Hand off. We may have fully passed such a point an even before it wasn't such a heavily monitored topic in Reggae music because of just how [under]valued albums tended to be in the genre in general, but for me there still remains something particularly SWEET about a really good debut album. Just a couple of reviews ago, I told you about such a release, "I-Frequency" from an artist from out of Trinidad by the name of Mosiah. In his case, like so many others prior, though I was familiar with his work, the album put everything in a very nice and CONVENIENT package and, because the once far more common practice of, essentially, compiling albums (meaning just taking a heap of previously released (and rinsed, in some cases) singles, putting them together and slapping a cover on them) has been at least tempered and artists tend to actually try to make decent impressions on albums, the introduction exercises a bit more in the way of 'quality-control'; making a deliberate attempt at giving the listener a healthy experience. Even these days, where in trying to provide content for this blog, I tend to pay more attention than I would were I not writing, that big album and debut album, in particular is always very welcomed. Historically speaking, there was another added aspect of interest as debuts typically (and this is strange, so be careful) arrived at/around the beginning of an artist's career (like I said, STRANGE), so following along or even tracing back was always fascinating to see not only the cultivation of their talent, but also the various twists and turns they may have demonstrated working alongside various producers. These days, things have changed dramatically, though they're not less interesting as, again, because the target may not be an actual album release at all (EVER), if/when it does eventually reach, the individual may be any number of years into their career before album #1, having already attained a level of respect, if not full-on stardom to some degree, prior to its release.... biggup Aidonia. I suppose one of the benefits of having an artist further along in their career before delivering that first album is that they're further along and, whatever and whoever they are going to be, musically, they're closer to being it following that earlier gestation stage (and, ideally, the ENTIRE career is a period of development, but the changes you see later on tend to be more subtle and less glaring than in the early days).... so maybe THAT can at least help to explain why we see what we encounter in the curious case of Eesah.
The name -- probably one of the better in all of Reggae -- has been around the scene for the better part of a decade (and maybe even longer, actually), having managed to impress a variety of different sources in a number of different ways, yours truly included. If you do trace back Eesah's story, he was an engineer at one point before being encouraged by friends to pick up the mic and do his own thing and, a few years on, it is crystal-clear that he made the right decision. When I first became aware of the artist, he was something of a disciple of Chronixx and was someone clearly influenced by the all kinds of gifted Chronixx. His style is slightly more singing-heavy, but Eesah also typically employs that unusual 'darting' vibe as well (they chant, they sing, they deejay.... almost all at the same time in some instances). It also helped that he was very gifted lyrically and what has resulted has been a fantastic and nearly unavoidable run.
2018
Previously, Eesah has had a number of EP releases to his credit (it literally may be like four or five in total by now), with the most recent being 2022's "Timeless", but a few years ahead of that was 2018's most fittingly named "Masterpiece" which, with tunes such as hit 'Tell No Lie', 'Marijuana' and others definitely would live up to its title. Personally, I've also heard several interviews with Eesah and he does seem a very nice person as well as someone who just has a very good head on their shoulders. His COMMON SENSE seems on a very high level and Eesah really has that feel to him I've seen present on many top Reggae stars.... they just seem to know what they want to do and how to get it done. It's a very HUMBLE CONFIDENCE (if that makes any sense) which drips from him. He's also been very active and consistent with his releases. He's quietly become one of the genre's more dependable of performers. All of that has well risen Eesah's profile and heightened expectations and he's now checked something wonderful off the list as he now delivers his debut ALBUM, "Deep Medz". The set comes courtesy of King I-Vier Music, with the US based Loud City handling production. Eesah has been working with both frequently in recent times, clearly in preparation for this very moment and, were he going to be releasing an album, King I-Vier and Loud City would figure to be amongst the obvious links (previously, he's released material through Evidence Music as well and I'm pretty sure you can expect more production from that combination as well). I tend to favour looking at material which goes beneath the proverbial radar and bringing it a little to the forefront in my own way, but that isn't at all what's going on here as the early buzz surrounding 'Deep Medz" has been very impressive in Reggae circles from what I've seen. On the surface, there's a relatively easy explanation for this which we'll get into more in just a second, but something VERY nearly special plays out in this instance and I'm hoping (and THINKING) that we're looking at a very big deal in "Deep Medz" because it seems to be positioned so well to end up turning more than a few lukewarm fans of Reggae music into diehards and maybe even making fans out of someone whose experience with the sound begins and ends at Marley. "Deep Medz" QUICKLY shows itself to be an exceptional release and I have no problem at all labelling it one of the finest debut sets that I've come across in a VERY long time. Let's talk about it.
