Respect. FULLY: A review of Power Shift by Dezarie

Rotation. Respect can be a very interesting thing to consider for and endless number of reasons. Something I find most captivating about the concept is the fact that, though it is entirely immeasurable and subjective, it can also be very easy to spot as well. You may see a tiger on a very hot day walk up to a little lake and, very carefully, take a drink and go about her day. Why not just go into the water? Because alligators live in that lake and she doesn't want those kind of problems. Maybe she has her cubs with her as well - she has just taught them that RESPECT can be as powerful and as clear as the stifling heat they're seeking relief from. Specifying things, let's take a look at respect within Reggae music. You know a guy named Moses and you know another one named Rodney. Moses is, universally, more well know. He's more popular. It's a matter of fact and not opinion: More people know BEENIE MAN, than BOUNTY KILLER. Who is more respected can be another case entirely but, if we're talking about more hardened fans and people who actually produce this stuff, the answer is probably Bounty as evidenced by the countless names of artists who came after him (those who made strides in music and those who did not) crediting him as being a major influence in their careers. Bounty Killer was a bad ass. When you were a kid, that's the guy you wanted to be. Getting even more specific, I can recall a time... maybe a quarter of a century ago at this point, when I knew the name Midnite but I wasn't much of a fan. I've talked about it quite a bit in the past (and will certainly do it again in the future) so I won't delve into it too much but "MIDNITE" was something I didn't particularly understand. What was crystal-clear, however, was their appeal. By comparison, they were nowhere near as POPULAR as some of their Jamaican peers like Sizzla and Capleton but the Virgin Islands outfit enjoyed such a powerfully dedicated, loyal and FAITHFUL fanbase. To me -- at the time and still today, looking back at it -- that was a sign of RESPECT. That the Benjamin bros. and company, in their ascension had, perhaps in a way that we had never seen before or since, gone from the 'underground' to being something very difficult to ignore... even for a young, naive 19-20 year old like myself. And I can actually recall later hearing from some of their Jamaican peers (like Lutan Fyah, for example, if I recall correctly) how their work had traveled and just how appreciated Midnite had become. That is a DEEP level of respect and admiration. 

2025

And Midnite came bearing gifts. Along with indirectly opening doors for forthcoming talents from out of the Virgin Islands (and directly via putting some of them on their songs and live shows), including Pressure Busspipe, Midnite DIRECTLY had a hand in introducing a downright monstrous talent by the name of Dezarie to the foreground as well and her rise to prominence IMMEDIATELY resembled their own. You could very well make the case that the level of esteem that Midnite had earned by the early 2000s had put Dezarie in a fine position to succeed as they began to lift her up and that would be more than fair but that wouldn't explain why we're STILL talking about her today. Having a hand in producing and/or releasing much of her early work such as the "Fya" and "Gracious Mama Africa" sets were strong introductions but the work that she did on her end and, CLEARLY, the work she's still doing has allowed the Queen of VI Reggae to maintain her most unusual and distinguished.

like 15 minutes ago

So it's kinda awesome how we're talking about her in 2026. I haven't finished it yet but the mini-review is coming where I'll tell you about her most recent release (well... not anymore), "7th Heaven", a BEAUTIFUL EP release courtesy of Tikur Anbessa Records. Something that was quite remarkable about that release, even prior to listening to the music that was actually on it, was the fact that it even existed in the timeframe that did. If you have been following along, you probably know that Dezarie isn't the most active of artists (I think I've probably called her "reclusive" at some point). It takes her a little while to get her thoughts together and bring a release forward but that was not the case with "7th Heaven" as, JUST LAST YEAR, she had a full album in the absolutely SUBLIME "Guardian". That album was fantastic and took #2 on our Best of 2025 list back in January. So the very fact that Dezarie had something to contribute to 2026 was icing on the cake... but apparently she was not done. The official release date for "7th Heaven" was the 30th of July; on the 4th of September -- which my magic calculator tells me is thirty-six days later -- she now... returns, SHOCKINGLY, with a brand new album, "Power Shift". I was completely surprised to see this one as, though I had heard what turned out to be an initial single for "Power Shift", I didn't know of/make the connection to it being anything related to a fuller project as it was somewhat odd (more on that in just a minute) and definitely seemed more like a one-off. "Power Shift" comes through a Goddess Frequency imprint (I could make some assumptions given its name but I'm not going to but you probably know what I'm thinking about a label called "GODDESS FREQUENCY" in regards to a Dezarie album) with production being handled by ZionLab. I've always known Dezarie to have a fairly large following in South America particularly and ZionLab has its roots in Brazil. Dezarie is releasing a Brazilian produced album in 2026 (...or in any other year at all)?? GIMME! I'll take two! The album not only continues a suddenly prolific run for Dezarie but also a TORRID release schedule for Reggae music in 2026 as a whole; coming the exact same day as a new album from the great Anthony B as well. Respect is like a muscle. It must be exercised and it must be fed. Is Dezarie still fit during this "Power Shift"?

Of course she is. Part of the attraction to Dezarie, I think, has to do with her very interesting style. She alternates between using a more straightforward (and beautiful) singing voice and an often strange kind of... hypnotic chanting. She literally sounds like she's in entranced at times. She also possesses a more straight forward type of chant which often hits more on the aggressive side. If you require an artist to be able to do something - Dezarie does it and does it well. FOR EXAMPLE, check the first tune and title track from her brand new album, "Power Shift" from ZionLab. The song finds Dezarie, literally, putting her best foot forward as 'Power Shift', by the slimmest of margins, is the single best tune on the album named for it, in my opinion. It is just BRILLIANT! 

"DELUSION COME TO A CONCLUSION"

'No one gets to stay on top forever' is the sentiment behind 'Power Shift' and Dezarie is noticing some slow (and some not so slow) changes in the world. She spends much of the track somewhere between the hypnotic and aggressive chants that I just told you about and utilizes them both to a DESTRUCTIVE effect: The best on this album and one of the best in recent memory from her catalogue, altogether ["Genes of Gods & Goddess - lasting. OUTLASTING CONTRADICTIONS, CONTRACEPTIVES"]. And it should go without saying (and yet, here I am saying it anyway) that you'll lose a great wealth of information should you choose not to really tune 'Power Shift' in, lyrically and you can keep that thought for the next eleven songs that I'm going to tell you about as well; though it is especially true on the unrelenting opener. I suppose that, directionally, 'Rise Higher' sticks fairly close to the title track as it's also talking about a change in power as one rises and one falls ["Di uprising stepping up, so they're capsizing"]. There's a giant issue with 'Rise Higher' and it comes during its second verse. Dezarie ABSOLUTELY LOSES IT! She goes somewhere else. She leaves the studio both (or wherever she recorded and goes somewhere else) ["Basement of the basement - relocate"]. Thankfully we're there to hear it and she SCORCHES 'Rise Higher'. Afterwards, the song catches up to here and ascends as well with a slightly more open sound that she continues to disturb. Entirely, 'Rise Higher' is this beautiful, almost Persian sounding offering and, strictly from a sonic point of view, is not to be missed. When you add the drama that unfolds atop it, you get something pretty damn special! The duty of maintaining the high opening of "Power Drift" falls to 'Run Dem' and... if you want to call it even stronger than the first pair of songs, you go right ahead. You won't get much of a fight out of me as Dezarie IMMEDIATELY comes out torching everything within her reach specifically those who keep one foot in the church, while the other is.... somewhere else. 

"You a dirt, a inequity worker

AT NIGHT, HOW YOU SLEEP ON YUH SERTA?

