A Place Of His Own: A review of Melodies From The House Of Levi by Addis Pablo

Construction. I look around at these pages and, the older they get, I find myself very hopeful that someday, someone besides me can find wealth in them. I already use them as a form of research for myself in terms of seeing maybe how my opinions have developed and changed over the years or what I thought at a particular time and, if I'm successful, for as long as they're up, others potentially will have the ability to find some research material here on the critical side (meaning, something other than just looking at track lists and such things which you can find anywhere). That's just me: Teeny, tiny insignificant me - attempting (and hoping) to do my part. Were I an actual musician, I'd like to think that my attitude would be the same. I'd be hoping to have made my contribution and done something for someone at the end of my career. All of that goes into the idea of how artists can begin to build a legacy for themselves and how/why they will ultimately be remembered long after their days are over/ Of course, without the perspective of time, it is a question currently unanswerable in any case (you could have someone put together an excellent career and then have some controversy emerge which will go to on trump anything they may've done musically) (I believe there's a fellow by the name of Alcock who would be a good example of that), but in some cases we can begin to see in which direction things are trending. I'm going to intentionally bring up the example (normally I just write these things with what I'm feeling at the time, when I'm pulling up comparisons) of the Marleys. Anyone named 'Marley' making music of any kind is sure to draw attention on the value of their name alone. This is magnified to an almost infinite degree when the genre of music is Reggae. The progeny of the legendary Bob Marley have made an undeniable mark on the music, regardless of their name and its origins but, first and foremost, they will ALWAYS be the descendants of Bob Marley. You can run down the line of names which includes Ziggy, who has won EIGHT Grammy Awards (including seven for best Reggae album) (and is, REALLY, won of the most successful artists Reggae has ever produced), the brilliant Stephen, Ky-Mani and personal favourite, Damian who has, so wonderfully, brought his music into a wholly modernized style. It doesn't. All of them will always be the offspring of Bob Marley and it is situation they have obviously embraced (if they didn't, they probably would have found something else to do than pursue an artform for which your father is the face of). If you look at similar situations, however, it isn't necessarily the same case. For example, if the Marleys are the 'first family' of Reggae music (they are), the Morgans may very well be its second. When you hear "Morgan" in regards to Reggae music, you immediately go to Morgan Heritage and then draw the line back to their father, Denroy Morgan (biggup Denroy Morgan and congratulations on a life well lived) and you're likely to do similar things with a few others such as Tarrus Riley and Queen Ifrica, so it definitely works both ways.

2014

I bring those examples up because (that's just what I do) what they show are situations where offspring of former greats have not only walked the same road as their elders, but have also embraced the journey. They knew, for better or for worse, that they would immediately be compared to their parent and, in many cases, it would be a situation of spending an entire career in the shadow of someone else. To do that and still manage to build some type of a legacy of your own is truly remarkable. It is one thing to maybe remake some of your parent's old songs or maybe do them in performance (or maybe even a full album), but we've seen certain individuals take it even a step further. Such is the case of one Addis Pablo. Addis Pablo's father is an undisputed, unchallenged king in a very specific area of Reggae music. The legendary Augustus Pablo popularized (within the capacity of actually making music, professionally) a relatively obscure instrument in the melodica which was, perhaps, best known as a child's toy prior to his work. The elder Pablo would clearly not only fall in love with the melodica but instead of doing what you might imagine he would have and held it as something of a hobby, he played it straight into immortality.

And his son has followed in his footsteps. As I think about it more and more, Addis Pablo's situation is even more interesting because if he does it just 'right' (and so far, so good) he stands a pretty good chance of DIRECTLY inheriting his father's kingdom. Because of the scarcity of the melodica, were someone to come around and, like Augustus, basically lay claim to the instrument, that would still go a very long way in establishing a lasting reputation for that individual. That might even be more the case because it isn't as if there has been a BOOM in the emergence of melodica players. I'm not exactly an expert on (anything. Anything at all. Not even an expert on myself) players of instruments, but despite the fact that it is more prevalent (thanks to Augustus Pablo), the melodica isn't the most 'active' of sounds that you're going to hear in Reggae music. If that isn't the case for you and you do pay that much attention then chances are excellent that you're a very big fan of Addis Pablo's work. When we last took a look at his output, it was way back in 2014 for his excellent debut album release, "In My Father's House" (and if that doesn't tell you all you need to know about his feelings about what he's up to, nothing will) (clearly he FULLY welcomes it). Wonderfully, "In My Father's House" would come through one of our very favourite labels around that time and one we haven't had the pleasure of running into since ending our hiatus, JahSolidRock Music. Along with their work with Pablo, the Dutch based imprint also gained our full appreciation largely through working with Chezidek as they produced a MAMMOTH pair of albums with the singer - 2010's "Judgement Time" and "The Order Of Melchezedik" from three years on. That was more than enough to get and keep my attention (the former is one of the single best albums that we've covered on these pages and if it isn't a modern classic, it should be... I don't feel like looking it up right now!) (....okay it is!) (thought so!) but the label has also done material with the likes of Brinsley Forde, Lloyd De Meza (there's a name you haven't heard in awhile) and others. So, it would only make good sense that, when there is a new album from Addis Pablo -- and there is -- that it should also come via 'the highest region' and he and JahSolidRock now deliver "Melodies From The House Of Levi". Between projects, Pablo remained well active. Though this is probably going to officially his second album, there have been quite a few singles and more than a couple of EP style sets as well. Most notably, perhaps, would be "Bright Star", a LOVELY eight-tracked EP from Evidence Music which arrived just a couple of months ago actually and last year he also linked with the Green Lion Crew for "Green Lion Crew Meets Addis Pablo & Friends Uptown", which featured contributions from Mr. Williamz, Jah Bami and more. So he's been busy and definitely been impressing and as I can well say that, eight years later, the name Addis Pablo, as his own musician, carries more weight than it did as an up and comer back in 2014 (when he was still dropping big tunes like the syrupy sweet 'Road To Addis'). That's what he's been up to, however, the question is how is the present looking for Addis Pablo and JahSolidRock??