As I alluded to, if you just take a glance at the tracklist for this album, there's something that will immediately leap out at you and I'm thinking it's going to get the attention of a more casual fan and draw them in.... and then they will stay. There are five combinations on "Deep Medz", four of them feature names ranging from BIG to full-on LEGENDARY. When it isn't overdone (and five combinations out of seventeen in total is not overdoing it in my opinion), just seeing such a thing can be a very attractive quality for an album. You know what else is very nice to 'see' on an album??? EXCELLENT MUSIC! This part of things get started with the ABSOLUTELY GOLDEN opener, 'Behold The Conquering Lion'... You know what? Let's do this in triplets because all three of the beginning tracks from "Deep Medz", 'Behold The Conquering Lion', 'Jah Give Me Strength' & 'Jah No Dead', come through on a very similar [the exact same one] topic. The first of these is one SWEET praise of His Imperial Majesty. Blessed with a riddim given a touch of the divine (it is heavenly), 'Behold The Conquering Lion' comes through so nice easy and effortless that it stands as the type of selection you could very well listen to hours on end without even REALLY noticing just how much time has passed all the while. That being said, a good case could be made (and I'd probably be amongst them making it) that 'Jah Give Me Strength' is even stronger. While Eesah's giving praise here, he will keep your head and feet moving (literally doing it right now). This will lead me into a point that I'll make in closing but there's something so attractive about a song and, furthermore, an entire project that has a vibe like such but, like I said, we'll get into more of that in a bit. Finally (HUH?!), 'Jah No Dead' is a lyrically dazzling effort which is cared for by one LUSCIOUS backing track.
"The Devil love and work fi idlers
Cah when dem inna trouble, then dem run to di bible lost"
The tune also serves as the first combination from "Deep Medz", linking Eesah with Garnet Alkhem (son of the immortal Garnet Silk) and ultra-talented T'Jean (whose father, Mikey Bennett, you'll also know) (and, T'Jean has also released his own new project for this year. A terrific EP by the name of "Ancient Intelligence" which I may tell you about, more in-depth, at some point). 'Jah No Dead' may just be the best of the opening lot but any way your preference goes amongst the three, you have truly SENSATIONAL work at the head of "Deep Medz" and you know what??? It stays that way throughout.
While Alkhem and T'Jean are definitely names you need to keep an eye on going forward, the batch of vocal guests enlisted to join Eesah here is mightily impressive, as I alluded to. Check the fun 'Red Alert' which taps veteran Swedish DJ, Million Stylez. This one is a social commentary within a [LEGIT] Dancehall tune and I LOVE how it breaks up the vibes. Pieces like this one, really add to the colour of an album (it almost gives you a little jolt if you're just casually listening through and come across it) and it makes for such a stronger listening experience altogether, in my opinion.... and, of course, it doesn't help that it's damn good also. The very next drop in, 'Rasta Corner', was a big single release just ahead of the album, itself. This one, RIDICULOUSLY (and I mean that in a GREAT way) finds Achis Reggae favourites Perfect Giddimani ["High grade, that better than liquor. Dat a roots inna cup, strong back mek it bitter. LOCKS PON MI HEAD TOP, DAT A MY TRANSMITTER"] and Pressure Busspipe joining Eesah and, as you would expect, the trio absolutely causes DAMAGE together. As strange as it will sound: 'Rasta Corner' is the most glaring example of my primary criticism of "Deep Medz" (more on that later), despite the fact that it is also one of the best songs that it has altogether. You bring in talents like this one, separately, and you're going to have something potentially special on your hands. When you do it ON THE SAME FUCKING TUNE... problems! The artists link under the umbrella-ing theme that not everyone belongs everywhere, particularly when they cannot meet the minimum requirement to be there. This is the type of music I was directly referring to drawing in the more casual head. On the heavier end, if you see THAT level of talent on a song even prior to hearing it, it definitely captures attention and what results is eons away from a disappointment. The one and only Sizzla Kalonji also makes an appearance, making his presence known on a remix of the plodding 'In The Ghetto' (don't think I've ever head the original). I do not love this tune (that chorus is.... tough), but it is solid. I've made my feelings on the latest incarnation of Sizzla crystal-clear and what he does here most certainly is oceans away from his vintage levels but it's also considerably higher than at least some of what he's done as of late.
