The Vault Reviews: Victory by Sizzla Kalonji

Familiarity. There may actually be an infinite number of sounds which can make me, as a music fan, smile each and every time I hear them in some form or another. Be it something on the smallest of levels or something on the grandest of scales, these delightful creations can, alone, bring me some type of joy and I'm sure that if you sat and thought about it, you'd also have a nice sized list of your own. Wonderfully, although these things may not necessarily evolve (some of them can't evolve, they're done, but your appreciation of them can), the more and more you listen, the more likely you are to encounter new things which will bring you years and years of enjoyment. Oddly enough, one of the things that I usually think of when talking about this is Lady Saw... out of all people. While she'll never be compared to the likes of Tanya Stephens or Vybz Kartel in terms of her lyrical prowess (although she most certainly will for... other things), at her best, vintage Lady Saw had one of the most impressive deliveries in all of Dancehall music. It didn't move much, it wasn't overly passionate (....her subjects were, of course), and it was almost robotic at times, but that woman could grip [your joke here] any riddim and destroy it! She had this most subtle command of melody and, listening back to her work now, particularly given what she's doing these days, it makes me smile even more because you know those days are long gone and never coming back, but they'll always exist back then. And speaking of "any riddim" Lady Saw may have ridden back in 'da day, they also make me smile. Dancehall has changed sooooooo much in recent years that it sounds much more like Hip-Hop than what I grew up listening to, to my ears. Because of that, when I hear genuine, authentic Dancehall music (produced by Suku, for example) I land on a cloud somewhere. It is divine! I also feel inclined to mention Jah Cure. Though he may or may not use it to its fullest very frequently these days (well, certainly not THESE days, especially. He's been 'held up' last I heard), I will maintain until my dying day that Jah Cure has the greatest SOUND (not voice, SOUND! That counts voice or any other thing that we may make) ever placed inside a human being. When he maxes it out completely, it has no equal and it never will have one. I specifically picked examples here which find individuals or an entire artform in general at what I considered to be their respective peaks because today we're going to take a look at someone who, whenever he approaches his best, has done things for me that no other musician has in having made songs that, as I've said in the past, has literally changed my life. 

2013

So, with that being said, if for any reason I'm under the impression that I might even potentially encounter prime, vintage level Sizzla Kalonji that opportunity becomes the center of my musical world. It gets the lion's share of my attention and anticipation and this is most true, of course, when we're talking about full albums. The wizard of August Town has given fans like You and Me some of the greatest releases Reggae music (or any other type of music) has ever heard and, were he to stop making music, though people like me may overuse words such as 'legend', Sizzla is a bona fide LEGEND right now. NO question about it. What makes his music so good? Two things highlight Sizzla's music when he's at the height of his powers. The first is his lyrical ability. You put him in a 'class' (in terms of active years), that includes the likes of Capleton (Capleton is most certainly not underrated, but I think that while a lot of people have given him credit for HYPE over the years, not quite enough have noticed what the man is capable of lyrically) and talented others like Anthony B, Lutan Fyah (and if you've read my work, you know how fond I am of Fyah's craft with words) and others, but for me, Kalonji is the best (and you see the people I'm dealing with, there's a giant omission here, but I'm putting him in a different category). He isn't the most consistent (that would be Lutan Fyah), he isn't the most spectacular (that would be either Capleton or Damian Marley), but what sets him apart is the ability to take a point or a point of view and DISSECT it into so many different, beautiful and informative and COMMANDING portions. What you end up with, are albums full of PERFECTLY written songs (listening to an older one right now called 'Brutality For Love', you go listen to that tune right now ["Only build ya church dem fi bring a pure fraud. Then you want the Rastaman to run come applaud"]). Also, again when he's at his best, Kalonji has an extremely attractive sense of melody. Writing is one thing, the ability to deliver what is written is another and he has such captivating 'vehicle' to distribute his messages. It is subtle, surely, but it has given us years and years worth of gems! 

