Modern Classics Vol. XLIV: Jah Grid by Akae Beka

We've spoken quite a bit in the past about the shift that I experienced in regards to the music of Vaughn Benjamin and Midnite. When I was much younger, the sound wasn't something that I was capable of appreciating. It wasn't very catchy. It often seemed like he did not care much at all for melodies or even if he was in-tune with the riddim behind him. It was not (and often still is not) the type of music that immediately draws you in and that's fine. While I don't think that there is an age requirement for enjoying the music of Akae Beka, I do think there may be a life experience requirement. Benjamin's music, at least in my opinion, is best served as a tool for PROVOKING THOUGHT and the depth of your thoughts surely increases with the amount of life that you've lived... with the amount of things that you have gone through, personally. 

Today I want to take a look at an album which is a personal landmark for me because, if I recall correctly, it was one of the ones which directly opened the door for me to Benjamin's work. I can remember buying "Jah Grid". I was still in university, it was probably a week or two old and I bought it just to buy it (and it wasn't my first Midnite album either. I THINK that distinction belongs to "Ainshant Maps" and I'm still working on that one as well)! A trait that I inherited from my wonderful Mother (and her wonderful Mother, both of whom are healthily and happily still with us) forces me to occasionally buy things just because I like buying stuff (a problem for a habitually broke college student at the time). I'd listened to Midnite's music before and, as I said, I didn't particularly care for it and I bought "Jah Grid" presuming that I wouldn't care for it either and, at least initially, I was correct. "Jah Grid" was... skeletal. The music was just fine but for someone who Dancehall would have been what I was listening to most at the time (and I was definitely listening to Roots music as well but it would have been... Sizzla, Capleton, Anthony B... kind of Dancehallish Roots music) Midnite's music was a bridge I had yet to even attempt to cross. But I paid my money for it, it was mine and, every so often, I'd come back and listen to "Jah Grid" and somewhere along the line, the shift began. Prior to that, however, I had begun to listen to the works of the likes of NiyoRah, Yahadanai, Army & Aincent King whose work came via a label that also would stick with me, I Grade Records, which also helped. I want to say that it didn't take THAT long for an album released in 2006 but I can remember a point when "Jah Grid" ceased to have any semblance of a presupposed (on my part and my part, alone) 'barrier' to it and what stood in its place was the start of a WONDERFUL journey of comprehension that continues to this day and will only end for me at my grave. 

In the latest addition to our Modern Classics series, we take a look at an album which helped to open a very large door for me, personally: "Jah Grid" by Akae Beka.

1. 'Enter'

I've spoken about this one previously. 'Enter' is one of the greatest songs I've ever heard... from like anyone and it so PERFECTLY exemplifies the process that I've gone through with this music. 

"If you plan fi live good, open Jah door and enter"

I don't know if this is the case but I'd like to think that someone specifically decided that it was so powerfully positioned at the beginning of the album because it sets the stage for what is to come not only musically but, specifically, by what Vaughn Benjamin says. ESSENTIALLY, he is saying that if you are willing to continue down this road, something immensely powerful awaits you. I should also mention just how damn THICK this song is, musically. The riddim sounds like something that grew out of the ground (oooooold, fertile ground) - a credit to the extremely gifted players of instruments behind it.

2. 'In Tent'

'In Tent' is a song where Benjamin actually does make an honest attempt at being melodic and I can actually remember a point, before this album fully opened up for me, where it may've actually been my favourite song here. These days while it may not rank as high, comparatively, I'm even more fond of it because I hear things in 2026 that simply did not exist for me in 2006. 'In Tent' is a very FULL experience and it exists for me as a social/life commentary (with a spiritual helm, of course) as Benjamin covers a variety of different topics and that's what stands out so brightly for me in this time. It's almost as if he jumps in and tackles one thing; jumps out, jumps back in and goes on something else. Take them all in a fractured state and you have something very solid (which I would have actually been capable of appreciating twenty years ago. Kind of viewing this tune as an impressive string of one liners), however, if you are capable of finding a common ground for them all and thus, receiving them all at once - well, then you have something special. 'In Tent' was special.

3. 'My Joy'

Grrrr. Despite its title, 'My Joy' came in with a bit of fury and is a more than welcomed deviation in its delivery. 'My Joy' does actually stay true to its name but in an expectedly very spiraling manner (a signature of Vaughn Benjamin's). The song was, essentially, him gardening. He was cleansing away the impurities and strengthening the soil so something would grow and he was mowing the lawn clear of overgrowth.