Good. It's looking really, really good. Surely such a project isn't the work of one man alone and joining Addis Pablo throughout the new album is a very diverse and decorated set of musicians with the likes of Dean Fraser, Dalton Browne and Dwight Richards all lending their considerable talents to thiis release under the helm of Ras Denco with Marc Baronner. The majority of JahSolidRock's work (pretty much all of it, if I recall correctly) came with a distinct sound quality. Regardless of whether you liked the actual tunes (and you did), the actual quality of their work was pretty much not even a matter of opinion. It was always stellar and their latest work continues that. Like its predecessor, Addis Pablo's new album, "Melodies From The House Of Levi" features Pablo alongside a variety of artists handling the vocal duties, with this time a very clear line being drawn in the situating of the album: What you will get first is an instrumental version of the track featuring Pablo and then the effort from the vocalist. I really like this method, directly, and a credit goes to whoever came up with the idea because it almost comes off as like a compilation of sorts and is a streamlined form of what was present on "In My Father's House" (and that also definitely worked). It remains very fresh throughout. Getting this started is what I believe is the most recent single from "Melodies", 'Black Liberation Day'. Despite its title, this composition isn't one that I'm necessarily going to refer to as "joyous". This isn't a celebration to my ears. What it is, is WORK. This is not a congratulations for a completed effort, instead it comes off more as a call to join in for the preparations that must be made for the day. There is a bit of subtle urgency here as well (particularly during its building middle portions) that I feel, with the main sentiment, in my opinion, being that there is much work to be done. Most interestingly, handling the vocal duties for the first track is man of the moment, Spanish singer George Palmer. The Horace Andy-esque vocalist has an album, "Working Man", forthcoming on Irie Ites Records in about a month or so as of this writing, so you're probably going to be hearing quite a bit for him forthcoming. Until then, set your ears on his effort here, 'No More War Dub'. As its title would suggest, this one is PURELY for the Dub heads who should devour it! If you've enjoyed hearing Horace Andy at some point in Dub, you should feel the same way about Palmer's work and definitely looking forward to the album. Pablo returns with another single from "Melodies" (this one from a couple of years ago now), 'Narrow Road'. 'Narrow Road' is EXQUISITE. Were it not for one chunk of brilliance than comes later on, it would be my pick as the best composition on the whole of this album. It has such a FULL vibe to it and how it manages to progress throughout is damn impressive. I don't possess the vocabulary (I do actually have the vocabulary, what I lack is the knowledge of exactly what I'm hearing) to describe it, but about a minute in or so, 'Narrow Road' WIDENS. It begins to bloom and though I won't call it dynamic, it is just... COMPLETE. There is not a thing missing on this one. Pablo hands it off to a pair of greats in Earl Sixteen (who was also on "In My Father's House") and Mutabaruka who link up for 'Every Nubian Is A Star'.

"So wi haffi tek control of wi destiny

Remember our glorious history

Shine bright, see the light

With your melanin skin, find your Nubian truth within

Our armageddeon past long, long time

Don't let dem twist and turn your mind

WI GAVE THE WORLD CIVILIZATION

DON'T LET DEM INDOCTRINATE YOU AND CALL IT 'EDUCATION'

Light the torch and shine it bright

Remember our glorious history 

With your melanin skin, find your Nubian truth within"

The two deliver EXACTLY what you would expect from such an esteemed union on a MAMMOTH shot about instilling confidence and PRIDE in the children of Africa throughout the world. 'Every Nubian Is A Star' ranks as my favourite vocals on "Melodies From The House Of Levi" and it's definitely one which I think will find a very big audience if given the chance.