2004

And you wish it could be like that all the time, but you know that it cannot. In recent years, at least in my opinion, the quality of Sizzla's offerings, particularly in terms of albums, has seen valleys and peaks (but then again, they always have following his early first batch) (biggup Batch). Most recently, four of his last five sets have come via his very own Kalonji Music Production imprint. Those four, "On A High", "Million Times", "Black Man Rule Africa" and "Acoustic Sounds",  from the last three years consecutively (meaning, I hope, that he'll give us another new one this year) won't be remembered as some his best work (and they were all kind of experimental as well with quite a bit of Hip-Hop, a full acoustic album and one of love songs), but the one album in between pushing from a different source, 2019's "Victory", represents what is, for me, the last time Sizzla neared his vintage form on an album. Coincidentally, the last time we heard a bona fide GREAT Sizzla Kalonji almost completely throughout a release may've been back in 2013 (....anytime now Kalonji) when he dropped an album by the name of "The Messiah". That album was released by VP Records and was steered by one Richard Bramwell for his Bread Back Productions imprint. Bramwell's history dates him back to the most active days of the incomparable Xterminator Productions, therefore you'll see his name across the credits of various previous releases of the artist (such as "Jah Knows Best", "Crucial Times" and "Ain't Gonna See Us Fall"), but it was 2004's somewhat underrated "Life" ["Jah works inna mysterious ways! Do good, bad things will lead you astray"] where he would take the next step and helm a great deal of that album for Sizzla's Kalonji Records through Greensleeves (counting it up now, he also did at least a couple of tunes on the strong King Jammy's produced "Waterhouse Redemption"). Given those sets of circumstances and others such as the passing of both Philip 'Fatis' Burrell and Bobby Digital, unless I am really overlooking someone, there may not be anyone currently who I would prefer to see behind a Sizzla album than Richard Bramwell. Bread Back Productions would give us "Get Rid A Di Wicked", a very nice set from the aforementioned Lutan Fyah back in 2014 for VP Records and, given his history behind the scenes, he's the type of person who has been more involved than he's likely ever to receive credit for; but we can do that now! While "Life" might have been better than we realized during its day, "The Messiah" was VERY respected and anticipated and, in hindsight, was as well as a promoted Sizzla album that I can remember as much of the early word around it centered around it possibly being the next GROUNDBREAKING release from the artist. While it wasn't quite "Black Woman & Child", "Praise Ye Jah", "Da Real Thing" or a few others (like "Royal Son Of Ethiopia" and "I Space"), if you were to assemble a group of sets behind those, "The Messiah" would have been very close to being in that next grouping (where we would find the likes of "Ghetto Youth-ology", "Good Ways" and "Rastafari Teach I Everything" (I don't think most people would rate the last one in that run that highly, but I've come to LOVE "Rastafari Teach I Everything"). That was the lineage for "Victory" and while it would not reach those levels -- you didn't expect it to -- what it did do was to demonstrate that the giant so many of us had come to love in Sizzla was alive and well. Let's talk about it.  

Between "The Messiah" and "Victory" there was one or two nice sets as well, it wasn't one big "valley". Projects such as "Born A King" and the curious "Radical" from 2014 definitely made an impact, as did 2016's very popular "876" (it was really good and I may review it sometime this year) and "Fought For Dis" from the following year. None of them were what I would call GREAT (I'm not going to call this one "great" either), but they all had their moments and were solid sets. His 'solidest' in recent times, "Victory", didn't exactly put its best foot forward when it tapped 'It's Dangerous' as its opener, but the song has grown on me somewhat over time. I've never been the biggest fan of that high-pitched wail that Sizzla does and he utilizes it almost wholly throughout the tune. That being said, while the delivery is lost on me, the vessel, itself, is not as Kalonji weaves a message centered around strong teaching and setting a proper example for the youths. Things take a turn for the better on 'Life Is a Challenge' as we get our initial blip that something very strong awaits.

"Advance lyrically 

Ghetto youth especially 

Di one dem weh suffer inna di gutter, literally 

Advance lyrically 

Ghetto youth especially 

Di one dem weh suffer inna di gutter, literally 

Life is a challenge  

There are ups and there are downs you've got to manage 

Life is a challenge  

There is good and there is bad you've got to manage  

Burn  out di boy dem who hate woman 

Burn out di boy dem weh rape woman  

Remember, Black Woman she is a great woman 

Sizzla Kalonji elevate woman  

So many innocent ah face persecution 

Ghetto youth dem ah get pure execution 

Put down di violence and make some contribution 

Only love is the solution, remember now" 

