Outliers. Because the subject and the focus of the genre is quite often the same, I don't know that we pay as much attention to all of the wonderfully diverse sounds that Roots Reggae music has to offer. As with any other genre, and any label in general, there exists a certain level of requirement that we have constructed to meet the 'standard' of what it means to be Roots music and once you are there, oftentimes, you are there to stay. Its perception is very rigid and not as malleable as something like Dancehall (which... is just really, really strange) (Dancehall would actually be the complete opposite, I think) and, in fact, it can kind of 'travel'; in the sense of when you have someone who deals with a topic typically found in Roots music, REGARDLESS OF THE SOUND OF THAT PARTICULAR TUNE, people like me will often say that it has some type of Roots vibes to it. And as far as the sound, itself, of course the prevailing idea revolves around the heavy one-drop and, again, it can 'travel' to almost any set of circumstances. Because of that I really enjoy highlighting and downright celebrating some of the more peculiar talents that the genre has to offer in demonstrating that, though everyone might be singing about Jah, many of them have very distinct methods of going about it. There're levels of uniqueness and in Roots Reggae music, we have all of those level covered. I hesitate to mention him because... yep, but there's this guy named Jah Cure... his music isn't terribly different from that of many of his peers at all, save for the fact that if angels exist and they sing, if they're lucky they probably sound a lot like Jah Cure. His music, even when it is far away from his best, has an inherent quality to it that CANNOT exist for anyone else. You can't make music like Jah Cure. You just can't. Because, as of this writing, the last review that I wrote was for an album called "Emerge", by Norris Man (it may or may not have been posted before this one) (we've gotten into this very cool habit of not posting a review until at least two more have been completed) (I currently have three waiting while I'm writing this one), his style is also fresh in my head. You'd never teach anyone to make music the way that Norris Man does. It just would not work for that person. Early in his career he was often (accurately and justly, by the way) criticized for singing off-key and in a somewhat crude manner.... but it WORKS for him. He's sang like that on tunes like 'Persistence' and others which stand now as full classics so, apparently, he's used that weird ass style to do something right. There's also a bit of uniqueness and diversity in being multi-faceted and versatile in what an artist can actually do themselves and we see a whole heap of that in Roots music today as well.
Of the most versatile that we have going today is someone who I've long recognized as one of my favourite artists, the divine Queen Omega. Gifted with not only one of the finest singing voices that you will find in Reggae music (like ever), the Queen can deejay, she can chant, she is also very proficient lyrically and, because of that, her music is often very exciting and unpredictable and just a JOY to hear. Today we take a look at someone who at least somewhat reminds me of Queen Omega as we take a trip from her native Trinidad to Guinea via France and link up with another terribly gifted (predominately) Roots artist by the name of Lyricson. Whatever it is you need -- any type of style whatsoever -- Lyricson has you. It's no problem for him at all and he has it on a very high level as well (sometimes). Following our hiatus I find myself during this more and more in observing just how long I've been listening to some of these amazing people and my history with Lyricson goes back now nearly eighteen years (at least, I do recall hearing his name prior to that) as, back in 2004 he would bring forth his very well regarded debut set, "Born 2 Go High" in association with Special Delivery Music (who, incidentally, was also behind Queen Omega's pillaring "Special Delivery" that very same year). That set would do a great deal in introducing the masses to a talent who had an exquisite high-pitched singing voice and was more than capable as a chanter and anywhere in between as well. It was colourful! The release would also signal Lyricson's arrival as one of the most noteworthy of a (particularly younger at the time) burgeoning group of African Roots Reggae. It was strong enough to make you want more.