When I first saw the tracklist of "Deep Medz" my attentions focused on the presence of one potential all-conquering effort by the name of 'The Beginning of Time' which, almost comically, features BOTH Capleton & Lutan Fyah.... why you'd need those two on at the same time is well beyond what little good sense that I have, but that is exactly what Eesah does while managing to make a space for himself on that sublime old school riddim. The direction here goes back to our openers with a massive observation being paid to His Majesty between them with all three finding their own time to shine but taking top honours, to my opinion, is the mighty King of Fire. Still, with all that being said the single best combination and tune altogether on the album (although the opener is running EVEN with it) is 'Police & Badboy' which taps one of the most lyrically proficient lights Reggae has seen in a VERY long time, the Grammy winning Kabaka Pyramid who is in a typically DESTRUCTIVE mood during his contributions.
"Murder capital, dem nuh murder fi capital
Gunman will kill people fi some reason weh not even practical
Police nah tek sabbatical
Dem full you up a shot
Mek all di doctor dem struggle fi identify inna di hospital
Badman dem nah play play
Man ah shoot like Braithwaite
Murder you with a straight face
Graveyard haffi mek space
Bad cop dem have red eye and di good cop dem ah save face
When di ak dem ah spray, spray-
Another man life fade way
Another bloodstain upon di concrete
Another mother bawl for her son
So when you si di gunman or police, well try no bodda run"
FLAMES! EVERYTHING IS ONE FIRE AND NO ONE CAN PUT IT OUT! This tune blazes, crumbling absolutely everything it encounters.
Besides the combinations, another interesting musical angle found on "Deep Medz" is the presence of several pieces which are either of the lover's variety or just, generally, giving credit the most honourable women of the planet and they are ALL at least nice songs. The first of them is the fine 'Nubian Queen', which is chased by the even more charming 'The Girl I'm Searching For'. The former is slightly more specific as Eesah, seemingly, is talking to his own special woman as opposed to women in general, but it's still very relatable and exquisitely performed. 'The Girl I'm Searching For' brings in a more of a 'positive edge'. It has some heat on it. Though, again, more on the specific side (arguably even more so than 'Nubian Queen' with the semi-running dialogue of the lyrics), 'The Girl I'm Searching For' reaches greater heights and, yes, you will find better on the subject on the album (I'm about to tell you about one of them) (make that two, actually), but this thing soars for what it is. 'Empress Menen' broadens things out and, in doing so, impresses immensely. 'Empress Menen' (delightfully) has an Afro Beats vibes about it to my ear and it's just this BRIGHT, all-encompassing and INCLUSIVE track which is done in a way not only hailing Her Majesty but also relating all upful and positive women to her. On a similar level in terms of sound is 'Girl Like You', which veers back towards the Reggae spectrum and is a very nice straightforward love song. I think 'Girl Like You' has something special about it and could do some damage if given an opportunity (and I do not expect it to be given that opportunity). I was surprised for the good in seeing so many such tunes attached to "Deep Medz" because it certainly gives the album an added dimension that you do see present on so many others but not to this extent. Clearly it is favourite topic for Eesah and I would expect him to go on and continue to make winners of the lover's variety.
The artist continues to mine gold on his own and on just about any topic he touches. One of the most glaring examples of this DEFINITELY comes in the most appropriately licked pair 'Irie' and 'Easy Skankin'. With its easy vibes, the former struck me 'all in the feels' (do people actually still say that??) as it's simply about having fun and enjoying yourself in a distinctly Caribbean way. 'Irie' is one of the better tunes here altogether and not very far away is 'Easy Skankin' which has more of a musical focus ('Irie' is more spread out, dealing with more cultural things, slightly).