Gifted with a nice old school riddim behind it, 'Life Is a Challenge' is an early highlight for "Victory" and one that reaches in a fairly broad way with Kalonji tackling a variety of different subjects beneath the umbrella of life offering just as many different potential pitfalls. Similar in direction is the eclectic and electric 'Nutten Nuh Come Easy', which follows 'Life Is a Challenge'. Though not as strong as the track preceding it, this call to action definitely does have its moments ["Bun out di lazy boy dem, don't believe dem. Dem ah wait pon babylon fi lead dem. SOME MAN SIT AND WAIT PON NEXT MAN FI FEED DEM"] and it is all wrapped up in a very unique package that I do not quite know how to describe exactly, musically speaking. For me the main attraction is that 'Nutten Nuh Come Easy' is pretty strong lyrically. There're some fantastic bites spread within it, so pay a bit more attention in the midst of vibes which're nothing normal on this album. And the hard working, struggling theme set by the tunes ahead of it continue with 'Hard to Survive' - easily one of the releases' biggest songs (you could really make a good case for it being THE biggest). This one is coming from the perspective of the poorer class of people in society, but it isn't completely bleak as he also goes on to show a way out of the suffering. If you take this song as a whole, broadly, it is strong, but take the time to grind it down just a little and you can fully see 'Hard To Survive' as the near masterpiece that it is. I'm also going to mention the sublime 'Worst Every Day' here (they misspelled it. It should be WORSE every day) because it continues the type of piece that runs early on "Victory" ["Babylon ah get worse everyday. People ah work and still can't get no pay"]. Five tracks in and it is my opinion that 'Worst Every Day' is the best of them at that point. Sizzla's kind of 'gruffy' approach melds really well with that gorgeous one-drop behind him and, though it is admittedly messy at times, this one is SO attractive and so powerful that it runs near the heights of the album.

When "Victory" really hits its stride it begins to drop consistently impressive material consecutively and it shines. Along with what we've covered thus far, check a tune like 'Money Can't Buy Life'. This one had to grow on me somewhat as I originally left it for an average piece but I was wrong: There is nothing mediocre about it. Although fairly straight-forward and self-explanatory as far as its direction, 'Money Can't Buy Life' isn't predictable on any other front. What strikes me now in reference to this one, ridiculously, is just how subtly detailed it is. It is fantastic writing as Kalonji uses the centering topic of money as being the source behind so much negativity in the world and then he goes on to take a next step towards all types of rank, putrid behaviour.

"No matta how dem ah hype 

Mi tell you money cannot buy life 

Money cannot buy life, no 

By any means necessary, well I've got to protect my life 

Got to protect my life, oh 

Unuh now open unuh eyes 

Dem neva did ah want unu fi rise 

Si you wid yuh tings and dem surprised 

And dem have a dutty heart 

Next thing dem badmind- 

Pure evil spell dem ah cast

And nah love people youths

Don't study evil mi youth 

DON'T RAPE DI GIRL CAUSE SHE CUTE 

DON'T TURN FROM YAH ROOTS 

Sizzla Kalonji and I'm telling you all the truth   

Hey, young youths are anxious of it 

A lot of things what they're doing, they're not conscious of it 

That's why Sizzla got to show dem di light 

LOVE IS THE KEY 

YOU GET NOTHING WHEN YOU FIGHT 

No one's stopping the party niceness 

But remember that life is priceless 

Respect yourself, put away di hate yah 

Praise di Creator" 

BOOM! 'Money Can't Buy Life' is also a song that is dynamic, it sounds really, really nice and it would have found a fitting home on many a bona fide GREAT album from Sizzla (and yes, I'm now sitting here wondering exactly why it took me so long to wake up to this song). Both the extremely catchy 'Nuh Guns' and the similarly themed 'Cease the Violence' are excellent efforts. While the former will take awhile to leave the space it will occupy in your head ["No gun for no man! No gun fi no one!"], the latter is actually be the stronger of the two and, at least for the moment, it's also my favourite tune on the whole of this album (an opinion that I'm predicting will change before I finish writing this review) (I also predict that I will be too lazy come back and rewrite this). Complete with a golden old school vibe, 'Cease the Violence' is this nearly hypnotic and THOROUGH set which, just like 'Nuh Guns', is also a mightily written track by Sizzla (more on that in closing because I'm noticing something here). Coincidentally, just like on the aforementioned "Life" album ["No, we don't give a fuck. We just smoke enough marijuana until our brains get stuffed. Feel my blood with herbs!"], "Victory" comes armed with a damn infectious song by the name of 'Marijuana'. I'm going to just warn you about this one right here: You're going to listen to this one and, if you enjoy it (maybe even if you do not enjoy it), you're probably going to annoy the hell out of someone by singing its high-pitched chorus. I've done it (doing it now, actually) and I am not sorry for it (play it for them and you'll both begin to annoy someone else by singing it). Later on, Kalonji revisits the topic on the fun 'Blaze It Now' which is, arguably, even stronger than 'Marijuana'. It won't change your life or 'take things to another level', but 'Blaze It Now' is very well done and, should you focus on what is being said in between bobbing your head back and forth, you'll be treated to something nearly brilliant lyrically (he just says some very cool things on the type of song that you don't necessarily expect it from). There's also 'Thank U Jah Jah' which has a different vibes -- it's almost Hip-Hoppish but not quite -- and whatever it is, it grew on me and it works for it to some degree. Finally (not really), the last REALLY good song on "Victory" is also its last song altogether, 'Mama Mek Mi Deh Yah So'. This was a much older tune from Bread Back which got a new lease on life by being included on the album and that was a very good thing because it deserved it. Given his history, any time Sizzla says ["Thank you"] 'Mama' ["for the nine months that you carried me through"], it's not the worst idea to pay attention to him and, 'Mama Mek Mi Deh Yah So' is another reason why. I also really enjoy how he is sure to add some respects for the father's as well. Reggae music has a looooong history of pay due credit to Mothers, but you so infrequently see a similar tribute paid to fathers and he does that brilliantly on this one.

