Old friends. During our several year hiatus from writing about music, unfortunately I missed quite a bit of things that I would have, otherwise, definitely talked about normally. I've always prided myself on being someone who seeks out the experience and the challenge of covering things that either no one else [at all] does or that very few people were likely to, in addition to the more obvious works that are more widely appreciated and examined. Because of that, one of the things I'm happiest with in regards to this blog can be found in the Labels section: Aima Moses, Ambush, Empress Cherisse, Fefe Typical, Jah Defender, Jah Turban, Jahmings Maccow, Nahyubi Joseph, Mischu Laikah, Revalation.... and I could really go on and on [Little Guerrier] as examples of names that, in no way, are of the 'household' variety but are well talented individuals who we've metioned [Sydney Salmon] at least once over the years. So sure, I missed writing for projects from the likes of Akae Beka, Jah9, Damian Marley and all of the other big names who released projects while we were away, it was even more the case with that next other group who may've produced BIG material and the internet hasn't done its best job of keeping track of such things. I don't have as much time as I once did (well I kind of do) and I'm old as hell, so writing these things isn't as easy as it once was but, somewhere in the back of my mind, I'm thinking that if I stick around for another year or two, I can at least somewhat make up for lost time, while managing to stay at least relatively current. I distinctly made it a point to write about an album called "Break The World", which was Fay-Ann Lyons first (and, subsequently, only) album for VP Records that I THINK I could recall waiting for while I was still active. I'm sure that album got a decent amount of attention (going to tell about the one she did last year, too, one of these days), for what it was, and I'm just as sure it went completely around the attentions of msot Reggae heads who're more likely to spend any time around here. I made a similar point for Lutan Fyah's "Music Never Dies", "Rebel With A Cause" from Pressure Busspipe and, over that same span of time, works from the likes of King Lorenzo, The Arkaingelle, Lloyd Brown and others which would have definitely gotten my excitement up as something being just a little off center and slightly out of the spotlight (with respect to Lloyd Brown, who probably doesn't belong in that group, but I'm including him anyway) and attention of most fans. Today, we not only take a look at someone who most certainly does fit into that group but is also, personally, a favourite of mine and someone who's always been very nice to us throughout the years.
While your listening travels may not often take you to Dominica as a Reggae fan, when you do get there, you're likely to recall what you heard. Surely the biggest name to ever emerge from the Nature Island is the EXTREMELY well-regarded (and extremely well-retired) Nasio Fontaine. I never fully got on board there --though I will say that I appreciate his music more now than I ever have-- but, once upon a time, Nasio had some of THE most passionate and loyal fanbases in the entire genre. It wasn't quite there, but calling it "Benjamin-esque" wouldn't be terribly out of line, in my opinion. You also have the aforementioned Aima Moses, Nelly Stharre and, whether you realize it or not, the great NiyoRah was also born on Dominica. Still, when we talk about Dominica and Reggae music, it is IMPOSSIBLE for me to do so without mentioning a longtime and grizzled favourite of ours, the well esteemed Harry Mo.
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| The wonderful works of Harry Mo |
Harry Mo is a very curious one. On one hand, you could definitely do him justice by saying that he makes Roots Reggae music - plain & simple. There's nothing wrong with that at all and I'm going to tell you about some of that in just a moment. Still, if you wanted to tell a more complete story, you'd also say that Mo, at his absolute best, embodies some of that colour and diversity that his homeland is most well known for (and if you don't know anything at all about Dominica, you should know that it is, EASILY, one of the most diverse places on the planet. If you are looking for a race of green people, I'd tell you to start on Dominica because, if they exist, SURELY at least one of them would be there). So his brand of Roots can come with a 'flare' or a 'drift' from what you will often see in the genre. I would compare his style, somewhat, to that of the great Tuff Lion and, again, Harry Mo goes on to add his own, special blend to things (as does Tuff Lion who is, of course, a genius with the guitar). While we were out, in 2020, Harry Mo would release his latest creation, "I Am Rastafari", which would follow excellent sets "Runaway Slave", "On My Way", Roots & Lovers" and "Back To Africa". Although all were/are of a certain qualiy level, 2008's "Back To Africa" ["Jah will help me find my way!"] reminds his opus in my opinion and Mo would also give us the VERY interesting "Thank You Jamaica" which I don't want to mention too much of because, I will hopefully getting around to dealing with it in a heavier level someday (I may actually just start writing that one with I'm done with this one and save it for later), a decade after "Back To Africa", also during our hiatus. I chose to focus on "I Am Rastafari", specifically, because of its fairly unique sound and this.... ultra-impressive sense of a humble-confidence that I heard in it. I'm making it sound complicated, I'm sure, but it really wasn't. The album seemed to often make its bread on the very basic thought that when one is doing the right thing and THINKING the right things that "one" has very little to worry about. That's where the confidence comes in and it was DELIGHTFUL to hear in this form. I'm probably not going to go through the process of ranking this one in direct comparison to what came prior to it from Harry Mo but I can tell you right now, "I Am Rastafari" was pretty much excellent.
