic! 'Can't Hide' actually features a pair of talents which're relatively close to one another as big voiced chanters Chuck Fenda & Perfect Giddimani find common ground in hunting down oppressors and creators of corruption anywhere they may hole up. I sat here thinking that I never realized just how similar the two are as, for his part, Perfect (with his unpredictable bursts and singing and.... everything else he does) (and I'm not complaining) is difficult to compare at times. But if you were to chip away a lot of his idiosyncrasies, what remained might sound a lot like (a higher pitched version of-) the far more straight-forward but no less talented Chuck Fenda. Similar artists teaming up on a song doesn't sound like the greatest of ideas as there may be very little contrast to appreciate but.... this is Perfect we're talking about and he has usually has enough diversity to provide contrast with HIMSELF, so Chuck Fenda is no problem at all and they turn in one of the finest tunes on the Unity. And rounding out of the first third of tunes here are Natural Black & Omar Perry, on 'These are the Days'. I mean.... you know.... sure, why not! Though entirely unexpected, I'm not complaining about this one either as these two produce a fairly broad, but beautiful social commentary whose core is all about infusing more necessary love throughout the globe.
The next five songs on the Unity Riddim feature links which are downright shocking and, as I said, the type of stuff I would have only dreamt about prior to it. Obviously, the biggest draw here on paper would be 'Why Sacrifice', a track we mentioned not very long ago (it was actually the last review I wrote, but I don't know when these things get posted or in what order) (I just write them) in taking a look at "Rebellution", the outstanding new album from St. Thomas singer, Natty King. Here, 'The Man from The East' found a balance with one of his idols, the the legendary Luciano. You get these two on a song and you're going to get the attentions of a whole heap of people and I'm one of them! 'Why Sacrifice' was every bit the selection you would have hoped would materialize from such a union and major credit goes to May.B Unity for making something happen that people had been waiting to see for.... probably about a decade and a half at that point. Three of the other four songs in the middle portion of the Unity Riddim are STUNNING combinations on paper, but I'd also want to point out 'Jah Saved Me' which had underrated veteran Pampi Judah & talented Judgment Yard alum, King David ["No haters, no gaters, no traitors, no fakers - dem caan stop mi from mek mi paper. Mama seh 'son go out and earn, a money haffi run. Never you wait fi later. FLY DI SPACESHIP BECAH MI A DI NAVIGATOR. I came to save Israel. I'm the Black Liberator. Black Motivator. Bun out all di hater. Bun out all di spies and then go bun out all di traitor"]. Given what surrounds it, it's easy to get lost on this tune. It doesn't carry the star power as any of its 'neighbours', but this SWEET praiser more than holds its amongst the giants. And then there is the matter of those "giants". Check 'All I See Is War'. I don't know if they've made a song in the past (I doubt it, but I could be wrong) (usually am when I'm think I'm right) (I just spelled that 'right' as 'write') (....damn) but given the sure amount of time they've spent around one another and the amount of riddims and stageshows they've touched all around the world, a musical union of Sizzla Kalonji & Junior Kelly seems like a long overdue natural team-up (even if they have done it before, it was time to do it again). This is a social commentary which is quite expansive with the two looking at a variety of different topics. It also comes off like a vibe. It doesn't seem as if they did a great deal of planning to it and, instead, just went into the studio with a light topic and allowed everything to develop organically. Perhaps that is the reason why I come away from a set like this and the main thing that sticks with me is that, despite its direction, 'All I See Is War' makes me feel good! It probably wasn't the intent and is more of a 'side effect' and maybe I'm just too damn lost in the moment to appreciate the sentiments behind this one, but this song put a very large smile on my face.
Easily one of the biggest combinations on the Unity Riddim, 'My People' then came up: Pulling in Jah Mason and placing him next to Turbulence! HEAVY!
"No more mi nah go stand up and watch
Bangarang ah treat mi people like trash
Everyday our life is like wi been on di war patch
Mau mau warrior, real battle locks
When mi a battlefield, mi nah have time fi relax
NO time fi slumber, mi nah go nap
Wi nah get caught inna dem boobytrap
Mi going, mi going, mi going, mi caan stop
Check dat
My people need justice and quality
WORLD LEADERS, DEM LOSE DEM SANITY
Some ah pree material things a just vanity
And I hate to si my people die
My people need justice and quality
WORLD LEADERS, DEM LOSE DEM SANITY
Some ah pree material things a just vanity
And I hate to si my people die
That's why we'll fight for our equal rights
That's all wi know
Together wi will grow
What is peace without justice?
When poor people dem facing so much things
And di dutty system - wi cannot trust this
And if dem violate Jah Mason ahgo bust dis
Wi no really like di way they roll
The reapers of soul
Divide and control
You know wi belong in Africa-
More food fi di sufferah"
These two absolutely DISMANTLE the Unity Riddim and produce what I'm calling my favourite song on the riddim (although I reserve the right to change my mind at any point before you end up reading this) (.... which is what I just did behind the scenes, but never mind that). Also adding to the big names here is 'Word, Sound & Power', which is where you'll find both Fantan Mojah & Lutan Fyah making their mighty contributions. Unsurprisingly (biggup Lutan Fyah), this one features, arguably, the best wordplay on the riddim (which is saying a lot when you consider the caliber of lyricists present) ["Dem ah preach but dem no practice. Dem no love one another. Dem evil, mi hear seh dem ah swear gainst dem mother"] as the Fyah and Mojah step things up from an already soaring level and do so in a way which isn't 'AGAINST' the riddim. What I mean is that the song plays out in a very easily digestible way and you end up with a large message that is also nice to listen to.