And "more" you would receive. Chasing "Born 2 Go High" would be the very curious "Keep The Faith" in 2007. I think the sophomore release was even stronger than its predecessor but, if I can recall correctly, Lyricson himself disagreed and, basically, disowned it for some reason. Regardless (as hard as it is to find these days), "Keep The Faith" was excellent and has aged terrifically, listening to it now fourteen years on (literally STOCKED with big tunes, the title track, 'Give Jah Praise', 'Solid Ground' on the Purple Ting Riddim (which backed Tiwony's MAMMOTH 'Priye Jah') 'Choosen Ones', 'Don't Give Up' [!], 'Jah Me Call On' - just big tunes everywhere on that album) (listening to it now, seriously, 'Don't Give Up' was an AMAZING tune). He would follow that up with "Messages" in 2010, which is an album I best remember for carrying 'From The Beginning', which is not only my favourite song Lyricson has ever done but... maybe top fifty for me from ANYONE, ever. The song was downright flooring and it still is. After "Messages", Lyricson seemingly went into some type of transitional period in his career and spend the next two years doing a pair of albums which could not be more different. 2011's "Fearless" was awful for me (I think I called the worst album of that year) (check 'Gun Bark'. Go ahead, I dare you) (Biggup Destra). It was largely overly aggressive Dancehall, and it was the good kind either (coming from a fan of Mad Cobra, Bounty Killer, Aidonia - I enjoy the genre) and even some of the songs that weren't of that style, like 'Smile For Me', had very little to offer as well. THEN, in a switch for the ages, the very next year Lyricson gave us all some "Love Therapy": A full blown love album! That set wasn't terrible, it was decent (had a tune called 'You Got It All', I thought was pretty good), but I can't help to think about everything around it every time it comes to my mind. The artist would then return to previous form with his next release, "Year Of The Don", which I have not heard outside of bits and pieces (biggup Lutan Fyah) but from what I could tell, it was more of a straightforward type of Dancehall album which, though FAR from his best (though I can name a few songs I liked, such as the very inventive 'Every Body Know'), was CLEARLY a step ahead of its predecessor, "Fearless". So following three downright ODD albums in a row, the wait was on to see what version of Lyricson would come back next and in 2017 the ultra gifted artist would answer the question: The good one. The name "Revolution Time Again", alone, seemed to suggest a return to the initial form Lyricson wonderfully introduced himself to us all through, back in 2004. This latest set would come, in part, via Lyon, France based Digital Cut Records with whom I don't think I was very familiar with at the time (a little research shows they had done a project with the wicked LMK the very same year), but have sense popped up mightily on my radars as, just earlier this year, they delivered the Sensei & Kensei Riddims project along with Dance Soldiah. The always active Undisputed Records would also be on board (they have worked with almost everyone but their work is probably most associated with Skarra Mucci) and we'd POTENTIALLY have back the same Lyricson whose music You and I fell in love with almost a decade and a half prior on the fittingly named "Revolution Time Again". Time to get back to Roots work, time to get back to chanting down corruption and time to do in a way in which almost no one else can. Let's go!
I feel inclined to mention that, the year following "Revolution Time Again", Lyricson would also release the similarly vibed eight tracked EP, "Get Ready", which was pretty good and more than worth your time. Included in the eight selections was 'Anywhere', a very nice combination alongside Chezidek (where Lyricson showed off the deejaying chops a bit) and both 'Heart Of Lion (golden) and 'Hold On' which were strong as well. Since then he has continued to do more of the harsher material and Roots Reggae... if you enjoy that type of thing. And if it is, you just may want to dig into Lyricson's latest full album release from 2017, "Revolution Time Again", which begins in a very surprising style. Following an intro, that is an electric (literally) social commentary where Lyricson outlines the exact reason why not only his revolution is necessary, but necessary right now, we get to the title track which just so happens to feature none other than the great Vaughn Benjamin. I was so pleasantly shocked to see Benjamin's presence on this one. You don't normally think of Benjamin as being this great artist to have with others (at least I don't) because his own style is one which requires so much attention, but if you think about it, he's done some gorgeous combinations throughout the years with various different names of various different styles (he always worked so well with Lutan Fyah, in my opinion). 'Revolution Time Again' is another one for the vaults as Lyricson and Benjamin link to produce a stick of dynamite outlining the changes that the world needs to see and, in the process, providing the album with, DEFINITELY, one of its biggest moments (DUH!!!).