"Situation of the dream: Well nightmare haunt

ANYWHERE DEM KILL SEED, DIMENSION PLANT"

If you do these things well, what stands will deliver goodness for YEARS and, all of this time later, I am still enjoying the ripe fruits from 'My Joy'. 

4. 'Kin Dread'

One of the undeniable signatures from "Jah Grid", 'Kin Dread', finds the chanter (in a very SMOOTH way, particularly when compared to 'My Joy' just ahead of it)... just.... obliterating and annihilating everything, EVERYWHERE! Seriously, what the hell is this:

"New methodology, dem have it inna dem ghetto, mi seet

Dem new ghetto: Di chatroom

You don't have di password

You can't afford di software

You don't fit in yahso

Dem have it set up so dem deh alone can be pon di cutting-edge of di scientific community

Anything dem waan fi sociology do-

Anything dem waan fi economically do, dem can just do it"

"Whole heap a critic-

Dem just labba, run off dem mouth ah talk seh-

'Wi shoulda dun gone Addis Ababa'

'Wi shoulda dung deh a Shashamane'

Here a small story, mi ah tell you short story about a farmer

Plant up di most itiful garden, but di youths dem only want softdrinks and Babylon flavour

But hear yah now

Dem ya a mi kin dread

Dem a mi kin dread

Dem a mi kin dread

Di harvest is ripe and di labourers are few

Selfishly, dem waan fi depart when dem know seh that dem deh pocketbook can take care of dem deh just dem few"

At its core, 'Kin Dread' is a unity piece. It's about bringing us all together, warts and flaws and all but the journey to get there may take us AGES (and I ain't complaining about it). I would suppose that the majority of this song was a vibe. I've actually seen video of Vaughn Benjamin actually writing lyrics and while I would guess (and do so acknowledging that I could be completely wrong) that it was his preferred method of writing songs, I wouldn't think that he wrote much of 'Kin Dread' at all before he started it. It has a very LOOSE feel to it which isn't a frequent occurrence in his work (his delivery often comes off as unrehearsed but the man seems to know PRECISELY what he wants to say most times) and was one of several reasons that 'Kin Dread' left its mark.

5. 'Under Management'

Along with maybe one or two others, 'Under Management' is a song that has experienced as much of a SHIFT that I can think of. I can recall a point where I listened through "Jah Grid" and came upon 'Under Management' and... literally, had NO CLUE what I was listening to. It might as well have been recorded in Japanese or Latin - not because I couldn't understand what was being said but because I would have had just as much of an opportunity of digging sustenance out of it in those days had I been totally walled-off to what was being said. On top of that, can you find a melody here? Benjamin didn't give a damn about it and what little of it there was was very difficult to get to. 'Under Management' was just a tough song to listen to and remained so, even after much of the album had begun to develop for me.

Today? There is a group of my absolute favourite songs on "Jah Grid"; there're three of them. I just told you about one of them and the other, 'Enter', started us off. Outside of those... I cannot definitively say that there is a better song than 'Under Management' on this album (one might be pretty close). There are a few others that I will, depending on the day (and maybe even the time of day), rank higher, but if you were to come back and ask me what I think a few minutes later, I'd probably change my mind. 'Under Management' is GOLDEN as Vaughn Benjamin puts on a display of the spoken word for the ages. He says SO much on this one and covers SO much ground that you can stop it TRULY anywhere and hear something powerful. For example:

"Multiple psychology experiment on tv look like entertainment"

And it allows you an entry point into such a powerful track of thought. And there is a melody! The riddim also ranks as one of the finest compositions on the whole of "Jah Grid" for, as minimal as it may be (and it is), if you REALLY listen to it closely, there is a certain intensity behind this song that does not leap out at you but is definitely there. 

"I've seen it recently"

6. 'Spin Doctor'

The word that comes to mind today in reference to 'Spin Doctor' is "dilution". The term 'spin doctor' is used to describe a mouthpiece of a person who will often change and DILUTE a thought or a message to make it receivable amongst whoever it is being presented to. It is often used in the political sense.

"Teams of people who've been hired just to do this thing, believe it or not

They get on the news and in the room 

Sit around and decide how the outcome must come down, smooth-

And shape it in the news"

Certain messages require no "mouthpiece", however, and certain 'Candidates' are beyond the "spin". In order to illuminate this point, Benjamin takes a route which  goes through physics, looking at the nature of spin doctors on a molecular level. For its unusual sound (and it is strange, with a kind of a Jazzy vibes to it), 'Spin Doctor' is a HEALTHY point of discussion and one of the finest written songs on "Jah Grid".