The final combination on the Unity Riddim which sorta/kinda made my eyes pop was definitely 'Don't Shoot' which linked VI superstar Pressure Busspipe with Dominican firebrand, the criminally overlooked Aima Moses. Again [!], never would have thought there would have been a track to unite these two, but I ain't complaining at all about it! It almost seems kind of random planning but Moses did previously appear on both the aforementioned Love U and Danger Riddims, respectively, so he's been on May.B Unity's radar for some time and Pressure's is one everyone's radar. These two perform as high as you would expect them to as they examine those in power who ABUSE that power on a certain group of people in particular.
"Hey, di shooting of Black people, officer you betta stop
You should another unarmed citizen, for what?
And then your laws and legislation support di act
Dutty babylon system only made fi set trap
Protect and serve di people is what you have not
Everytime di ghetto youth touch di road, you keep track
No find no evidence, and still di youth dem pon lock
Jailhouse 95% Black
Tell dem relax: Fyah nah cease pon bad cop
Relax: I nah sign no devil contract
Relax: Big tree - I man have di small axe
Di fyah weh wi bun ah come blazing hot
Relax: Nuff ah tek coke and crack
Mi seh relax: Wicked man fi clean out dem earwax
Relax: Stop tell lie and speak facts!
Babylon ah bun up, red hot"
It isn't looking good, but I'm still holding out hope that someone, somewhere, someday might give us a full album from Moses, but in the meantime, he's given us dozens of big singles to enjoy and 'Don't Shoot' is among his very best. Keke I & Ras Zacharri talk to us about violence gone overboard on 'Gang War'. What these two turn in is just well SOLID all-around and, though it has basically faded away in the time from its release, you can take a listen right now and thoroughly enjoy it. Go ahead. Give it a shot. Then there was the biggest surprise on the Unity Riddim as Spectacular & I Marley smash things great and small with their 'Raw Reggae Look'. I want you to do me a favour: Try listening to this one without putting some type of smirk on your face or something. I'm convinced that it's kind of impossible unless you're really hard of hearing. 'Raw Reggae Look' was a gritty and grimy ode to Reggae music and it was catchy as hell. It also had some flames on it (as you would suspect with the Burning Spectacular being onboard) which is always nice. And lastly (not really though), was a nice changeup on the vibes as French/Afro-French talents Fatogoma Keita & Big Desal brought forth 'Wacé Way Cé'. I wouldn't have thought twice if such a track was not present on the Unity Riddim, but the fact that it is definitely adds to things. You'd think a French label should be giving light to French talents and surely being present on a project like this gave more shine to Keita and Big Desal than they would have had otherwise. Nothing wrong with that. And speaking of nice additions: I most certainly WOULD have "though twice" had they not given us a clean instrumental cut of the Unity Riddim (just a necessity in my opinion) (if you are proud of what you have made, give it some spotlight of its own). In the in version of the riddim you tend to notice things that you do not when it is dominated by vocals and, here, I notice subtle horns and DRUMS - just beautiful little touches which you certainly take in when you hear the songs and they do add to the full experience, but you're unable to really tune into them and notice just how BEAUTIFUL of a composition Maxy had put together with this one.
Overall, what do we do with this one??? Maybe I'm overdoing it a bit were I to call the Unity Riddim one of the best riddim albums I have EVER head, but I'm certainly not going too far by saying it is one of the finest of the past decade or so - it was. Along with the track, itself, being so nice, it supported a whole heap of outstanding vocal performances (which is quality a track must have. You can have a beautifully done piece of music which is so complex or different that artists can't really find a vibe or a melody on it) (or you can also just place it in the care of the wrong type of vocalists and have the same awkward at best results) and then there's the matter of those performers, isn't it. Not only does it bring in many big names (that isn't very rare, really), with the likes of Sizzla, Capleton, Luciano, Junior Kelly and others (Turbulence, Jah Mason , Lutan Fyah, Perfect Giddimani, Pressure Busspipe, Mark Wonder, Chuck Fenda....) (DAMN!), but the Unity Riddim takes that magical next step in fulfilling its name and placing them together. When they do that - it assures that a decade from now, I'll still be referencing this riddim in talking about something else (if I'm still up and ticking). That is the largest chunk of its legacy and, again, a full credit goes to May.B Unity for making it happen and Culture Studio-Maxy Production for getting it going. Roots Reggae music has long prided itself on being a vehicle used to unite people and the genre has rarely seen a more direct and tangible piece of evidence of this than the Unity Riddim. Exceptional.
Rated: 4.85/5
May. B Unity
2018
Vinyl + Digital
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