Later on, we see Addis Pablo joined by two very impressive up and coming vocalists in Kenny Smyth and Var, who provide "Melodies" with two of its heaviest hitters in 'Pagan Land' and 'Poor and Needy', respectively. The latter was a tune that appeared on JSR's Poorman Riddim from a few years back, which was released as an EP that also included Addis Pablo's golden cut, 'Blessed Are The Poor'. For his part, you may've heard a lot of good things about Var and his potential and, if you haven't, this is a nice place to start in making up your own mind. 'Poor and Needy' is an excellent social commentary with a spiritual root ["Jah Jah bless the poor and needy, because dem system designed to keep the rich man greedy. Every time the poor man feel it, dem seh poverty no real, cah dem neva yet hungry"] and, again, if you haven't paid much attention to Var previously, it is a fine place to become acquainted. 'Blessed Are The Poor' doesn't require much of a developing period. It latches onto the listener almost immediately, producing one of the most infectious and intoxicating moments on the album. Smyth also shines on the, arguably, even stronger 'Pagan Land'. Kenny Smyth comes equipped with a POWERFUL kind of dusty sound to his voice (probably not the best way to describe it, but I'm sticking with it), immediately giving virtually anything he does at least some level of appeal to my ears and 'Pagan Land' is going to be one of the best songs that I've heard from him to date (also check an older tune by the name of 'Jah Mi Gi De Glory', if you're curious about what else he's done on that level). Pablo comes through on that same riddim with 'Nineve', a highlight coming from his end as well. This one does have to grow for about a minute or so before emerging in total, but when it does - DAMN! 'Nineve' is almost stunning at times but in a very laid-back and chilled sort of way (there is a spell from about 1:44 to 1:58-ish, which just HAD me. It is so beautiful), making it very easy to take it all in. BOOM!

The final time we hear from Addis Pablo on "Melodies From The House Of Levi" is my favourite track from him here, the GOLDEN 'Jah Kingdom Come'. This one is EVERYTHING! It's laid back and dynamic. It simple and complex and it is BEAUTITFUL from beginning to end. I do so find myself loving horns on instrumental and while they are present on 'Jah Kingdom Come', they do not dominate the vibes, they only serve to accentuate them. What results is something that I had a thought of my Wife actually said it before I did: It sounds like Pablo is telling a story. He isn't playing music just for the sake of playing it, there is something on his mind and just like a great lyricist, he's enlightening us all through 'Jah Kingdom Come'. It is Jah Exile who (was also on the first album) comes in with 'Psalm 20'. As its title would suggest, Exile's tune is a pretty straight forward, biblically inspired piece. It almost sounds as if he got the idea to do this on the spot because there isn't much else going on here, the real attraction being listening to Exile, blissfully, lost in the moment.... probably not even caring who can or who is going to hear him. Pablo also gets very high marks for his penultimate offering on "Melodies", the outstanding 'Words of Solomon', as does the increasingly popular Ras Teo who supplies the riddim with vocals via 'Sabbath Day'. Somewhat similar to 'Jah Kingdom Come' in terms of the feel of it, 'Words of Solomon', again, sounds like Pablo is giving us information through his vibes. As an overthinker and someone who finds supreme joy in attempting to decipher the words of the genres most gifted lyricists, I'm tempted to do it here as well, but I think that, if my assumption is true, that such things are best left, COMPLETELY, to the individual listener; and even if I am totally wrong (and I almost surely am), who cares?? 'Words of Solomon is a JOY to listen to, even in just what it is on the surface. The Swedish born Teo, who has enjoyed a powerful last couple of years or so, was in fine form on this contribution.

It is just a really well-done piece and, if you have not looked in on what Ras Teo has been up to lately, you're really missing out on something quite special, so take care of that right now (and I have to mention how much I LOVE that, pretty much, the final twenty-five seconds or so of 'Sabbath Day' is more SWEET instrumentals). 