Cah you hurt young boys, never nurture

Preacher impose indecent exposure

You inviting di devil make a churcha-

To increase yuh membas and yuh stacha [stature]

You got di sheep caught up inna yuh rapcha-

Of lost, predatory nacha

DISGUST, monster behaviour

How you coveting di wife of yuh neighbour

You don't practice what you preaching neither"

"Man a condemn a faker

All-star perpetuator

Disaster leech, dem a preacher

Inferior preach be like Issa

Ministers being sinister

Reverend reverence di dollar

Di shops be shopping for power

MELCHEZIDEK ORDER, WI RATHER

Superior age and ulterior

THE MOST HIGH IN OUR INTERIOR"

The song instantly reminded of both Jah9's vicious 'Preacher Man' and 'Inna Dem Purse' by Reemah (Reemah is a damn genius. I just listened to that song for the first time in awhile... PROBLEMS!) and it is on the level of both as Dezarie continues her EXHAUSTING start to "Power Shift". I've got bad news for you if you were hoping for a rest with the next tune, 'With The Enemy', as it offers no such respite. Apparently we are undeserving of a breather. Were "Power Shift" a movie (there is no way there isn't a movie with that title), 'With The Enemy' would be one of its action scenes. From the second it drops in, it provides an urgent feeling as well as one that sounds very important. You might get a little nervous as the beginning of this one! In this fight for power, unfortunately, we have certain ones who will cross from side-to-side and they've grabbed Dezarie's attention and she is not letting them off easy ["HUGGING, SNUGGLING WID NEGATIVITY. HOLD HANDS AND CARESS WID CALAMITY"]. I don't want to start transcribing lyrics on every single song on "Power Shift" but, TRUST ME, when I say that you REALLY NEED to pay attention to what Dezarie does with this song, lyrically. Doing so offers the listener one of the greatest rewards available on this album. BOOM! I've previously alluded to 'Petty' as it was the song that I heard before even knowing that Dezarie had, yet another, new album forthcoming. I also called it "odd" as it just so happens to be a combination and.... Dezarie just doesn't do too many of those. In fact, I'm sure I'm missing SOMETHING but 'Petty' may just be the very first combination that she's done on an album, altogether! The song features her working alongside big Trini star, Kushite (and there's another "Trini star" that, someday, I would LOVE Dezarie to make a song with) (biggup Queen Omega, of course) and I was very curious as to how it would all turn out. SURPRISINGLY (not at all), it works very well. If you took Kushite off of 'Petty' and just kept Dezarie's portions (which is almost all of it anyway), you'd have a STUNNING tune. 'Petty' is really nice. However, with her kind of delightful ruggedness, Kushite adds another texture to it and takes it from this kind of airy vibes and gives it an edge that the subject matter would deem most appropriate. I'm not surprised it was chosen as a single, it is attractive on paper but the actual song also stands amongst the album's finest. If 'Petty' is the very first combination to appear on one of Dezarie's albums, #2 is also on "Power Shift" as the Cruzan empress also links with another VI standout, Tizzlah, on 'Hater'. Like Kushite, Tizzlah is also slightly more on the aggressive side which makes for a nice contrast with Dezarie who, again, varies her work on 'Hater'. The two enjoy more interaction than on 'Petty', directly marking their sound differences as, just as Midnite helped Dezarie along her way, she returns the favour, to Tizzlah, introducing him, SURELY, to his biggest listening audience via appearing on this album. 

I usually save this for just ahead of closing but I'll take care of it right now. "Power Shift" is twelve tracks long, spanning across fifty-two minutes. By my [surely incorrect] math, that means the average song length is A LOVELY four minutes and twenty seconds. There is a six minute + long piece which makes up for the difference made by the TIMELY 'Leave In A Rush'. If your actions are not positive and if you intents are not righteous, Dezarie has no time for you at all (SHE CANNOT SPARE THREE MINUTES FOR YOU!), so the fact that 'Leave In A Rush' is so brief, is perfect for it ["Shoo! Shoo, fly, don't bodda wi"]. Check 'Won't Kill Joy' with its fun and inviting sound (almost here like... a mix of old school soul music and maybe a Spanish guitar??).

"Cool, calm, collected, keeping an upful perspective

Foes ah come round like detective

Mind people prerogative, meditate

WOLF AN SNAKE UNIT WILL BE SOLO

WHEREVER THEY GO, WE'RE A NO-SHOW

Dem frequency low" 

I woke up in a good mood today. Therefore, I don't give a damn how negative you are or how much you try to bring me down, you're not doing it! And you know what? You're not doing it tomorrow either! 'Won't Kill My Joy' has a very practical point to it. I think everyone knows a really negative person or two who never has anything nice to say and just carry bad vibes, in general, most times. There is a MUTE button for people like this and Dezarie wants us all to attempt to use it just a bit more. On the other side of that, maybe YOU ARE THAT PERSON. I can't imagine such an individual would be interested in reading so much of a review like this one but, in case you are that one, you are not dead and gone. You have time to change your ways. Listen to "Power Shift" - maybe it'll cheer your ass up. 

I do want to skip ahead to the album's closer, 'ToGether' because it's very interesting and I've spent quite a bit of time listening to it. What you'll notice about it first is that it's a song on which Dezarie employs her BEAUTIFUL singing voice almost exclusively. She uses that sweet (and maybe somewhat underused) voice to push a unity anthem which is anchored in love. Yes. I made it sound it not so good but 'ToGether' is much better than my descriptors here are ["They don't want me to love you. They don't want you to love me"]. The vibes are nice and serene and it is a lovely way to end matters on "Power Shift". The penultimate effort, 'No Love' is even better than the song behind it. It's also what I was previously alluding to when I mentioned that this album carried a song over six minutes long and the anti-war set makes proper usage of every single second. You  get a standard song in the first four minutes or so and then the final third of 'No More' becomes a lovely display of pretty much everything including, most notably, a speech from Dezarie before things wrap up in an instrumental style. Prior to that, she does everything you might expect on such a song but what really stands out here is just how SPECIFIC 'No More' is at times. She names names! She hits places and situations ["Police vicious when dun gun down protesters. Brutal against melanite dem pull over"]. Anywhere you may be promoting war in the world -- currently or historically - Dezarie has something to get off her chest regarding your nastiness.

Finally, Dezarie serves up a cleansing fire with a couple or literal burners, 'Playing With Fyah' and 'Fiery'. While the latter is probably the slight stronger of the two, 'Playing With Fyah' is really strong as well. The tune is a call to caution and safety when dealing matters of SUPREME importance. In typical Dezarie fashion, the way we arrive at that point is nowhere near a typical road. This drive has many twists and turns in it and we must know our limits within it ["Some Judas calling demself Judah. Chamelon calling demself Lion, dem lyah"]. For its part, 'Fiery' is pretty much flawless  from beginning to end. 

"Some ah tek bribe to bring bad vibe

Fulltime being found to fault

Yuh money to man-ipulate man mind

And success will regress lives"

A GOLDEN musical display (there should be a teeny-tiny paragraph beneath this one getting into that a little more), 'Fiery', again, is quite detailed as it deals with negative things people do to put food on their table. Some of it just ain't worth it and but listening through "Power Shift" is WELL WORTH your time.

Full, beautiful credits to ZionLab. with the work they do here, musically. I'm going to make a larger statement about the entire album in closing but, just in terms of the riddim tracks on this album, "Power Shift" is EASILY one of the best of its kind that I've heard this year. The players of instruments, whomever they may be, really provided Dezarie with a big platform for her work and she, in turn, provided them with a GEM! Also credit goes to the artiste who did the cover. I can guess who it may be but to him/her, WELL DONE! 

Overall, yes. "Power Shift" is excellent and I probably didn't need to listen to much of it to be able to say that with any confidence at all. I cannot imagine that this sudden explosion of prolificacy by Dezarie will continue but we're REALLY enjoying it while it lasts (that's NINETEEN new Dezarie songs in one year!) (WHAT!) (oh and by "in one year", I mean like five weeks). I will say that I think it's a bit more OPEN than some of her other releases. Not that the music leaps much outside of the genre -- it does not -- but I think that music is SO good that if you are someone who hasn't typically found something in Dezarie's output that has been for you, this album is would be a great starting point in my opinion. For the rest of You: While you may have opened the door to the music of Dezarie initially at Midnite, FULL DECADES later and in broad daylight, she's now living in a mansion and still earning it. "Power Drift" is THE best album I've heard in 2026 so far. Period. 