"Oh Jah
A blessed and resilient peace for Africa
Oh Africa
Ask Jah i-rection inna valid intention
Start with resources and revenues - run it like house
About what come in and about what spend out
When human interaction come to figures as clout
Respect and cooperation is needed on the route
People please listen as the blood-pass spill out
INNA POCKETS ALL AROUND, INNA RURAL, INNA TOWN
APPROACH HIS MAJESTY'S THRONE IN THE HUMBLEST OF MOUTH
Revolution time again
People calling for a change
Say dem tired of the stress and pain
System need fi rearrange
Revolution time again
The streets ah get hot again
As dem fed up of their evil game
System need fi rearrange"
'Burdened' with the responsibility to keep things just as high as the title track (something had to do it) is what, I believe, was the first single from the album, the excellent 'Burning'. Along with it being very nice from a point of its sonic value, Lyricson also delivers a BIG lyrical effort on 'Burning' (you have to be able to write when you choose LYRICSON as a name) (great name, by the way) ["When mi si seh nuff a dem too confused. Dem nah bide by Selassie I rules. Think seh dem blessed, but mi know seh dem cursed"], sending it amongst the best that you will find here altogether. 'No Trust In Them' finds Lyricson tapping Aaron Silk in a featuring role and the two come together to express their collective discontent, particularly with the leaders of the world and the job they're doing. Songs like this one (and the aforementioned 'Anywhere', with Chezidek) are inherently interesting because Silk (and Chezi) are pure singers so, in order to have a contrast in the styles, Lyricson takes a more aggressive style and, as I said, when he's doing it for the right reason, he's REALLY good at it. You can take a number of really talented artists who would, typically, be doing that for tunes like 'No Trust In Them' such as Jah Mason, Anthony B and the likes and Lyricson can definitely hold his own amongst them with performances such as this. He softens things up again for the next song in, the GORGEOUS 'Jah Never Fail I Yet'. With a source probably quite similar to that which gave birth to 'From The Beginning', 'Jah Never Fail I Yet' is downright glorious like that timeless piece before it (I also hear some lyrical similarities between the two. 'Jah Never Fail I Yet' says "Jah you teach me the wrong from right. Helped me to see through the darkest night. PROVIDE ME WITH STRENGTH AND THE MEANS TO SURVIVE. The powers of Selassie, I could never deny". On 'From The Beginning' there's, "Jah bless I from the beginning. Until the end of my days, thanks and praise I ah give to The King. Jah bless I from the beginning. HE PROVIDE I WITH MEANS TO SURVIVE AND THE POWER TO SING"). And as its predecessor was for "Messages", 'Jah Never Fail I' stands as THE crowning jewel on "Revolution Time Again" as well.
Along with the title track, if you just look at the roster for this album, your attention is almost certain to be driven to #11, 'Tell Me Why', which just so happens to be another combination, this one, RIDICULOUSLY (and I mean that in a good way) finding Lyricson joining forces with the legendary Luciano and another wicked Guinean, Takana Zion. When you put Luciano's name on anything, it really gives it another dimension and one which is saturated in CLASS. 'Tell Me Why' is absolutely no exception and it is a HUGE tune. I do have to say that I was somewhat confused by its direction as the lead-in for it is an interlude where Lyricson speaks on how important it is to demonstrate respect and deference to our elders, but the actual song is about mistreating people on the opposite end - younger people, and just how important it is that we respect them for.... our species and everything. Regardless of the mesh of ideas between interlude and tune, as I said, 'Tell Me Why' is fantastic and, for his part, Zion does chime in with a bit of rare English, as this one does not place a single foot wrong. "Revolution Time" features two more combinations, 'Babylon Face' with the always interesting Ilements and the closing 'Open Your Eyes' alongside another artist from out of Guinea, Soul Bang's, who I hadn't heard at all of prior to his appearance here. The former is a largely outstanding set about standing up to corruption and oppression anywhere you may encounter it ["Step up inna babylon face. Rasta come fi bun di wicked man's case"], while the SMOOTH latter deals with themes like self-awareness, unity and confidence but it is fairly broad (combinations generally are, it usually seems as if the artists come together and decide on a topic and then begin writing on their own) and, though I won't say that I LOVE IT, it definitely does more than hold its own on the album (and the riddim on that one is lovely, actually).