I alluded to it, briefly, but we have actually had brief contacts with Harry Mo back in da day. I believe he once sent a message telling us of his new album (which may've been "On My Way" (could have been "Roots & Lovers" though) and I even remember giving him a critique on one of the albums (which actually may've been "Back To Africa") and he agreed with me (Zacheous Jackson did the same thing in regards to his most recent set, "Levite"). He's just a very nice person and he even thank us in the liners for "On My Way" if I recall correctly. I should probably return the favour and the thanks for "I Am Rastafari" which animates with its MAMMOTH title track. 'I Am Rastafari' is about as simple and basic as it could possibly be.... and it's also kind of brilliant.
"I am Rastafari
I chant for Jah Most High
I man hail King Selassie I
All might King of Kings and Lord of Lords
Said I am Rastafari
I & I work for Jah Most High
Defend what is true and right
What is true and right in Jah Most High sight
With Jah love will our way
When Jah call, we must obey
The pain and joy, yeah, it's really worth a bag of love & righteousness
And we spreading through the earth
Got no time for the timid
Hotta fyah pon di wicked
We've got to clothe up the naked
Let the hungry be fed
The aged be protected"
If you've heard five or six Roots Reggae songs in your entire life [like, literally, EVER], there's a pretty solid chance that 'I Am Rastafari' isn't going to say anything with which you are unfamiliar at all. What differentiates this one from the thousands of others built on a similar foundation is how well it is situated. It reaches not only a personal level, with Harry Mo just talking about himself and his views but, in doing so, it also touches in a way which personifies (and BEHAVIOUR-IES) the teachings of Rastafari. Essentially saying, 'I am Rastafari... and this is what I do. This is what I stand for'. It is very subtle but it stood out clearly for me and it also is a fine example of what I was referring to when I talk about the "humble-confidence" of "I Am Rastafari" as a bona fide GEM gets it started. Things head in the direction of social commentaries with 'Trouble on Jah Earth' and does so, again, with a very attractive simplicity. Mo writes a lot of his work in a way that is very matter-of-factly. He says things that may be opinionated but they're very difficult to disagree with or to find fault in. When you do something like that, it makes your music very easy to identify with and also, DELIGHTFULLY, allows your to do more things musically when you know the core of the work is so solid. 'Trouble on Jah Earth' is a fine example of that (and it also SOUNDS REALLY GOOD!). Next is the first sign of flames, in the form of highly infectious 'We See Dem Coming'. I never expected what would become of this tune as, following the fairly terrestrial beginning, 'We See Dem Coming' ascends into this... almost Dancehall type of delivery which dazzles.
"So now you know wi nah go par wid dem
Wi nah go sit down, nah go reason, nah go blar wid dem
Wi nah go ride inna no van, inna no car wid dem
WI NAH GO CLOSE, WI NAH GO NEAR, WI NAH GO FAR WID DEM!
Wi nah go eat, wi nah go drink, wi nah go bar wid dem
No tek wi chalice, nor a spliff, wi nah waan draw wid dem
Inna no dance, inna no show, wi nah waan star wid dem
And if it was another day, wi woulda war wid dem!"
Call it a bit of SPICE while we're still warming up on "I Am Rastafari" but you don't see 'We See Dem Coming' coming (yep, that's what I'm sticking with) and it sneaks up on you in a FANTASTIC way. You have to bookend it, so also check out, fittingly, 'Deh See We Coming', which puts the listener on the opposite side of 'We See Dem Coming' which forecasts the coming of negativity. 'Deh See We Coming' sees POSITIVITY and RIGHTEOUSNESS in the offering and, unfortunately, some don't like that. 'Deh See We Coming' gets the language flip as well with Mo colourfully showing off something distinctly Dominican to fine display. Sandwiched in between the two Comings is, EASILY, one of the best songs on the entire album, 'Son of a Brave'. This fine creation takes several courses with, perhaps, the most prominent being the pride route. Harry Mo is directly and indirectly proud of his heritage ("indirectly" being even the perception of his ancestry. He's proud of how they are viewed) and it becomes crystal-clear here. The song also provides "I Am Rastafari" with one of its many signature lyrical punchlines to my ear:
"I am just the son of a runaway slave
Freedom songs in my head"
I took something GRAND from that. I don't know Harry Mo's story. I don't know his family. I don't know if he's the first musician or anything. That statement, to me, says that his work is, essentially, putting instrumentation and form to songs and ideas that have been in his bloodline for generation. THAT IS GORGEOUS and a powerful aspect to one of the most beautiful songs he has ever made that I've come across.