Overall, to the surprise of absolutely no one at all, "Melodies From The House Of Levi" is EXCELLENT. It continues much in the fashion of its predecessor (as will its eventual follow-up, I'm sure) which is just fine, so if you did enjoy the "In My Father's House" album --and if you've read this far into a review, you did -- it is a LOCK that "Melodies" will also make you happy (I've developed the habit of listening to something other than what I'm reviewing when I get to the conclusion and this time I've gone back into "In My Father's House".... that thing was SO NICE! What a nice album!). Though I do so wish that Chezidek had been involved, I do really like the selection of the vocalists as well and, like I said, the presentation of the project. In one or two of these instances, hearing the clean instrumental before the vocals kind of made me more sensitive to hearing the riddim behind the artist because I was tuned in at that point and expecting to hear certain things (particularly true with 'Psalm 20'). That put light on things that I don't know that I generally pay attention to in that exact way when I listen to music. I'm also going to give a credit to one Abba Yahudah, the artiste who created the album covers for both "In My Father's House" and "Melodies". That man is a genius. His artwork, here, just as before, sits atop a body of work befitting to such a beautiful display as, on "Melodies From The House Of Levi", Addis Pablo and JahSolidRock once again soar and demonstrate a level of quality comparable to even the most revered of legacies. I ended the review of "In My Father's House" saying:

"The album serves as a mighty debut for Addis Pablo who not only picks up where his legendary father left off, but he also shows himself to potentially be capable of building a legend of his own. GOLDEN."

The foundation was laid. Eight years on, on top of it is a palace. 

Rated: 4.35/5

JahSolidRock

2022

Vinyl + Digital

Rewind! - "In My Father's House" by Addis Pablo

"In My Father's House" by Addis Pablo [JahSolidRock]

Back to Addis. When it comes to making Roots Reggae music these days, in general, you virtually have to have an eye and an ear pointed in the direction of Dutch label, JahSolidRock. Though they make fantastic music, particularly what it is about their releases is just how engrossing and riveting their SOUND is. For everyone who has ever listened to the genre and thought it to be boring or formulaic (of course you're completely wrong), I'd well recommend picking up a project from JSR. Prior to 2014, my largest suggestion would have been one of the pair of albums from Chezidek who had demonstrated a stunning level of chemistry with the label between 2010's "Judgment Time" and its followup from three years on, "The Order of Melchezedik". And while that remains the case, in early 2014 someone else made a very strong case for themselves to be in the discussion as Addis Pablo, son of the legendary Augustus Pablo, linked up with JSR to provide Reggae fans with an album certain to be amongst the very best albums of the year come December. What they would produce would be an album whose overall presentation and sound may be one of the very best of the modern era. Today we go back and take a look at one of the most vibrant albums I've heard in a long time and Rewind! "In My Father's House" by Addis Pablo.

Original Review 

1. 'Road To Addis'

If the year ended right now, I'd likely declare 'Road To Addis' its single best song. Soca song after Soca song after Soca song (albeit in a… fairly average season) (and calling it "fairly average" is probably being a bit generous) couldn't even begin to dilute the WICKEDLY twisting, candy-like melody of this tune in my head, which I still CONSTANTLY find myself humming  at completely random moments without even realizing initially. It is a special track and one which, more than fittingly, sets the tone for what follows it - particularly the amazing early stretch on this one. 

2. 'Evolution' w/Earl Sixteen

In the second room of this house we found 'Evolution' which featured veteran Earl Sixteen handling the vocal duties. This song, now, just really makes me SMILE and I'm beginning to think that it was, at least in part, the purpose of this song. The ideology here, for me, is Earl Sixteen saying that the most drastic course of action isn't always the best and thinking and planning can be just as effective as the final option. But the way that he presents that thought is nearly just as important as the thought itself. Whatever he says on a tune like this, I'm interested in trying because it FEELS SO GOOD! 

"And in this evolving world -

Every man, woman, boy and girl -

Must rule their destiny

And we're all human beings

In whatever way it seems 

We need equality

I just can't change the course of history

Cause each and every nation all need to be free

I see the tables are turning

And the enemies would look like a friend

There are some things that we wanna do 

So we must be assertive if we wanna make it through

The sun come shine on our face

And we're all apart of the human race

I'VE GOT LIFE, THAT'S ALL I'VE GOT TO LIVE

AND PRECIOUS LOVE IS ALL I'VE GOT TO GIVE

And we don't need a revolution

We need a solution

For this next generation

We've got to find the solution

The children of the revolution"

3. 'Evolutionary Rockers'

"In My Father's House" there is a room separates (or links) 'Road To Addis' and 'Evolution' and that room is called 'Evolutionary Rockers'. This song was absolutely brilliant in what it does as it is a dub featuring elements of both of its predecessors combined into one track. You get bits and pieces of Earl Sixteen and you also hear a great deal of Addis Pablo and his melodica mixed in as well. Not too much of either and you never get the FULL feel of either composition, which is a good point in this case and whoever planned out to do this is clearly a GENIUS! Pablo on the riddim then Earl Sixteen - then both of them… BOOM! 

4. 'In A Di Gideon'

The pace of 'In A Di Gideon' has probably over-grown on me just a bit and I've also been listening to it frequently recently. What I have to say here, however, is another testament to what JSR's releases tend to excel most at. The basic riddim here is fantastic and I don't know what you could have possibly done to change that in my opinion. Pablo's additions make it stronger and really highlight so many little different sounds here (there's a drum in there somewhere which I can never quite anticipate correctly, but when it does arrive, is downright intoxicating). But you could play this thing for an hour and after that I'd probably ask for more of it. It's fantastic. 