Rated: 4.7/5

Goddess Frequency

2026

Haile Dependable: A review of Rebel Music - The Lyrics Tape by Kabaka Pyramid

Trustworthy. I don't know how long this review is going to be but I know it's going to be much longer than necessary. I could SURELY cut out quite a bit of it and still get my point across but, of course, I won't. I've started doing smaller reviews for smaller releases and I will continue to do those but, most likely, even those are too long as well. That's me and if you frequent these pages to any degree (shame on you!), you know it and you probably expect it. I'm the guy that writes really long reviews and have for... well over twenty years at this point. When people send us material, it's what they expect from me as well (on that side, if your album is really, I would imagine it probably makes you feel quite nice to see someone talk THIS much about how wonderful of a job you've done) and I do my best. It's the little thing that sets me apart and I think, in that at least, I'm fairly reliable. I rely on others as well. When I have a feeling for something that music can do for me, I go looking for certain people, in particular. Maybe I'm working out and I need something really aggressive to help get me through, Bounty Killer has decades worth of tunes for just that situation. It encourages really digging deep and Bounty's the kind of guy, at his best, who will kill you and make fun of you for dying and I can't speak for anyone else but sometimes I NEED THAT during a hard workout... especially at my age. If I want to lose my mind with my kids, there's Bunji, Machel, Destra, Skinny Fabulous, Fay-Ann Lyons and a long line of others capable of providing the fam with an astounding level of beautiful delirium. Other times, still, I need to feed my brain. I'm an overthinker (which is why these reviews are the way they are) and I require SUBSTANCE. I need to be challenged, I need to hear someone who can do certain things with words that provoke thought. This is tricky because there're so many talented writers in and around Reggae music that have talents that can reach you in a very different manner. I think of someone like Jah 9, for example. Jah 9 is a poet (and a genius) and her words almost always seem to have a destination. She's headed somewhere and it's going to take some effort on the part of the listener if they're interested in going with her. Contrast that with someone like Vaughn Benjamin. That man provides information. He educates and if you've failed to arrive at least at a certain level, you will be COMPLETELY lost. Let's talk about Sizzla Kalonji in his prime. At his best, he put forth a level of both education and entertainment that, arguably, remains unmatched in the genre's history. Some of the things he put together were just JARRING! I'll also go to Lutan Fyah who comes off as this extremely hard working and diligent writer who can push material as vividly about a single emotion as he can relating some particular event. OTHERS STILL, such as Aidonia and our old friend Saik have an almost theatrical aspect to their work (Bunji Garlin gets in there as well) as they are capable of using words in a excitingly tongue-twisting way that forces you to be at your sharpest, just to keep up. Today we're going to take a look at someone who, in certain ways, contains aspects of them ALL; truly a lyricist whose attention to detail and SKILL is downright staggering.

2011

Kabaka Pyramid is a VERY interesting musician for several reasons. Already having a relatively surprising Grammy win to his credit (that album (more on it in a second) WAS the best from that year in my opinion but the Grammy award has, until recently, seemed to be something of a popularity contest. After Kabaka Pyramid and, most recently, Keznamdi, maybe times are a'changing), the Kingston native does something that I don't think I've seen in Reggae for a very long time: He revels in his SKILL. The most immediate comparison I can think of would take us back to the nascence of Vybz Kartel and even he didn't seem to do what Kabaka Pyramid does. Kartel was ridiculously gifted -- like Aidonia coming after him -- and though he clearly was aware of it, the celebration of his talents came more so through his fans.US. Kabaka Pyramid, on the other hand, has honed his craft to a deadly sting, he KNOWS it and if you do not, he's about to give you a GIANT opportunity to become good and acquainted. 

2022

I'll go back to what I said about Vaughn Benjamin; in that his music is best enjoyed when you come with a certain level of knowledge, education (formal & informal) ('book smarts' & 'street smarts') and life-experience prior to listening (old Kalonji was also like that). The same goes for Kabaka Pyramid. If you don't have that background that you'll probably find yourself either all over Google while listening, or sitting there with a dictionary, encyclopaedia and a thesaurus ["Focus on di acronym fi open up mi chakra dem"] just to get through! Also, if you've been following along with his career, then MAYBE you'll have a memory of what he did in 2011, when the Pyramid dropped the "Rebel Music" EP. If you did THAT, then maybe what he's doing, a decade and a half later, with "Rebel Music - The Lyrics Tape" will carry even more weight with you that the already HEFTY "new Kabaka Pyramid album" thing that it has going for it, inherently. If you've been here for awhile, you might also be familiar with the previously alluded to "The Kalling", his most recent set prior to this one which reached in 2022 and would net the Pyramid that Grammy I was telling you about a minute ago (and there was also the compilation for the Pon Di Island Riddim last year). Like "The Kalling", "Rebel Music - The Lyrics Tape" comes to fruition via a union between the Pyramid's Bebble Rock Music imprint, and the Marleys' Ghetto Youths International. "The Kalling" was absolutely excellent and was as strong of a piece of evidence of his towering skill that exists. I don't think I've ever had a situation where my personal favourite album also registers as a Grammy winner (my favourites probably hardly ever even get nominated in the first place) but CLEARLY, we were all in agreement as to who was the real champion for that year. Given the immense level of competition in 2026, it'll be curious who eventually takes top honours for this year, however, I can assure that an undeniable, legit contender has just entered the arena. Let's get into it. 

Have I mentioned just how completely ABSURD 2026 has been? On the very same day that Kabaka Pyramid released his new album, German star, Gentleman did the same with his first album in a long time, as did Ky-Mani Marley (who is a Marley); not to mention the line of big names we've seen with releases in Reggae throughout this year (see more here) Kabaka Pyramid throws his name in as well with "Rebel Music - The Lyrics Tape" which begins with one of its biggest shots, 'Stand Firm'. Featuring another fine lyricist, a favourite of ours and good friend of the Pyramid's, Pressure Busspipe, as well as the voice of the legendary Stepping Razor, Peter Tosh, 'Stand Firm' sets a mighty tone for what is to come after it. There are stretches of this tune, particularly early on, which are just.. explosive. 

"Take up unuh head out yuh phones and device

Take a look around and ask, are wi really satisfied?

How many likkle girls ahgo dead before wi rise up?-

And expose di false leaders inna di disguise

Mi sticking to di task and mi nah apologize

If dem inna genocide, wi ah string dem up alive

DEM CANCEL MI SHOWS BUT MI SIT BACK AND REJOICE

AH SO MI GET FI KNOW THAT MI DID AH DO SOMETHING RIGHT!"

'Stand Firm' covers a lot of ground but, as you can see, it does so fairly specifically... which is just ODD! Again, however, Kabaka Pyramid hits points here which are of extremely rare air, lyrically, and what results is downright dazzling. Did I mention Pressure was on this tune as well?? I was going to say something like "Pressure steps up his game", or something like that, but that's inaccurate. Pressure's almost always on fire and he's steadily blazing on 'Stand Firm' which, EASILY sits amongst the finest tunes on "The Lyrics Tape". I talked a bit, earlier, about how you have all of these talented wordsmiths and, in some ways, Kabaka Pyramid has certain aspects of his styles which resembles all of what they do best and while that's true, he also has a style of his own: You play a riddim, he attacks it. What happens on the second tune on this album, 'From Weh Day' is just... kinda disturbing. 