7. 'Royal Habits'

I've alluded to 'Royal Habits' here already: When I was talking about 'Under Management', I mentioned that I have a group of three all-conquering favourites on this album but outside of those maybe only one more tune could lay claim to being better than 'Under Management'. That song was 'Royal Habits' and it is a flawless example of what a song that would not have done a damn thing for me when I first came across it but now does the world for me. This song is messy, it's scattered and it's pretty consistently off-key.

It's also beautiful. It's brilliant and it's poignantly POWERFUL. 'Royal Habits' also stands as one of the few tunes on which Benjamin had a little 'over-fun' with on the vocals. You'll know exactly what I mean if you're familiar with it but for the balance of the tune, it's what you're thinking that it is. We all need to do a bit better because we know a bit better. That's the source behind this song which, though it may take awhile, will reveal its true power only if given the opportunity.

"If you have it, exhibit royal habits"

8. 'The Bringers'

Though its music threatens to steal the show, 'The Bringers' does turn out to be a wonderful tune. First of all we do have to talk about that riddim: Silky, syrupy SMOOOOTH it is. Sounding like something directly halfway between Reggae and Jazz, the composition for 'The Bringers' features the handiwork of the venerable likes of Tippy I, the incomparable Tuff Lion (who DESTROYS on this song) and others. Just as a piece of music, it's winning but now we get to add in the works of Vaughn Benjamin. For his part, the chanter seems intent to match the fluidity of the players of instruments and while we can debate on how well he does on that end, what he does do (as he always does) is excel with his words. Here, he puts on a LOVELY display that I took in tribute and honour to our "bringers" [DUH!], meaning our parents, our forebears and ancestors who have done so much in bringing us to where we now are.

"Enough praise, I cannot give

Enough thanks, I cannot give"

Benjamin levels 'The Bringers' up when he goes EVEN HIGHER at one point when he asks one question:

"Should I not give all these things and more unto Jah?"

And I won't get into it... YES I WILL! 

"His Majesty unified all these minds into one place

Wrote the law on their hearts in one place

Solidified by distance

3,000 miles away"

HE who set bloodlines and lineage into motion is THE BRINGER. THE is The Bringer who brought 'the bringers'. I listen to these songs and I wonder if its my overactive brain that piles on ideas here or if I'm really on to something but songs like this one mean so much me now.

9. 'YHWH'

I'll come back and explain it, in closing, fully, later but 'YHWH' sits as sort of the GLUE of "Jah Grid". It is the source code behind it all as far as my experience with the album has gone. However, until then, there's this. 

"Choose before a place where no choices be

HIM, Haile Selassie spoke to these issues in specificity

Before the escalate happened early, happened early

Humbling to livity

Now it's not for triviality

Rastaman elevate the wisdom tree-

For souls to live in joy

Resonating, marinating in beauty

Let the positive rhetoric and economics interlock and purify I & I wholly

Haile. Holy"

"This" is one of the single finest written tracks on this album and I say that, again (kind of), without giving its true strength here but 'YHWH', along with 'Enter' has positioned my line of thinking in regards to this sound so perfectly and here we are There isn't a chorus to this song; such a thing would have only held it back and yet it is still quite pleasing to listen  to. More on this one in a second. 

10. 'Before I Lose My Strength'

I say "TEARS" when I want to let the reader know that whatever song I'm talking about makes me kind of emotional; it gets me "in my feels", as the kids like to say. I'm not going to say that about 'Before I Lose My Strength'; instead, I'll say this: THIS SONG MAKES ME CRY. It does and has been doing that for the last.... seventeen or eighteen years probably, but especially nowadays. The third of the trio of mountainous songs on "Jah Grid", 'Before I Lose My Strength' hits me heavily and I'll tell you why. For me, this song is about making the absolute most out of life that you possibly can - WHATEVER that may mean for you. It's about contributing and doing your part to improve life on this planet during the time you have on it. 

"Before I lose my strength

ALL OF THE DAYS OF SINGING

All my days of strength

ALL OF I DAYS HAVE VIBES"

Now, let's specify a little bit about whom we are discussing. Vaughn Benjamin left us, physically, in late 2019. 

"Before I lose my strength

ALL.

OF.

THE.

DAYS.

OF.

MY SINGING."

"ALL OF I DAYS HAVE VIBES"

Now I don't want to exaggerate or embellish or over-dramatize the moment but this man stated a mission... I don't even know if I want to use that word, "mission"... he stated a natural urge, an "instinct" (something implanted him by The Most High) - something he had to do [!] before the end of his days. Why???