5. 'Gideon Rockers' w/Sylford Walker

And its fantastic-ness continues through to 'Gideon Rockers' which features the venerable Sylford Walker on the vocals. Despite Walker's presence and the fact that he does a fine job -- and he does -- 'Gideon Rockers' is, essentially, another instrumental piece which carries the same riddim as its predecessor. This one is more of a traditional Dub sound with the echoes and the very light vocals and, again, you can't do a think to take away from that monstrous track which, between these two, only grows (and grows substantially) in stature.

6. 'His Majesty'

There is a very nice, but subtle, level of intensity behind 'His Majesty', which kicks off another impressive stretch similar to the trio of tunes which open "In My Father's House". Like that lot, the first here features Pablo offering over this sublime track first. For his part, Pablo dazzles and he doesn't do it in a way which is overbearing. I can recall the first time I heard this piece thinking that even the clean instrumental here would be supreme and, though I haven't heard it (or at least I don't think I have), I'm convinced that, even upon it, Pablo manages to improve with his additions which, as I said, are very clean and easily related to the riddim.

7. 'Giving Thanks' w/Prince Alla

Following names such as Earl Sixteen and Sylford Walker, JSR pulls in another big name of a similar stature as, dealing with the vocal portion of this riddim, 'Giving Thanks', is the esteemed Prince Alla. This song here is a basic praising tune but one which, because of the track carrying it, definitely makes a lasting impression on the listener. Also I should mention how many different things I hear on this one versus 'His Majesty', which includes a very strong guitar highlighting the latter portions of the tune.

8. 'Rockers Trodding Jah Road'

… TEARS! I just didn't give 'Rockers Trodding Jah Road', the Dubbed out accompaniment of 'His Majesty and 'Giving Thanks', its proper due credit the first time around - it is FANTASTIC! The big addition to this spread is a dominant drum which persists throughout the composition. But what I enjoy most in this case is how the tune develops. As it progresses, you hear more and more sounds taking the lead, including vocally from Prince Alla. What you end up with is a piece which sounds MUCH longer than the ~ three and half minutes that it actually is. Not to be missed and one of the brightest rooms "In My Father's House". 

9. 'Walls of Jericho'

I still very much credit Pablo's tune, 'Walls Of Jericho', for reenergizing a tune by the name of 'Tumbling Down' by Chezidek from his aforementioned album, "The Order of Melchezedik" by demonstrating just how powerful its track was. Once again, this is a riddim which GLOWS when you listen to it, picking up in power as it progresses along the way. At around the four minute mark (from maybe twenty seconds ahead to fifteen after), Addis Pablo makes one of his most amazing displays during the entire album and he subsequently goes on to be kind of swathed within all of these other big sounds, so it kind of sounds like he's moving as he plays. That's something which is unique to this tune, as far as I can tell, and a now unforgettable moment on this record. 

10. 'To the Chief Musicians' w/Jah Exile

Jah Exile also tumbles down (with a little help from Pablo) on his vocal cut of the same riddim, 'To The Chief Musicians'. This tune is a very interesting biblical recitation which almost kind of comes off as an intermission for the album. I can picture in my head Exile hearing this track and not even developing an idea, but just being given an instant inspiration to go forth like this because it comes off as a very organic moment and it helps to lead the album into its latter portions. 

11. 'Wareika Mystic'

'Wareika Mystic' is special. There're several truly GREAT compositions on this album and the only one of them which I am comfortable placing ahead of it is 'Road To Addis' and I think that even a strong case could be made that it is better than that, if you wanted to. By this point in the album, my ears are WELL open and I'm listening for every small detail (like a piano playing around two minutes in) [WHAT!] which give songs such a longer life and have made a song like this, recently, one of my favourites from anyone (it also leads me into another critique, which I'll deal with in closing).

12. 'Thanks and Praise' w/Chezidek

"Honour and praises to Jah Jah

Selassie I, The Emperor

He is The Mighty Conqueror

Honour and praises to Jah Jah

For one moment, I thought that I would never get through

I was at the crossroads, frustrated, never know what to do

I couldn't follow temptation, so much things I never knew

For I was searching all over, 'til I found Jah in You

And I praise HIM

Jah set me free, from destruction -

That I didn't see

Gotta change my life

My hands must be clean

And my conscience - it must be free"

As was the case with 'Walls of Jericho' in reference to 'Tumbling Down', "In My Father's House" also gave me a greater (I should probably say "another" in this case) appreciation of another tune from "The Order of Melchezedik", 'Thanks and Praise' [originally 'Praises To Jah']. BEAUTIFUL! I wish Chezidek a loooooooong and successful career, which hopefully includes a stop at JSR for a new album every few years. This was not the best song on that album (it isn't the best song on this album either0, but it was flawless and an absolutely special offering.