"Biggup every veteran weh ah support young artiste

GONGZILLA FLY DI GATE SO, LOYALTY, WI NAH SWITCH

A dem yah kinda ting a weh Jamaica start miss

Reggae music it left behind and it ah mek mi heart start twist

Mi just ah do mi part fi keep di fyah chanting

Rastafari governance, ah It mi walk wid

Some worry dem ah si 

Chris Ellis, Black AM I and Ghetto Youths mi par wid

Mi fly across di world, every flipping continent

Then mi land back a Jamaica and it's not so prominent

Pure folly just ah gwan and it's not an accident

WI HAFFI REPAVE DI ROAD AND LAY DOWN SOME BLACK CEMENT"

WHAT?! What the hell is that?! The Pyramid breaks all sorts of laws and shit and commits atrocities  against mankind that should probably get him locked up and I LOVE every single moment of it! That IS the single best tune on the album and one of the standouts from Kabaka Pyramid's entire career. Things slow down a bit on 'Rebel Music [I'm Back]' but the quality doesn't miss a step and although it's kind of Hip Hoppish, which isn't a favourite of mine, it's a nice change of pace in my opinion. 

"Bebble pon mi chestplate

I put my life in these records so just press play

Mi go deep inna di levels like an x-ray

Wah mi read woulda put pressure pon yuh head space

Dem a dead-weight

MI HAVE DI WEIGHT OF DI WORLD ON MY SHOULDERS SO EVERYDAY A LEG DAY"

"Many are called but di chosen are few

Haffi close - who yuh holding on to

Some a dem a vampire, yah soul dem waan use

Drain yuh like battery

Blow you like fuse

DON'T KNOW DEMSELF, MI SURE DEM CONFUSED

DI MORE DEM CONSUME, DI MORE DEM UNTRUE"

You could say the same (hopefully you've caught on with what I'm doing for EVERY SINGLE TRACK on this album by now) (thought I'd try something, fittingly, different this time) with the old school Dancehallish 'We Dem Wah', breezing itself to near the head of this lyrical masterclass. 

"A which natty dat, just ah chat a buncha ting

A siddung pon di riddim, like a lizard pon di limb

Ah grab di microphone, a bagga lyrics him ah fling

And slew Goliath just like a David wid a sling

DI PEOPLE DEM AH LISTEN AND YOU COULDA DROP A PIN

AND GRANNY MESMERIZED AND SHE NUH KNOW WHAT HAPPEN

Style weh mi gi her have her waistline ah spin

Lockdown Jamaica and mi lockdown foreign

Fly cross di stage, a bagga lyrics man ah bring

Retro style but di style genuine

Flow dem precise like a needle or a pin

WI NO SIDEKICK LIKE BATMAN NOR ROBIN

SUPERMAN AH TEST MI AND HIM STILL NEVA WIN

Give him two high foot and just go kick off him chin"

Kabaka Pyramid puts nary a damn TOE in a wrong position during the entire duration of 'We Dem Wah'. It's the type of song I would have LOVED to take back thirty or forty years ago and put it in the age of its riddim, just to see how fans from back then (my parents' age) would have reacted to it. In 2026, it's flames. No site of the fires outing on 'Cyaa Cool Di Fyah', AT ALL and DIRECTLY. 

"Wi light a fyah pon dem depopulation plan

Tell dem seh wi dem caan hide no information from

Bill Gates and him vaccines are di greatest scam

So dem create dem disease fi get dem paycheques stamped

Dem have di money fi end world poverty

BUT DEM AH FLY, GO A MOON AGAINST THE EARTH'S GRAVITY"

"The Lyrics Tape" wraps up its first half with another of its definitive highlights. I hope you've been paying attention, taking notes (there may be a quiz at some point) and let us proceed!

"Jah Jah shine yuh light inna di darkness

Know seh mi nuh perfect, mi nah faultless

Still mi just ah work and trust di process

Protect mi from di demons dem weh heartless

Mi name might not be trending still, regardless

DEM NAH GO SI NO ENDING TO MY PROGRESS

Wid certain type of energy, mi nah flex

Dem lef mi out dem plans but still mi nah vex

Mi just ah do mi ting, ya know

Work pon mi vocals; mi well waan fi sing, ya know

Nuff nah no hope and wi dem si win, ya know

So you can achieve anything once yuh skilled enough

Caan be delusional all if yuh know yah great

NUFF LOST IN DELUSION AND SEH DEM AH RUN DI PLACE

RASTA A NO RAT, MI NAH GO RUN INNA DEM RACE

No time - lava splash inna dem face"

You really could have named the whole damn album "Higher Learning" and have been just fine because that's what it is. This tune, I'll get into just a little bit more because I really like its direction and although it kind of spirals to make that point (and that's a good thing), 'Higher Learning' is DEFINITELY one of the most direct on this album. The song is just about progressing and improving -- whatever that may mean for you -- and you put that in the context of "learning". You can also say "thriving" or "winning" or even "trying" and maybe even "failing" (sometimes you must go back in order to go forward) and the Pyramid acknowledges all of that. 'Higher Learning' is BRILLIANT. Most of the songs on this album sorta/kinda are or are in at least spurts and bits and pieces but I have to stress in this instance because that umbrella-ing theme really ties in well with the actual music. 'My Baby' is your changeup and it's probably precisely what you're thinking: It's a love song. 

"And she loves mi and I love her

Spend time with me while I'm on earth

YOUR STYLE BRINGS PEACE, I know your worth

A diamond piece; the finest pearls

Yuh style and grace is clear to si

Just know your place is here with mi

I si your face everywhere I be

I keep you safe, you're the air I breathe

Who dem waan fi trick, dem caan fool mi

Girl you a di only one mi si that really knew mi

So much compassion, you're patiently rooted

ALLA MY FLAWS, I JUST TRY TO IMPROVE IT

Still she love mi and still she nuh judge mi

And when I was struggling, she put no one above mi

And now we mek it out and we're living in luxury

But di only ting that matters - when yuh kiss and yuh hug mi"

Love songs are tough. They can be kind of sappy and just... too damn mushy at times and I'm not going to exaggerate the quality of 'My Baby' (that doesn't sound right but you know what I mean). It does NOT rank amongst the best on "The Lyrics Tape" but READ IT! Is it one of the best WRITTEN love songs of its kind that I've heard??? Yeah. Yeah. Probably! It's very good, very SMOOTH and just styling as the obligatory love song and leaving it as such will prevent you from hearing some truly impressing wordplay - even in this capacity that you RARELY think of for such displays (it is super unusual because love songs usually win with a SOUND. This sound isn't amazing but what is said, on the other hand, is a different matter altogether. Maybe 'My Baby' did work for you but didn't necessarily get you moving at all. If that's the case (and even if it isn't), check one of the goodest (HUH) times to be had, 'Rotation'. 

"They don't want to si us unite

Wid Reggae music, we'll be alright

Just gimme more roots and mi heritage

Music is where it is

It help mi pick and choose all di truths from di heresy 

Fat piece a riddim, mek I use up di leverage

FLOWING LIKE DI JUICE AND DI BEVERAGE" 

'Rotation' also serves a purpose and a damn delightful one. Listen to this beautiful sound and let it do whatever it does for you... then pass it on. Play it for someone else. Let them hear it and love it and maybe they'll pass it on as well. Love the riddim there as well. It isn't THE GREATEST THING I'VE EVER HEAR but it works well for that tune. Something about the early days of 'Roll Up' REALLY caught my attention and I did think I was about to hear something special and, in spurts, I suppose, I did. 