"To maintain internal heights"

It made him feel good. It was something his biology required of him and he did it BEAUTIFULLY. Also, I wouldn't be doing a good job if I didn't talk about the music here. 'Before I Lose My Strength' is another kind of crawling sounding tune and it is gorgeous (THAT THING IS CRISP!). It'll take you a bit to arrive at that point (I'm an example of that) but this song, in particular, is the type of music that changes people's lives in my opinion. It is of THAT ilk. This man never lost his strength. He wrote HUNDREDS of wills and left it to the world.

11. 'Third Eye' by Jah Rubal

Let's talk a little about Jah Rubal. I'd like to think that -- both indirectly and directly -- Akae Beka did a great deal of work in terms of bringing along others and introducing them to the masses. I would think that we're already enjoying a generation of Rootsmen and women who have, in one way or another, been inspired by Vaughn Benjamin's work (I've always thought that about someone like Reemah) (and you see what she's gone on to do. That woman is a genius) but he's also brought some of them along for the ride. He's produced full albums for some of his peers (like Ancient King) and then there's Jah Rubal. I think most people first became acquainted with Rubal's work via his appearing on several Midnite projects and now he's a fully decorated and esteemed veteran with at least three full albums of his own off the top of my head (I should probably review one of them one of these days... think I might start researching that after this). EASILY, one of his most memorable features was on 'Third Eye' from "Jah Grid" - it also ranks, at least in my opinion, as one of his single strongest tunes to date. 

Rubal's style is a little messy but simple (and I mean both of those in good ways) and he's aided here by Benjamin, himself, who provides 'Third Eye' with a bit of background singing and harmonies. At times, such as this one, he also doesn't give a damn about melodies or song arrangement and things like such. He has something on his mind to get off and that's what Jah Rubal does, for the most part (he has a very unusual way of... doing unexpected choruses. They just kind of pop up when you are not expecting them). Although 'Third Eye' definitely does summit in its first verse, the entire thing -- after a nice long period of working on it -- does not head back down to the nadir and, again, at least for me 'Third Eye' sits as one of the finest pieces of output that Rubal has done to date as he suggests that we all take a closer, and perhaps more unconventional, look at the world around us. 

12. 'High Place'

"I have seen the high place"

TEARS! 'High Place', at least for me, has become this kind of lumbering... hard working giant of a song. It has something to do and somewhere to go but it isn't in the slightest hurry to get it done or to get there. It's going to take its slow ass time and you're going to sit there and let it. As it does progress, however, what you end up with is a tune which is wholly STUNNING at times.

"I have seen the high place

Inna likkle youth with the strangest question:

'How come they don't have lions?

How come they don't have mane?'

I say, 'hey, well ask ya daddy'

But it's the high place CURIOSITY"

The song is about non underestimating people and being able to appreciate BEAUTY and POWER everywhere you find it - even in the simplest, most innocuous of things. There is a joy here that I was incapable of appreciating AT ALL, initially and, even today, I can hear why I was lost. Now? Vaughn Benjamin says that he has seen the "high place".

I've seen it as well: On an album that I once left for dead.

13. 'On'

Courtesy of 'On', "Jah Grid" literally CRAWLS over the finish line. There was a point where I would have actually said that I disliked 'On' and if you're there as of now, I probably shouldn't fault you for it... but I am. 'On' is one the best songs on this album to my ears nowadays. Take its rather odd pacing and 'delicacy' out of play for a minute (we'll come back to it in a second) and just HEAR it for what it is.

"Let the vibes of reciprocation flow on and on

Those who have been the recepient of good and have done wrong

Remember, in your day, in your time when you can make a difference with your mind

With your deeds

Remembering the day, the people who have made your way"

The song is one about progression and progressing! Benjamin takes a good look at the good and the bad (and he almost had to in a song like this but it circles around so PERFECTLY and SUCCINCTLY. 

"Let the vibes of Jah flow on and on"

That is a signature of the man's work. I'm not going to say no one else CAN do it, but no one else DOES do it (at least not in the consistent sense). It is one of a kind. It belongs to him. Now, about the way that 'On' sounds - it GROWS! First of all is that riddim which is a five minute chunk of divinity within its simpleness. And the delivery on it, this kind of singing/chanting which sits around a more straightforward talk, works so well for it. He has something to get off his mind and he's acknowledging the moment:

"A caring thought

A considerate remembrance"

And, as it turns out, 'On' goes on to be one of the more sonically pleasing selections on the whole of this grid. 

Synopsis

"IT'S GONNA TAKE OVERSTANDING AND MATURITY"

I mentioned that I consider 'YHWH' to be the "glue" of Jah Grid. It's what holds my experience with the album all together and it's because Benjamin says things like this. I hear blips of so much of what I've gone through on this journey (and am still going through, DELIGHTFULLY) in this record.