The remaining tracks on "Victory" don't stand up well to the ones I just told you about, but they do add their own spice and colour to the project for the most part. The best of them is surely 'Jah Guide and Protect Me' a tune that I originally had in the previous lot but I chose to switch here because it isn't as good as many of those (....thinking of switching it back now to be honest) selections, but it's clearly the best of the rest. The tune does have somewhat of an unusual vibe to it, though I don't know exactly how to describe it, but that's a good thing. Aside from that, however, I refer to 'Jah Guide and Protect Me' as being a case of 'solid but unspectacular'. Apart from its curious sound, there's nothing here that lasts beyond it, but what you do hear is well enjoyable for what it is. There's also what is, essentially, the title track, 'Jah Jah Give Me Victory'. Though it has bloomed for me just a little over the years (had I written this when the album came out, I would have probably left it a bad tune and that would have been unfair, it most certainly is not bad. It is average for the most part and it does have some sonic appeal and is well written (again, more on that momentarily). 'Roll WITH Me' is another effort proven to be better than I would have originally given it credit for. Though I have always enjoyed its riddim (and all of its splendid simplicity), the prevailing vibe on this one is almost kind of Hip-Hoppish to my ears and the delivery is all over the place. Still the message beneath it all -- one of unity and sticking together with your loved ones -- is solid and, when things stay simple (rarely) on 'Roll WITH Me', it does have flashes of working just fine. And finally is what is, by far, my least favourite tune on "Victory", 'What R Frenz For'. I.... I just don't know what the hell is going on with that one. The album's decided changeup, 'What R Frenz For' is strange in terms of its sound and its methodology. The topic is fine enough (it actually isn't THAT dissimilar to 'Roll WITH Me'), but how we go about receiving it is awkward at best, thankfully, however, the vast majority of "Victory" is strong enough to tuck this one away and give us all the obvious time it needs (still) to be digested (just let it play right now and it goes into 'Mama Make Mi Deh Ya So' and now I FEEL GOOD!).

Overall, I now have to go back and deal with something from this album that I alluded to twice: "Victory" is a near EXCEPTIONALLY written album. Whether you enjoy it or not, in full, as much as I do is one thing; but you have to give Sizzla his due for really being sharp throughout. I'm not saying it's going to remind you of "Black Woman & Child" or "Royal Son Of Ethiopia" with its quality, but it is one of his strongest lyrical pieces in..... the last couple of decades or so (???). It is really good in that aspect specifically ("Good Ways" was also very good) (listening to it now ["Remember, organize, centralize morning and noon. Black people sweet. You all ah blossom and bloom - roomful. Heartful. Mi plate full, no watch di spoon. Welcome you to share, ah tell yahself fi come soon. Di princess sleep inna di royal prince room. BOBO MAT DEH AT YAH DOOR AND YOU DEH SWEEP WID BOBO BROOM. Binghi man ah tell yah, tell yah 'babylon doom!' Di farmers inna di hill and dem ah listen to di tune. Man ah sun bawl king. Mama rule di moon. Run go tell yah brother seh fi stop from groom. OUTRAGEOUS PEOPLE LIVE DI LIFE OF CARTOON. AND THIS IS NOT THE TIME TO PUT YAH BROTHER INNA DI TOMB. Come hail King Selassie and bun dem saloon. Inna di Black family, mi doh carry not baboon. King's House for the homeless, who you think you can fool? REPATRIATION AHGO BUSS DEM BALLOON!"]) (sorry, just had to tell you that) - a quality present virtually throughout. Musically speaking it doesn't take much to play a backdrop for Sizzla when he's in this form, but a credit also is to be given to Bramwell and Bread Back as "Victory" is better than adequate there also. I am not trying to oversell this album at all, however, what "Victory" did was to present my absolute favourite artist in THE best way that anyone has in recent times and that, for me at least, is fantastic: The most recent REALLY GOOD Sizzla album. 

Rated: 4.25/5

Bread Back Productions

2019

Digital