"Sometime it's hard

When everything ah stress mi out, mi need a draw

Di only thing weh get mi out this prison wall

MI FIND OUT FROM MI SMALL - SEH DI HERB AH LIFT MI UP WHEN TIME MI FALL

Mi no really waan depend pon dis, but mi haffi mention this-

More time mi waan fi travel to a next dimension quick

Mi nuh waan fi use nothin weh psychedelic

Cause mi dun psyche already

And this anxiety a kinda heavy

I just wanna roll up and set my mind at ease

I just wanna roll up and smoke some high grade trees"

The kind of easy nature (it's.... calm but there is a underlying sternness to it, I should say) to 'Roll Up', when bubbling around the topic, gives this one a unique feel to it. The beginning (right when it first kicks in), however, is downright EPIC as everything starts to develop with this beautiful drumming. Lastly I the very HEAVY 'Action', which I had heard prior to the album's release and while it isn't another remake of the tune of the same name by Nadine Sutherland, Terror Fabulous and about sixteen other dudes, it is a nice way to end "The Lyrics Tape". 

"Mi nuh dweet fi di likes

Mi nuh dweet fi di comments

Just ah do mi best wid my God-given talents" 

Like several of the tunes here, 'Action' is really just a statement. It's poetic and it has a musical aspect (it is a song) but Kabaka Pyramid had something to say, he found a way to say it and 'Action' was what come of it. 

There're a few tunes on "Rebel Music - The Lyrics Tape" that don't really follow the expected course of having a chorus and bridges and things like that. They're literally comprised of Kabaka Pyramid just getting things off his chest or displaying his "God-given talents" and that's just fine. I also want to say something of the music on this album. It most certainly is not the main attraction but, for the most part, it's just fine and it never threatens to take the show away from the actual star, which're the words being spoken. 

Overall, I do hope that we appreciate Kabaka Pyramid and the others that I've mentioned and others still - like REEMAH, Jr. Gong (who is an executive producer for this release through Ghetto Youths International) and CAPLETON) - for such a powerful talent that they possess because it's something that, again, doesn't tend to be stressed so much in Reggae the way it does in other genres, particularly Hip Hop. In saying that, the Pyramid has clearly been influenced by Hip Hop so that maybe explains his immediate confidence in his lyrical ability, especially. Confidence can be misguided or just flat out wrong, however, and we've seen examples of that in the past. This is not one of those cases. In an arena of talented gifted writers, on "Rebel Music - The Lyrics Tape" Kabaka Pyramid explicitly states his case for PERHAPS having the single sharpest pen of them all. Excellent. 

Rated: 4.45/5

Bebble Rock Music + Ghetto Youths International

2026

Signatures Vol. XVII: Fantan Mojah

In what is becoming an all too often tradition around here of sorts, today we give thanks and honour the contributions of someone who we, most unfortunately, recently lost physically. From the time Fantan Mojah made his grand arrival via his signature LARGE, anthemic brand of Roots music, he announced himself as someone who would be damn difficult to ignore over the course of the next quarter-century or so; along the way providing the genre with some of its most unforgettable tunes of the era. At the peak of his popularity, 'The Macka Tree' was one of Reggae music's most reliable hitmakers of his era and he has left us with a BEAUTIFUL body of work as he rests. 

Today, just as we did with Cocoa Tea and Determine before him, we pay tribute to someone who is set to perform his first sold-out show in Zion. Signatures: Fantan Mojah

1. 'Thanks & Praise'

Here to stay. There may be (there ARE) HUNDREDS of Roots tunes with the title 'Thanks & Praise' or something very similar (i.e. 'Give Thanks & Praise', 'Thanks & Praises'...). It's a very common title and if you listen to Fantan Mojah's version of it, you won't hear a damn thing that you won't likely find on any of the others in terms of ideology. What differs it is such a POWERFUL combination of passion, energy and conviction with that SWEET AS ALL HELL riddim. Around twenty years ago, the world's leading Dancehall producer, Don Corleon, ventured out of his comfort zone and showed that his kingdom covered farrrrr more ground that just songs about girls, guns and ganja with the very well received Drop Leaf Riddim. He would do it again, almost immediately, with the Seasons Riddim which was arguably even stronger. It would carry bona fide hits from the likes of Morgan Heritage, Wayne Wonder, the aforementioned Jah Cure, Vybz Kartel, Natural Black (who scored with the single greatest song he's ever done, 'Far From Reality') and Mojah. With the exception of Natural Black and maybe Cure (whose 'Love Is' was just a damn devastating display of his most STRANGE of gifts that has ever existed) I'd CLEARLY put 'Thanks & Praise' ahead of the pack and when you REALLY dig into some of that material, that's saying ENDLESS about the nature of 'Thanks & Praise'. No it wasn't revolutionary in the slightest and it wasn't doing anything that hadn't been done countless times before (or since) but in its own UNIQUE way, 'Thanks & Praise' was magical and it still is. 

2. 'Hail The King'

Take nothing at all. Let's talk about how incredibly interesting 'Hail The King' is for a minute. It'd been a minute since the last time I'd laid ears on this tune and, even after alllllll these years, I find it downright JARRING. It is such a nice song and it hits you on so many different layers. You know where I am with it in 2026?? I'm thinking about EFFORT. I'm thinking about the punchline:

"IT NO TAKE NOTHING AT ALL FI HAIL THE KING!"

Saying that to praise His Majesty requires NOTHING AT ALL from you. It won't cost you any money, you don't have to go anywhere, you don't have to break a sweat, you don't even have to talk to anyone! It is as simple for you as rising in the morning! It should be a natural process that occurs in your body and, from the standpoint that Mojah was coming from, and considering the effort and passion he put into it, he almost comes off as a bit frustrated with the masses but he's doing part. He's done his part. Now I must do mine and you must do yours.

3. 'Stronger'

Make me stronger. The title track from Mojah's second album, the Maximum Sound produced 'Stronger' (biggup Frenchie) was another sizable hit from the Macka Tree. A kind of a dual-leveled effort, 'Stronger' was both a praising tune and one which dealt with responding to negativity and those who may be working against you in a slightly more tangible sense as well. Yes. It was fairly well written but the lion's share of the appeal for 'Stronger' were the sonics. Although it didn't have the performance of some of their others, strictly as a music composition - the Jah Powers Riddim which supports here was probably one of the finest tracks Maximum Sound has EVER done and this was, FAR AND AWAY, its biggest moment (respect to Jah Mason though who did quite well with his 'Things Will Be Better'). 

'Stronger' was exhilarating, it was powerful and one of the STRONGEST of its time and Fantan Mojah's entire body of work. 

4. 'Tell Lie Pon Rasta'

CONSPIRACY! Frenchie & Maximum Sound were back at the helm of another sizable hit registered by the Macka Tree, the hard-to-forget 'Tell Lie Pon Rasta' which utilized their gorgeous Session Riddim (where it reigned supreme). The song found Mojah (appropriately) concerned with the image and perception of Rastafari and how the walk is so often misunderstood. 

"Dem talk alotta things bout Rastafari

Bout how wi a cult, wi a Blackheart man 

Dem seh Rasta mean and Rasta no clean

And how wi nuh have no self-esteem"

The song's direction has always at least somewhat reminded me of another favourite of mine, 'Rasta Still Deh Bout' by Lutan Fyah & Josie Mel and while 'Tell Lie Pon Rasta' was most certainly a bit more on the proverbial 'front foot' both songs have etched themselves in my memory for similar reasons and I'm still celebrating them both as much I possibly can! 

5. 'How Can I Be Ungrateful' featuring Zareb

After all that Jah has done for me. While putting this list together, it has occurred to me that I could legitimately make a strong case that THREE tunes that're combinations between Mojah and criminally underrated, sweet singing Clarendon native Zareb (formerly Mr. Flash) (before that he was Singing Flasher) could make this list. I'm still working on it and I'd be surprised if at least two of them don't make the final cut but when I got them all together the one that I was most certain about was this complete GEM of a tune produced by Shore Jam on their LOVELY but overlooked Ruff Life Riddim (Natty King had a golden piece of tune on it as well).