"Kick off ya dancing shoe
THEN FIND A GIRL AND HOLD HER TIGHT
NUH MEK BREEZE PASS THROUGH
It's a skankin Reggae party
Watch mi drop it, one-two"
Together 'Irie' & 'Easy Skankin', again, add such a fun abd WARM element to "Deep Medz" and one which you might not expect to hear going into it but certainly makes more sense as the vibes develop (particularly with all of the love-ish songs being present). 'Push On' has a similar sound to the two tunes I just told you about (and it directly follows them, making for one lovely COOL block at the end of this album), but its subject is on a more serious theme as it's all about perseverance and thriving through the hard times life deals us all at times. It does have a spiritual edge at its heart but, for the most part, anyone going through anything can call on a song like this for some inspiration. 'Push On' is another selection that, at least for me, reaches near the pinnacle of quality for "Deep Medz". It is IMMACULATE and just such a mighty addition to this project. 'Uprise' is a track with something immediate about it. There is a certain infectious urgency to it which cannot go ignored.
"Tell dem a 'one aim, one destiny'
Black people fi free so just let wi be
Whether by air or wi tek di sea
Black Star Liner seal di prophecy
Fully camouflage when they si mi roll out
NO LONGER SHALL I TIE MY BROTHER NECK WID NO ROPE
'Africa fi Africans' a dat di legend dem quote
ETERNAL FYAH FI DI ONES WID NO LOVE
Every youth great like Nelson-
Mandela did ah beat dem wid a belt
Nuh mek dem trick yuh bout slavery it done
Wi come from di land, but wi own"
Perhaps if you thought back to 'Behold The Conquering Lion' and added some spice and some flames to it, you might come up with something quite similar to what 'Uprise' turns out to be and it nears that same well lofty levels in my opinion. Finally is a piece that did take a little time to grow on me, 'Liberation' (biggup Turbulence) (allllll these years later and 'We Need Liberation' is still one of the first Turbulence tunes that my mind goes to). When I first heard 'Liberation' (and when I second heard it and probably third, fourth and fifth as well), I initially thought it somewhat uneven and while I still may not regard it as the most well put together piece of music that I've ever heard, it is fairly close to being outstanding. 'Liberation' almost sounds like a freestyle that became a full song at some point with that title/punchline never really being played out to completion... but you won't care. 'Liberation' is a very fun time and, though all over the place, lyrically very strong as well.
So what is wrong with "Deep Medz"?? This is simple: The album features seventeen songs and has a run time of just under forty-seven and a half minutes. By my [surely inaccurate] math, that puts the average track-length at less than two minutes and fify seconds. By contrast, the last review I wrote was for an album by the name of "Levite" by Zacheous Jackson (biggup Zacheous Jackson). By my (again, completely WRONG) count, the average song length of "Levite" is nearly four and one third minutes. The most glaring piece of evidence supporting this is "Rasta Corner", a tune with THREE DIFFERENT ARTISTS anddddd..... it checks in at a very thin two minutes and eleven seconds. RIDICULOUSLY it is THEE shortest song on the whole of "Deep Medz". Still excellent, although somewhat crowded and I don't know why (incidentally, you could say the same for 'The Beginning of Time', and it is twenty-two seconds longer than 'Rasta Corner' and still a little cramped. In general, you wish they would have just slowed things down as, far and away, the largest critique I have of this set is that it seems to come and go (both in full and in several cases individual tracks) FAR too quickly.
Overall, you could certainly have bigger problems than your audience wanting MORE and there simply isn't much more than that to complain about in regards to Eesah's debut album. The 'pros' in this case absolutely smash the 'cons'. They beat the hell out of them! Something struck me in the course of listening to "Deep Medz" that I've noticed before on albums from other artists but it's rarely been to this extent: "Deep Medz" and Eesah are very NEW. This is a definite NEW SCHOOL ROOTS sound, even when it does pull in some old school type of vibes. This is very much a clip of the music in the 2020's and it is a FINE example of that sound. Debut albums may have (they have) lost some luster from an older time and you can even argue that they've never REALLY been that important in Reggae music but if they do still hold any value in 2024 as they do with me, you won't find much better material than Eesah on "Deep Medz". Yes, I do wish there was more of it and, hopefully, "more of it" won't be too far away but, as it stands, "Deep Medz" is one of the strongest debut sets I've come across in quite awhile. EXCELLENT.
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