13. 'Rockers International' Version

"HONOUR AND PRAISES TO JAH JAH"

I'll just sing it myself when it isn't there - the version of 'Rockers International' was the Dub of the riddim from 'Thanks and Praise' and 'Wareika Mystic' and it brings the full strength of this beautiful track to a pinnacle in a somewhat streamlined form. This track is stripped away and somewhat skeletal, but in this case, that's a good thing. What remains is this gorgeous bass heavy piece which here is afforded an opportunity to shine and shine it does! 

14. 'One Love, One Heart, One Family'

'One Love, One Heart, One Family' was LUSH. Here was another selection where, each and every time you listen to it, your ears naturally find something else to focus on, which makes it sound much longer than it is. In this particular case, things are different as, sans a vocal track, it is Pablo left alone to do what he does (you'll find a vocal tune on this track if you want it (and you do) on the "TOOM" album) best on this riddim. Of course he isn't totally alone as this piece is top notch musicianship. I love the drumming on this one as well and just how much 'space' there is, which gives it a very free and kind of improvisational feel to the vibes. You never do know exactly what is coming next, but what arrives is damn impressive.

15. 'Rockers' Version

The version for the track of 'One Love, One Heart, One Family' offers even more room and, sans the constant presence of Pablo, I'm well recommending this one to more traditional fans of Dub. This one, perhaps ahead of any other on "In My Father's House" resonates in that particular way. I'm certainly not that individual, but even for me, it was a highlight here and a song which kind of figured to be buried and lost on an album like this with so many other spectacular moments. But I didn't lose it and now hopefully you won't either.

16. 'In My Father's House'

"Search and you will find…"

The best song on "The Order of Melchezedik" album, to my opinion, was 'Search and You Will Find' and the title track for this album is actually Addis Pablo's song on the same riddim. I've grown to kind of take this tune as an addendum to the original track. It certainly has its own characteristics, but it fits so nicely with 'Search and You Will Find' and, had that album followed its predecessor, "Judgment Time", you may have even saw a song like this actually on the album. For his individual part, Addis Pablo, in a very relaxed way (somewhat similar to the opener) mines gold on one of the best songs on this album, too. 

17. 'My Father' Version

And finally is the instrumental for 'In My Father's House' and 'Search and You Will Find', which ends this album with another piece of candy for the listeners. In its basic form, the track is very simple, but undeniably infectious. Like every good piece of work on this album (… "like every piece of work on this album"), this piece also picks up as it goes along and, in its own way, manages to spotlight so many unique prevailing sounds. Between ''In My Father's House', 'Search and You Will Find' and this instrumental, I definitely feel like you have three examples of some of the finest work that JahSolidRock has ever done.

I do want to mention something and I doubt that it's fair (but I'm a fan and we're greedy by nature and immune to worrying about things such as fairness), but I could very happily listen to some of these tunes considerably longer than they go on. For an album which has a duration of nearly seventy minutes, it is a kind of odd point to make, but in the future if JSR wanted to roll out one of these with songs more than ten minutes long - you may get a complaint, but not from me (biggup Lloyd Brown). As it is, however, "In My Father's House" isn't doing bad with tunes primarily in the three and a half to five and a half minute range. It's doing excellent, actually. Haven't heard it yet? Be nice to you and take a look "In My Father's House" by Addis Pablo from JahSolidRock today… it isn't like you have anything better to do.

'A Continuation': A review of "In My Father's House" by Addis Pablo

Pass it on. The process of coming into music, be it as an actual artist or even as a fan, can be a very hereditary progression. While you could argue that there is some magical musical gene which actually exists in the blood, more common (and more interesting in my opinion) is how the passion for music seems to be one of very few which, with very few conditions, passes seamlessly from one generation to a next. And even in cases where you can identify the originator and developer of that passion in the first place, it's very likely that all who come after him/her will at least have that foundation for building a similar infatuation for the music, in one way or another. The history of Reggae music, like probably all other genres is absolutely brimming with examples of that of all kinds. One the smaller scales, you'll find an endless line of connections which aren't necessarily the most known of situations. I read bios all the time and I'm surprised a lot to hear that someone who I've been listening to for years is, in some matter, related to some other esteemed figure in the music. It is almost always a delightfully interesting occurrence in seeing who chose to make that connection known and who did not. At the complete other end of that same spectrum, of course, are the unavoidable such as Reggae's first family, the Marleys and also the Morgans. And you can also fine lineages blossoming from the likes of Peter Tosh, Bunny Wailer, Freddie McGregor. There's Alton Ellis. Joseph Hill and Kenyatta Hill. Lee Perry. And siblings and cousins such as the Benjamin brothers from Midnite. Don Corleon and Protoje. Brick & Lace. Tessanne and Tami Chin and more. Like I said, a nearly endless line of connections are to be made and as we go through time, we'll eventually arrive at the point where we're dealing with a third line of grandchildren also following in the same way. Today we take a look and listen at another example of a family where the passion of music and the pursuit of that passion has gone beyond a generation and, in this case, has done so in a downright stunning way where a son comes along and assumes the very unique work of his father. 