"Jah give me health and strength upon di battlefield 

Teach mi how to love my brother and mi sister that is real

JAH YOU FULFILL MY NEEDS SO MI NAH GO STEAL 

Rastafari blessing never conceal

Di wicked dem ah pray fi mi ting pop dung a road

The Most High a mi Guidline, dat a fi mi code

Preach violence: Eye fi an eye, soul fi a soul

When dem check seh mi dun lef get a new episode"

The song's title (and chorus) spoke for itself. How in the world can be an ingrate, given everything that I have going for me in my life. There're ALWAYS people in worse situations than you, so it's important to appreciate EVERYTHING that you have going for you in your life. 

6. 'Rastafari Is The Ruler' featuring Zareb

What a joy it bring. If you didn't get the message on 'How Can I Be Ungrateful', Mojah and Zareb come back with the harsher 'Rastafari Is The Ruler' to make sure everyone is clear precisely where they stand. Mojah, for his part, really stepped up the intensity on 'Rastafari Is The Ruler' but we ultimately arrived at the same point, when contrasted by Zagreb's very smooth vocals. A somewhat overlooked ultra-passionate and LOVELY tune that has stuck with me through the years and, again, one of several testaments to just how well these two worked together.  

7. 'Hungry'

Open up the door! As we always do, we begin with what I think is likely Fantan Mojah's most memorable tune and it was also probably his first. The absolutely MAMMOTH 'Hungry' would not only go to signal what was coming in the way of the burgeoning vocalist but, more specifically, the work he would go on to do with Downsound Records, who lent the St. Elizabeth up and comer their reimagined Invasion Riddim, which he would return to them with a crown!

I use the word ANTHEM to describe much of Fantan Mojah's music. An anthem for me is a song with a big, bright sound that sticks in your head and you can literally picture people singing along to it, WITH PURPOSE, there's a cause behind it. That describes 'Hungry' perfectly and, all of these years on, we're still singing it.

8. 'Nuh Build Great Man' featuring Jah Cure

Babylon be still. I don't think I'm going too far at all by calling this LUSH combination with the single greatest voice ever placed in a human being better a CLASSIC. 'Nuh Build Great Man' did a heavy amount of damage in its day and its presence on a list like this of mine was a definite.

"Dem nuh build great man

Dem only kill great man

Babylon be still and no underrate man"

For my ears, 'Nuh Build Man' was a SUPPORTIVE anthem. It was about seeing people who're doing positive things (like making music, for example) and putting your backing (whatever that may mean for you) behind them. I can say that such a song, theoretically, probably isn't terribly rare in the genre but you don't usually hear them sounding like this. So while the subject matter wasn't necessarily outlandish, the QUALITY of the material most certainly was: One of THE best songs Mojah or The Cure have ever done. 

9. 'Vampire'

 

Rubber tire. London Individuals pulled in a load of big names for their gorgeous Billion Riddim, including Fantan Mojah who, arguably, gave them their single biggest track altogether. I think this one just may be the most unlikely of my entire list but I've always LOVED 'Vampire'. There're certain songs on which the artist almost sounds like... they are OVERWHELMED with just... disgust. That was this song. Mojah comes off like certain people's behaviour is SO DAMN NASTY that it has led him to make 'Vampire' with such a brilliant level of passion. It isn't messy or overdone at all. 'Vampire' hit every mark for me and has, quietly, become one of Mojah's strongest selections altogether for me. 

10. 'Most High Jah'

Deliver me. The infamous Flava McGregor was at the height of his powers when he delivered to the world the biologically perfect Rub-A-Dub Riddim (THAT THING WAS FLAWLESS ON A MOLECULAR LEVEL!). The track would give life to a number of hits from the likes of Etana, I-Octane, Morgan Heritage, Capleton, Richie Spice and Ginjah ["NEVER LOST MY WAYYYYYYYY!"] [BOOM!] but, to my opinion, it was Mojah taking top honours with the HALTING 'Most High Jah'. Not only was it the best song on the Rub-A-Dub but it's also my favourite song that he's ever done. Period! 'Most High Jah' featured a version of Fantan Mojah that came off as highly emotional (he sounded like he was going through some things when he recorded it) at times but not to, obviously, the detriment of the tune's quality - it enhanced it! Listening to it now, of course, 'Most High Jah' has an even greater significance for what has happened and it hits me even harder in 2026. 

11. 'Authentic Love' featuring Zareb

What I'm searching for. I told you this might happen. After considering everything, you will find THREE tunes featuring Mojah alongside Zareb on this list and for good reason. The final of the trio also just happened to be the title track for the singer's (very overlooked but SOLID) debut album from nearly twenty years ago now. 'Authentic Love' was just a GORGEOUS love song across a cut of the Hard Drugs Riddim. Love songs can be sorta odd and you won't find the ranks of these posts full of them but there is definitely something to be said when someone gets it RIGHT. 'Authentic Love' was beautiful and ENTERTAINING. It wasn't some sappy 'oh baby I love you forever' type of track and, at least for me, stands as a signature for both Mojah and Zareb.

It's too bad that we'll never get them back together again but what they've left us with as a a pair (and there're other tunes they've done) (check 'Good Meditation' - also a big tune) stands as some of the best work of both and unforgettable in my mind. 

12. 'Rasta Got Soul'

"Many are gone but not forgotten"

...how damn fitting is this song now. 'Rasta Got Soul' was Fantan Mojah's tribute to this wonderful artform and those who came before and paved the way allowing individuals like himself to soar as they did and still are and now... he's joined them! 

"No, you caan influence mi fi go do another ting

FROM MI BORN A REGGAE MUSIC MI AH SING

Some don't know di history and don't know di ting

Big mouth dem nuh stop labbering

Nuff nah show respect to di elder dem

Wi haffi crown dem heights, dem a di great legends

YOU CAN'T COME TELL MI SEH YOU A DI MAN WHEN REGGAE MUSIC YUH NUH OVERSTAND

And nuff a dem nuh know bout di music

Dem just ah hustle and to try fi abuse it

Dem nuh sew no seed!

Dem waan fi reap and ah sell wi out cheap

Respect to di youths dem weh buss from di ghetto 

Cross di world, dem mad Reggae music ah echo [ECHO]

Nuff a dem a bandwagonist

Dem caan follow this

Listen di lion, wi ah roar!

RASTA GOT SOUL 

REGGAE MUSIC ROCKING MY BONE"

Sometimes you get a certain feeling that the person singing the song had a REALLY good time singing that particular song; I get THAT feeling from Fantan Mojah on 'Rasta Got Soul'. If you were to ask him, I think he'd call it one of his favourite songs from his career and it resonated with the people, scoring as one of his biggest hits to the surprise of absolutely no one. 

Thank you for your contributions to this wonderful artform, Fantan Mojah and REST EASY!

2026: W. T. F!

 

Have you been paying attention to what's been going on this year? No, I mean REALLY paying attention to what's been going on?? If you have, then certainly You, like me, are something past impressed by what we've are seeing unfold in 2026 in terms of releases. If you haven't, then watch this. I'm going to miss someone because this is completely off the top of my head. We have gotten full albums or EPs from the following in the first two-thirds of 2026:

Capleton

Akae Beka

Ziggy Marley

Sharon Marley

Shaggy

Protoje

Marlon Asher

Lutan Fyah

Pressure Busspipe

Dezarie

Ziggi Recado

Buju Banton

Beenie Man

Vybz Kartel

Etana

Ginjah

Mosiah

Vanzo

Alkaline

Norris Man

Queen Ifrica

Tiwony

Lion D

Mikey General 

Chezidek 

Jah Defender

Micah Shemaiah

Machel Montano

...yep. Reggae fans (who give a damn about albums) have been eating good in this year and you could make a case that it's only going to get better (It's 2026 and we get albums from Capleton, Buju & Beenie! Obviously, someone's missing but I'm not getting my hopes up for THAT) (biggup Bounty). If all goes according to plan, then the day this goes up, we will have a RIDICULOUS trio of albums released at the same time as German star, Gentleman, Grammy winner, Kabaka Pyramid and Ky-mani Marley (his name is Marley, he's probably been nominated for a Grammy at some point in his career) all are set to release their latest creations on the very same day (I mentioned Queen Ifrica & Ginjah in this list, also were on the same day - which happened to be my date of birth). On top of that, next month we're also getting an album from Anthony B, called "World Of Love" (yes. That is an awful title but I'm thinking the actual music will be pretty good) and even Al Pancho is popping up with a release (though I'm listening to clips right now and it isn't sounding very good). 