In order to not end things on a low-point, I'll mention what I do NOT enjoy about "I Am Rastafari" here as it is, wholly, centered around just a couple of tracks, 'Running From Love' and 'Caught up in a Blight'. The former is... tough. I can hear a decent song in there but it's hard to overlook that it isn't the greatest delivery and there almost seems to be a disconnect between the vocals and the riddim (which is quite nice, actually). It just isn't very comfortable and such a trait is imperative when it comes to a love song, in my opinion. For its part, 'Caught up in a Blight' is much simpler - it just isn't very good. It's kind of a Hip Hoppish type of tune, featuring a rapper, Mundo (who I know nothing about), and it's really just not for me at all. I do appreciate people, on albums, making songs that change up the vibes and not always doing the same thing and this is definitely one of those instances, but they do not always work well. If you want something to steer you back in a nice course, definitely head in the direction of 'Push on Thru'. The riddim on this song...... it is a DIVINITY! It is a gift straight from the Most High! Sounding like he's singing right in front of a live band in recording this one, Harry Mo absolutely dazzles with a delivery on 'Push on Thru' which registers somewhere between singing and almost Spoken Word at times. What results is definitely one of the finest offerings that you will find on this album, altogether. And have I mentioned how nice that riddim is??! The very next selection following 'Push on Thru', 'Singing Songs for Jah', keeps the music here exquisite and adds to it a message that, once again, shines for its simplicity.
"Who protect I for the night, wake me up this morning to see the light of a new day?
A Jah
Who bless I with love, strength and light - same one who always hear me when I pray?
Jah Jah
And who is gonna guide my steps, clear my way, trodding through this wicked babylon today?
Jah Jah
And who do I turn to when the wicked set their devices and traps and ah run dutty play?
A Jah
That's why I sing a song, I sing a song for Jah
I'm always singing songs and singing songs for Jah
Rastaman sing a song, come sing a song for Jah
We're always singing songs, we're singing songs for Jah
Who bless I with the most loving friends, bredrens and sistrens, blessed children?
Jah Jah
AND WHO SHOWER I WITH BLESSINGS SO BOUNTIFUL BADMIND COULDA NEVER COMPREHEND?
Jah Jah
And who expose the folly, show me the true friend from the frenemy dem?
Jah Jah
NOT TODAY OR YESTERDAY, WE PRAISING JAH JAH FROM WAY BACK WHEN!"
'Singing Songs for Jah' is pure 'message music'. It is a vehicle to deliver a point and even with Roots music, as plain as that may sound, it isn't always the case and it can be refreshing, as it is here, when you come across it in its most 'primitive' form (and I mean that in a good way). I wasn't crazy about 'Running the Track' the first few times that I heard it (and I still wouldn't say that I LOVE it, even now) but it has grown on me somewhat, LARGELY due to the riddim. As is the case with several of the songs that we've discussed from "I Am Rastafari", the musicianship on 'Running The Track' is soaring. This one, in particular ( at least to me) has an almost... 1980's sound to it?? There's something very old-school 'flashy' to its delivery but that riddim behind is TIMELESS and Harry Mo uses it for a solid moment but one which might require more effort on the part of the listener full absorb. The vocals on 'Burning Bridges' aren't the greatest (not in terms of how they're sung but as far as how they're recorded) but that is my sole complaint about that tune. This song has a very fascinating aspect to it because, on one hand, it has an element of being exactly what you think it is from its title -- don't burn your bridges; be careful how you treat people, because you may need them in the future -- but on the other it MOST CERTAINLY DOES NOT.
"What if it's gonna take you to a place named Malice, near the Vampire Palace?
I say let it burn to the ground..."
Some bridges are not only useless but their existence is a negative thing. In a more applicable/tangible setting (presuming there is no bridge from your neighbourhood to the Vampire Palace) (if there is then you can just ignore this part here) - if there is someone in your life who you have some type of connection to but they're negative people and they bring no good to your life, let it go! If you're working a job that you hate and it's draining your happiness, you find a new job! Things like that, I think, are examples of burning bridges in a good way and I think that's the very powerful sentiment behind this very interesting take on 'Burning Bridges'. There's the downright hypnotic 'Work to Do', which finds the singer lacing up his boots, rolling up his sleeves and getting down to business. It also comes with this excellent.... almost rapping style just to change things up, but it's also very melodic and very pleasing to hear. On top of that, Mo's form of work to be done is a general one, from doing a better job in raising children, to helping those who're down on their luck and struggling and doing better in spreading the word of Rastafari, Harry Mo is ready for it all and, hopefully, we are as well after hearing 'Work to Do'. Finally, unsurprisingly the album ends with the nyah drum heavy CHANT 'Do Good' (this used to be a fairly active practice on albums, if I recall correctly). 'Do Good' is not only LOVELY and expected, for what it is, it is a fantastic way to end an album like (and titled) "I Am Rastafari", sending the listener out with a very special and upful feeling going forward.
Okay, something I really would like to mention in regard to this album because I find myself being more and more critical of it in regards to other projects we review: "I Am Rastafari" is very FULL. It's very satisfying. With its thirteen tunes topping out at nearly fifty-eight minutes (by my surely incorrect math), that puts an average song as nearly four and a half minutes long which is LOVELY! Part of the reason, in practice, why this is the case is because Mo and company definitely give their MUSIC an opportunity to shine and they should. They often give these nice stretches of instrumental or extended choruses to really add to the complete experience of enjoying the album and that is a wonderful touch and one which, again, stresses and highlights a legitimate strength of the release.
Yellow Moon Records
2020
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