Addis Pablo is the son of the legendary Augustus Pablo. The elder constructed his musical legacy largely on the strength of playing the melodica which certainly isn't the same thing as Bob Marley and the others. In their cases, through singing, they did something which has no end. As long as there're people on the planet, you can be assured that someone, somewhere will be singing Reggae music. Playing the melodica? Probably not so much. Despite (or perhaps including) all that he did in his career, what continues to amaze me most about Augustus Pablo is the kind of reverence that his name generates, even today. While he never achieved the level of stardom as his peers such as Marley, Dennis Brown and others, even from the production side, he still casts this very unusual shadow which is wholly unquestionable and, to my opinion, he stands one of the least polarizing and most beloved figures in the history of Reggae music amongst more devoted followers. But even though Pablo left that type of a legacy, the act of playing the melodica, as a full showcasing instrument, hasn't been maintained and it's become somewhat of a lost art. 

So go find it. Wonderfully, the greatest exception to that has been the work of his son who not only followed his Father into the music, thus continuing the lineage, but Addis Pablo has taken up the melodica thus, essentially, directly continuing his Father's work (Augustus transitioned in 1999). And in recent times, over the past year or two, it seems as if he's been getting more and more attention and now he takes the next step and, journeys to the highest region to bring forth his debut album. "In My Father's House" comes via one of or absolute favourite labels, JahSolidRock (who, apparently, has something to do with a Bass Galore Productions, so biggup Bass Galore). If you follow Roots music of the modern era, you have to be aware of JSR. Currently, the Dutch based label is making some of the best of it to be found throughout the entire world - which is pinnacled by their outstanding work alongside Jamaican veteran vocalist, Chezidek. Last year, they delivered part two of that union in the form of the MASSIVE "The Order of Melchezedik". They also worked with the venerable Brinsley Forde on his own debut, "Urban Jungle" and have also worked with others such as Earl Sixteen, Apple Gabriel and Lloyd De Meza. Interestingly enough, to my opinion, one of the label's signature traits is its sound quality. The first album they did with Chezidek, 2010's bonafide classic, "Judgement Time" is one of the most appealing sounding Roots albums that I've ever heard - STILL. And its sequel wasn't drastically behind it in that particular area -- if behind it at all -- and it's also been prevalent through almost all of their work. So coming from the specific standpoint of sound appeal, which is going to be very crucial in the case of Addis Pablo (more on that in a second), he couldn't have done much better than in linking with JahSolidRock. For his part, again, Pablo brings to the table a skill which has virtually no equal these days. For what he does, he is the best and most visible practitioner in the entire world and like I Grade Records and Zion High Productions, given their proclivity for making BIG albums, JSR is one of those labels who I'm always curious to see with whom they'll work next. In this case, they've aligned themselves with someone who is very skilled and already accomplished, but so damn unique as well that I'm expecting something huge.

And it may be even better than I hoped that it would be. Unsurprisingly, "In My Father's House" is a VERY unique album. It is an instrumental release, a Dub release, there're guest vocalists. There're familiar sounds and a healthy variety of twists and turns making for one dynamic and compelling musical experiences whose existence is going to require more than a giant review to explain but who cares, I'll try it anyway. The first tune on the album is also what, I believe, is the first single from "In My Father's House", 'Road To Addis'. I think that they made a wonderful choice in selecting the first single, because 'Road To Addis' is the single best song I hear on this album, altogether. It is STUNNING! When I first heard it, I kind of just let it go on and on and then I came back and almost immediately it took me in and it made me smile and I think I even cried [WHAT!]. It is a breathtaking composition and, for what he does, I would assume one quite personal to Pablo and it's pretty personal for me too and I'm sure we aren't the only two. Next is a full song featuring the aforementioned Earl Sixteen, 'Evolution'. It's a very good tune also with Sixteen dealing with evolution and revolution of varying types and how everyone, in some way, must change with the times to make it through. When he's in a good tone (and he usually is), I could listen to this man sing all day long. Then there's a piece called 'Evolutionary Rockers' which is, basically, a dub version of both 'Road To Addis' and 'Evolution', stuck together. It is GORGEOUS! And it took me awhile to figure out exactly what they had done, but when I did, this album, right there, got a few extra points from me, because that was a stroke of genius. They do a similar thing, though not to the same completion with the next couple of songs (and really, throughout the album), 'In a Di Gideon' and 'Gideon Rockers'. The tunes utilize a form of the same pleasant riddim which backed Chezidek's 'Faya Pon Dem' from the "The Order of Melchezedik" album. Handling the vocal duties here, on 'Gideon Rockers', is the esteemed Sylford Walker and both are really nice additions to this album, taking advantage of JSR' increasingly vast vault of productions.