Out today

Out today

Out today

And I'm still fairly optimistic for the final third of the year. I think we still get at least one or two big names showing up with releases. Sean Paul has been active this year, so has Busy Signal and, who knows, though it is looking crowded on that side with a trio of Marley siblings... perhaps the (in my opinion) greatest of them all, Jr. Gong, will bless 2026 with his monstrous talents for the first time in damn near a decade. Regardless, you know there're still FOUR complete months to go and if the first eight have been any indication, we're still healthy for the rest of the year. Just thought you'd like to know. 

As Expected: A review of Eminence by Beenie Man

Unshock. Sometimes you go into these things and you just don't know what the fuck to expect. Be it some oddly overactive artist (biggup Sizzla back in da day), someone announcing that some album that they're doing is going to be more on the experimental side, someone just unpredictable, in general (biggup Perfect) or for some other reason; sometimes you don't know even remotely what you're getting into when you listen to an album... and then there are times like these. On the other side of the examples I just gave you would be several others which virtually guarantee what you're going to hear (quality, of course, being a different story - just  talking about SOUND right now). Not too long ago, we told you about a new EP from VI standout, Pressure Busspipe by the name of "All For A Time". The set found Pressure, once again, linking with the venerable Zion I Kings, a pairing which has not only proven to be ultra-fruitful and productive but has also managed to produce a very signature sound; everyone and everyone's mom knew precisely what we were getting into in that instance (...in that particular case, the quality was also assured, actually). And that could be the signal that gives you an overview of what's going on. Sure, someone working alongside someone else doesn't always have to be the same thing but an oft-pairing of artist and label/s making a certain type of sound can definitely be a strong forecast of what is to come. This is true despite the fact that Pressure is someone who has changed things up in his career. He's made Soca and Dancehall and even an entire album full of love songs at one point. In other cases, they can just TELL you what to expect. That occurred on Buju Banton's most recent release, "Too Too Bad", which he billed, essentially, as a sequel to "Too Bad", an album built upon hardcore Dancehall music almost entirely. Again, we can talk about the results of said direction at another time (we already did that) but the route to be taken was crystal clear and, there especially, became a major selling point in the marketing of "Too Too Bad". Also, just as someone like a Perfect Giddimani can be very erratic (and I mean that in a good way), there're others who can be just as routine and calculable. When.... Mark Wonder makes an album (any time now Mr. Wonder), for example, you know what to expect because his history and his present has taught us what he does. 

And sometimes you can just... kinda... sometimes you can LOOK AT SOMETHING and have a pretty good idea where it's going. Let's say... oh, I don't know... let's say BEENIE MAN, just to name someone, was going to release an album in 2026. Most likely you'd have a pretty good idea as to how it would sound, regardless of the producer. Beenie is someone who has long entered the 'crossover' category, so whatever he does, you'd expect it to at least have some more international flavours to it, namely Hip-Hop & R&B (and maybe a little Pop as well). There'd be some big name crossover guests and some sounds that would well appeal to a wider audience. That's what he did at his peak and he's still doing it to this very day in regards to his album releases (I've been listening to a lot of "Undisputed" lately) (probably better than it was given credit for being). You'd also expect there to be an attempt to appeal to some of his more traditional heads (like You & Me) and doing that by incorporating more traditional Dancehall and Reggae music and maybe even bringing in a few names from that spectrum as well; maybe even with a few very familiar riddims. I'd also think that he'd look to make a big statement in the Dancehall. Something proclaiming himself as KING (remember that). 

SHOCKINGLY (not really), that turns out to be a decent description of the latest creation of the Dancehall beacon, "Eminence". Though it seems as if we've gotten used to Beenie taking a long time between full releases, it was just three years ago when he delivered the Grammy nominated "Sim Simma"; while It was a decade ago now that the album ahead of it, "Unstoppable", dropped. I'm going to place "Sim Simma", "Unstoppable" and now "Eminence" in the same little group as they almost seem to come off as Beenie almost enjoying a 'victory lap', of sorts. The albums haven't been crazily popular (as far as I know) or amazing in quality but they've generated a considerable amount of buzz and have done well in terms of attention. Also, it most certainly doesn't appear that Beenie Man is ready for retirement anytime soon as he's continued to put forth a strong effort at such a progressed and downright legendary stage of his career. "Eminence" finds the 'Who Am I' star linking with Billboard King Records and one of our personal old favourites, Kemar 'Flava' McGregor. Once upon a time, in the very early days of this blog, McGregor would have been THE producer of choice. The man sat on a mountain and is still to be respected so, even now, the idea of BKR making an album with Beenie Man, on paper, was pretty inviting. At some point along the way I got a look at the tracklist of "Eminence" and I got even more convinced that what I was thinking that it might be was going to turn out to be the case. I am no fan or expert of Hip-Hop at all but there's a certain quality that comes with these type of 'broader' releases and that's numerous combinations. There're a lot of people featured on "Eminence" not named Beenie Man and there are a few occasions that you run into songs that you presume will receive some run in more international circles... as expected. While I don't think that "Eminence" will necessarily get that type of outward PUSH, again, Beenie is someone who has attained a level of respect amongst international fans and I would expect quite a few of them to be interested in "Eminence". When/If they do get here, however, will they like what they hear??? 

Probably not ALL of it but some of it. Beenie Man does something similar to the aforementioned Pressure Busspipe and Chronixx with their most recent sets as "Eminence" arrives just a couple of days ahead of the completion of his fifty-third rotation of the sun. To start things off, he picks up nice singer, Rènata (who has her own album, her first, "Self Expressions", which just launched a few weeks ago) and they head to Miami and link up with Hip-Hopper, Rick Ross (I actually think Flava McGregor, himself, is also calling Miami home these days as well) for '305/876'. This tune reminds of an old R&B song whose title escapes me now (and I could just be wrong about that) and I have to say that it grew on me just a bit. Beenie drops a few wordy pearls ["Wi neva stop til wi hit di bullseye. Di baddest riddim play by Robbie & Sly"] and Rènata, with her somewhat unusual voice, definitely helps to light things up. I still don't LOVE the opener but it's probably better than I would have thought after my first spinthrough. Rick Rock returns later on, along with Rotimi, on the kind of meh 'Hat Tip'. This one is spiritual and it does have a BIG sound to it but 'Hat Tip' is a very average song and slightly behind the opener. For the album's second tune, Beenie pulls in good friend and long time collaborator, American R&B songstress Mya for, 'Don't Rush'. I don't know how many times these two have worked together and I don't feel like looking it up but SURELY their most memorable track would be the classic remix for 'Girls Dem Sugar'. 'Don't Rush' is absolutely nowhere near that level and.... I don't particularly enjoy it at all, REALLY. BY FAR the coolest thing about this one is that it seems to utilize a version of the same track that originally underpinned a song called 'That's The Way Love Goes' by Janet Jackson (who Beenie's also worked with in the past). That's it. That is THE best thing that I can say about this song but "Eminence" would have been more eminent had it been left on the cutting room floor. They could have kept 'Do It' as well, in my opinion. This song features American rapper, Lola Brooke, a name that is completely new to me anddddd, it also sounds kinda familiar, like some old song with a name that I can't quite put my finger on. This may just be my least favourite tune on "Eminence" altogether. Brooke seems to be a fairly straightforward rapper and talented enough (coming from someone who's never been a fan of the genre, admittedly) which isn't my thing but 'Do It' seems to... be offkey at times. The vocals, especially at the chorus, don't mesh really well with the music in my opinion and it just does not do a single thing for me. 