'Music' was another of the singles from "Revolution Time Again" and, from the very first time you hear it, you don't have to guess why. While you'll surely find a few better tunes that it, 'Music' is a FANTASTIC listen. It just sounds really good, speaking to the meaning behind the tune which is really about just using music in a therapeutic way. It can be there to make you feel better (!), to put you in a good mood or to maybe just point you in the right direction. As probably the easiest listen on this album, trust me, something about music will grab you. The defiant Prince Buster-esque 'Bounce Back' is another selection which made an immediate impact on me, with its large and infectious sound.
"So when I rise mi give thanks fi another day
Rastafari guide I, so mi never stray
While dutty pagans wanna si mi fail
Always strong, well surround, and mi still ah sail
Roadblocks and traps set along my way
Still I got to move on, got to keep the faith
Si mi downfall - nuff a dem ah pray
But the heathen and the wickedman shall not prevail
Push mi down, mi ah bounce right back
Push mi down, mi ah bounce right back
They waan si mi fall
Jah Jah make me stand tall
All when dem try, mi ah bounce right back
Right back
Push wi down, wi ah bounce right back
Push wi down, wi ah bounce right back
Who jah bless, no man curse
Tell wicked heart fi splurt
All when dem try, wi ah bounce right back
Right back
Anytime mi step out, seh mi step out like a warriah
Ready fi go bun down di wicked and dem barriah
Pon di battlefield, mi nah retreat, dem ah surrender
Just like Selassie I, The Real Lion Conqueror
Mama Ithiopia a d Black man paradise
Can't trap inna Rome, Africa is where my heart it lies
Give I seven miles of the Black Star Liner
Repatriation a weh di Rastaman chant fah"
Lyricson speaks to the indomitability and durability of people of African descent on a tune which, because of this great big vibe it comes with (which intensifies, DELIGHTFULLY, throughout) may've been overlooked just a bit as far as lyrically. It's one of the strongest written efforts on the whole of "Revolution Time Again" in my opinion. And for a variety of reasons, both 'Watcha Gonna Do' and 'If We Try' had to do some growing on me. For its part, 'Watcha Gonna Do' almost comes off as (if such a thing is possible) too bouncy and, ultimately, what I enjoyed most about it was the message, despite how much emphasis was clearly placed on the riddim. And 'If We Try', in terms of sound, is the album's changeup with the streamlined vibes to it. Not even remotely a bad song, it has a vibe which definitely takes awhile and, after giving it time, I still don't rate it highly on here, but I will tell you that after your first listen, regardless of what you think of it, 'If We Try' is probably better than you're thinking.
Overall, as has occurred to me now dozens and dozens of times: After having scrutinized it for the sake of this review, "Revolution Time Again" is a better release than I originally gave it credit for being. I didn't dig into it too much but, musically, it's excellent. A major credit goes to Digital Cut and Undisputed Records for delivering a project that, from beginning to end (without exception at all, really), just sounds exquisite and is a well done piece of work. Of course, helping things shine brighter is the fact that they placed it in the hands of someone like Lyricson who, following a very strange stage of his career (one that he's still in apparently) returned to give fans just a taste of what he was still capable of when things slowed down a touch and he returned to a righteous sound. When he does that, the artist is capable of doing things and producing results, distinctively, that very few (if any) of his peers are capable of. "Revolution Time Again" was big and so big that, hopefully, we won't have to wait too long for the next.... time..... again.
Rated: 4.35/5
Digital Cut Records & Undisputed Records
2018
CD + Digital
{Note: Wrote this in December}
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