  'Road To Addis'

JahSolidRock continues to do that with the next trio of tunes from "In My Father's House". 'His Majesty' shows that Addis Pablo, like Chezidek, also has Jah in his heart as it tops the same riddim you'll find on 'Jah In Our Heart'. Its vocal accompaniment, 'Giving Thanks', features another big name in Prince Alla, while the Dub version is 'Rockers Trodding Jah Road'. Like the opening sequence of songs, this lot is exquisite and it gives such a vibrant new life to this music. I do enjoy 'His Majesty' most between them, but you'll find not a bad note amongst them… nor will you be able to locate one anywhere else on this record either. Things come tumbling down at the 'Walls Of Jericho' which is Pablo's cut of the riddim which you know from having backed 'Tumbling Down', also from the "TOOM" album (surprisingly easy to abbreviate). Incidentally, in tracking down where I knew this track from, it gave the impetus to go back and listen to 'Tumbling Down' dozens of times. We reviewed and rewound that album, but this song is now probably better than I ever gave it credit for being. As for 'Walls of Jericho' and its biblical vocal piece, 'To The Chief Musicians', alongside Jah Exile - again, they are highly impressive expansions on the music. 'Walls of Jericho' is something special with its melodies and I'm going to give a big credit to Sam Gilly from the House of Riddim and especially to an Obed Brinkman. The former did the music and the latter did the horns in particular and both, in full, are CANDY to the ears. The MAMMOTH 'Praises To Jah' was one of the singles of the "TOOM" album, may've been the first, and actually featured the work of Addis Pablo, so it was no surprise at all to see it here - now renamed 'Thanks and Praise'. Pablo's take on the same riddim is the equally lovely 'Wareika Mystic', which is simply one of the finest things you'll hear on this album or any of the other gems JSR has dropped along the way. Fortunately, that track does get a ribbon in the form of the version for 'Rockers International'. It didn't get a version on the first album and I guess they had intended to save it for this one (and, in retrospect, I don't think that any of the tracks which're covered on "In My Father's House" had instrumentals present on "TOOM", which was a critique of mine of that album, because that is a signature of JSR, and I guess what happens here more than explains that). It is outstanding and, something so simple, a definitive highlight from the album. 

And winding down is a pair of two more familiarly vibed standouts from “In My Father's House". The first is 'One Heart, One Love, One Family'. Chezidek's tune on this track was 'One Family' and I think Pablo may've outdone him. This effort is golden and, reminiscent of the opener, it comes off as very personal and subtly intense as well. And finally is the title track… TEARS! Though not even a year old, 'Search and You Will Find' is a personal favourite and classic of mine and to hear that same track given even more attention just kind of lengthen and strengthen the legacy of that MASSIVE song. Addis Pablo's rendition is probably the second best song on the album named after it, altogether, and I'm going to have years and years of fun listening to this one. Both 'One Love, One Heart, One Family’ and the eponymous tune have clean versions also present on the album. I still favour the latter in that case, but the former doesn't trail mightily with its intoxicating bassline.

"In My Father's House" Documentary

I do want to remark on the presentation of this album, in general. It's outstanding! From the great cover, to the musical display and other things such as a full documentary released in support of it (which Bredz almost surely put in here somewhere), JahSolidRock did, arguably, the greatest job they've ever done and, at least for me, that signifies that even though they well had it together previously, they found room for improvement and have made it. 

Addis Pablo

Overall, while I'll continue to, first and foremost, immediately identify JahSolidRock with the landmark work that they've done with Chezidek (and you can clearly see that from my points of reference for this album), if they do another one of these, that may just change. "In My Father's House" is a riveting album from beginning to end. Something which stands out for me that I do not think that I mentioned is also just how intense this album is as well. It's laidback on the surface, but when I hear such a detailed level of musicianship, I hear PASSION! I hear someone spending a lot of time fine-tuning and tweaking something to perfection and there is a whole heap of intensity brewing throughout that process. "In My Father's House" isn't perfect, but for what it is, it is damn close. The album serves as a mighty debut for Addis Pablo who not only picks up where his legendary father left off, but he also shows himself to potentially be capable of building a legend of his own. GOLDEN. 

Rated: 4.55/5

JahSolidRock

2014

CD + Digital

Review #497