I may not know very much (anything) about Lola Brooke but the next name to join Beenie Man here is well familiar as is the song on which she joins as the spectacular Etana lends her ridiculous talents to 'Guide Over Us'. The first thing I thought when I saw these two together was probably about what a unique combination they made for. Though Etana has definitely branched out in recent times, Beenie Man + Etana still comes off as a little strange, doesn't it??  Maybe it's just me. Anyway. Their tune together is anything but "strange" and, instead, is fairly terrestrial (the video, on the other hand, is another story. You look at that video and try to make it make sense with the actual song... GOOD LUCK!. There is way too much ass in it to have some kind of correlation. The song, itself, is decent though surely nothing special but the very fact that these two worked together is an attractive point for "Eminence" - a pairing of genuine Reggae & Dancehall royalty. 

The big names continue to join Beenie Man for this album. Without a doubt, one of the finest such moments comes during the delightful 'Make Out' which pulls in R&B veteran vocalist, Ashanti and rapper, T.I. In the case of the latter, I'm pretty sure that the very first time I ever even heard TI's name was on a song he did with Beenie, maybe twenty years ago now by the name of 'I'm Serious'; so the two have a history together and Ashanti is no stranger to the spectrum at least, having mined gold alongside Machel Montano a few years ago on 'The Road'. 'Make Out' is VERY good. It's a beautiful summer-ish sounding type of song that finds just enough of an edge to not be too... sappy. Also managing just fine is 'For You', which is sort of a remake of the classic 'Anything For You' and, just as was the case on the original, this cut features several different names. Joining Beenie, amongst others are Snoop Dogg and Ele (who does EXCELLENT with his small contribution). There're almost TEN people on this track by my count and it isn't even four minutes long so yes, it does come off as a bit rapid but, again, it's a fun time and almost everyone manages to score well with the biggest credits going to the aforementioned Ele as well as Pamputtae. Reggae vet, Stevie Face, lends his gorgeous vocals to 'If I Follow My Heart' which isn't a total loss, I suppose, but it also isn't very good. Where 'Make Out' avoids the trap of being entirely too damn mushy; 'If I Follow My Heart' most certainly does not. It falls right into the hole. 

When the friends take a step back and leave Beenie Man on his own, "Eminence" shines its brightest... for the most part... arguably. Not included in that statement AT ALL is the wholly awful 'She's A Good Girl'. 

"Girl you born pon a pum pum farm!"

And that's all that needs to be said about that one. There's also the AIGHT 'Bands' with its big sound. 'Bands' actually has a place on this album because it is somewhat related to my favourite song here, that it follows. THAT tune is also kind of bragging about the levels that Beenie has attained (and nothing wrong with that. You did the work - enjoy it!) but it's almost vacant at times and I'll go into this more in a minute but there's a nice distinction to be made between similar songs and why one sticks out and another does not. Substantially better than both the songs that I just told you about but still a distance from GREAT would be the closer of "Eminence" 'Heavenly Father'. It's pretty much what you'd expect (sound familiar??), with Beenie offering up a prayer to close out on. Though largely unremarkable (a year from now, you will not remember it being on "Eminence"), it isn't fully devoid of any quality at all; it does have its moments, just not a lot of them. A step up from that (you see where this is going) would probably be 'Friends For Life' which finds Beenie touching up a classic riddim whose name I always forget. 'Friends For Life' actually has a bit of substance to it and one (or two) which I've been high on for years now. Appreciate people while they're in your life and make them know it because, "Nobody never promised tomorrow". I think more could have been done with this song but, to its credit, 'Friends For Life' does crawl out of its shell more and more as it progresses; ultimately with Beenie Man seemingly set out more to make a point than to make a song. 'Kingsteppa' actually made me smile and it was around here that I started to catch on what was happening DIRECTLY with "Eminence" (and not surprised by it at all). This one is an ode to Ini Kamoze's legendary 'Here Comes The Hotsteppa' and that vibe did something to my brain! It got me all nostalgia'd out (and my Wife too) and it's not going to change lives (none of this stuff is) but WHO CARES! 'Kingsteppa' is a damn good time! More good, fun stuff comes through on 'Marijuana in the Kouchie'. 

"And mi nah smoke cigarette cah mi nah waan mess up mi lung

Mi fit like a Honda cause e very morning mi run

To how mi love Mary Jane it cause problems with mi and mi hun

And mi nah memba and ah hum, mi just ah hummmm"

Across another classic riddim, 'Di Doctor' absolutely glows and 'Marijuana in the Kouchie' represents one of the all too infrequent times where it appears that he is genuinely having a great time (again, more on that in just a second). The results stand up for it as, EASILY, it ranks as one of the biggest highlights from "Eminence". Even better is the damn infectious 'Doll'. The vibe on this one is just perfect for what it is and also showing up is the wordplay. Songs like this don't tend to leave much of an impact but there is a difference with 'Doll'. It's a fairly straightforward but ALL SORTS OF FUN gal tune and it scratches an itch that "Eminence" definitely needed taken care of. THE most eminent moment of "Eminence" is the song that I alluded to when I said, "I'd also think that he'd look to make a big statement in the Dancehall. Something proclaiming himself as KING (remember that)". This the HAMMER of this album. It doesn't really have a set course but Beenie does provide what I believe is the punchline of "Eminence":

"Mi nah go nowhere"

As a testament to his longevity (and around for SO long at such a high level. He now has peers in Dancehall (or whatever that shit they make these days is) that were not on the planet when he started making hits and he's older than their parents) and efficiency, he tears into 'Immortal' unlike anything else present ["Over two-thousand hit song. 'Sim Simma' and 'Romie', unuh choose one"] and, again, provides us with a most needed thrill in the process. BOOM!

Two things I want to touch one about the balance of this release. When Beenie Man is, in my opinion, at his absolute best - yes, he's impressive lyrically and he makes a really catchy and flaring brand of Dancehall but it's also ENTERTAINING. He doesn't take himself very seriously at all (he's the ever iconoclast to Bounty Killer's rough and gruff style) and it's a BEAUTIFUL quality that comes through in his music when he's really on his game... just ask Romie... and his big fat sister Naomi. You don't find a lot of that during "Eminence", unfortunately. A song like 'She's A Good Girl', for example (and it's the final time I mention it, I promise), is playful and it's dirty as hell but it isn't really fun to listen to outside of it being awful. The approach actually sounds a little RIGID and formulaic and it isn't alone in that. Also worth mentioning is the preponderance of familiar sounds. All of the old riddims and melodies that come through seems like the intent was even more so focused on capturing that international ear. As a more hardened head I don't have much of a problem with that particular aspect --and it works better in some instances than in others-- but, along with the various names involved, it's another piece of evidence as to exactly what was the thought behind "Eminence". 

Overall, I don't want to seem like I'm being too hard on this one because it's not far, at all, from what I presumed it would be when I saw the tracklist in terms of quality. I wasn't expecting "Eminence" to be some fantastic, best of the year type of album and it most certainly is not; it's right in the middle. Some of it is (one of it) is truly bad, some of it borders on the spectacular and MOST of it is somewhere in between. That's something else that sort of gives me that inclination that it best stands as a "victory lap" type of set and... hell, he's earned it. While you will neither find Beenie Man at his best or anywhere near it on "Eminence", consistently, but what you will find, in spots, is the handiwork of an undeniable, bona fide legend and one who is, OBVIOUSLY, at a point in his career (and has been for years) where he is well aware of his stature, and he should be.... but you knew all of that already. 

Rated: 2.65/5

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2026