"THINGS ARE COMING CLEAR, TRUE

IT TAKE A PAINFUL, A LOT OF ERA

A LOT OF MISCUE"

That final word there, "miscue", means so much to me here. I'm sure he didn't have it in mind when he wrote it but it was going to help open up my ears (and maybe, HOPEFULLY, many other pairs as well. It's okay to make mistakes in here and it's also okay if you don't comprehend what you're hearing. I remember seeing an interview of Tippy I and he, himself, who's produced so much of Vaughn Benjamin's work said that he'd constantly ask questions when he couldn't follow along. If he heard something and couldn't figure out the intention, he'd ask Benjamin what he meant and he'd tell him. I'm almost jealous of such an opportunity on one hand, but on the other I am SO DAMN grateful for the opportunity to work my own way through this work and to draw my own conclusions. 

"Destiny is subject to the decisions I & I make"

But I had to grow up mature and live life in order to earn the opportunity to draw my own conclusions and make my own decisions. However, with that being said, all of the time that I spent thinking that this music just wasn't for me also wasn't exactly bereft of value. I've had so many conversations with readers about how it just doesn't work for them and because of all the work I've done, I'm able to point them in a certain direction and make suggestions and... who knows, maybe it still doesn't resonate but PERHAPS they hear their own 'YHWH'. Maybe it comes via more 'accessible' material like "Beauty For Ashes" or "Kings Bell" or "Better World Rasta" or maybe they find it in small pieces through HEAVIER work like "Be Strong" but the fact that I've done it, myself, makes it such a satisfying experience any time I can maybe pass along a vibe or steer someone in this direction because what comes after is... unspeakable. It's a lifelong journey. For me that trek began to make an actual progress through work such as that which is found on "Jah Grid", a bona fide Modern Reggae Classic!

{Note: Also credit goes to the presentation of this album. Artiste Marcus Wilson did the cover which has thirteen stones (including the center), mirroring the number of songs on the album and then the actual CD has the songs title also circling around on the perimeter of the disc}

Completely Random Thoughts: Tapping In Even Further

Okay so, May's turning out to be a pretty big month. Along with our first review, we also have releases from Mikey General (review already done, coming soon) and Marlon Asher; and even Shaggy is back later this month with a brand new album and we're working on a few other things as well. Before we move on, however, I wanted to get back and take another look at the album we most recently covered, the beautiful "World Tap In" by Akae Beka, a week later. I'm still working with it (I always will be) and I wanted to kind of focus on one thing that I said during it and give you an actual example of what I meant by one thing in particular and how the wonderful music that this man has left us with sends me down these BEAUTIFUL rabbit holes.

I tend not to try to take in too many opinions of others before I review an album because if I feel one way about something but the prevailing thought is the complete opposite, I don't want to be swayed. i want to be on that island. Akae Beka's music is a bit different though because you don't see much in the way of negative responses so my interest in a situation like this would be to see which songs people are gravitating towards. While there hasn't been much yet in the way of a critical response that I've noticed (I haven't seen another review besides mine but I would expect more to be on the way), I have seen fans discussing the album, here and there, and what has come my way from our old readers (who still have my email address) has been that one of the biggest winners from "World Tap In" is 'Sycamore Tree'. That very same tune took top honours from me and I've been working on it and have all sorts of fun doing so. [Now you watch where this is going] When I first heard it, one of the things that went through my mind was how unique that it was and I immediately started to think of other songs Vaughn Benjamin had done that it reminded me of. The one I mentioned was 'Sha-tee', which probably isn't a very good comparison (and I likely just mentioned it  because I absolutely love that song) but I had another one in my mind that I was thinking of but couldn't quite get out. You know I searched high & low for that song and I THINK that I found it in a very curious place. 

A dozen years ago, a label by the name of Iaahden Sounds released a Midnite album by the name of "Stand The Test". The song was 'King Ring' and I was completely wrong, it sounds nothing like 'Sycamore Tree' at all, however, LISTEN TO THIS DAMN SONG!

"Dem seh dem ahgo abandon dem ship then ah feel fi go down wid it

Mediterranean children to all the world metropolis-

Is rhetorical vitriol that naïveté omit

World know the region is the world hand pocket

It all seem insurmountable to politician tactic

News state featuring hold-up language

Just to find a stable medium between the poor and the rich

TOWNHALL MEETING INNA DI SCREECHIEST PITCH

INDEPENDENCE BECOMES DI BIGGEST SLICE PERCENTAGE

Political position dem no waan fi be associated with

World cities of a changing demographic

Lack of technology cah dem see it as limited

Merchant marinas find a store weh wi deal 

The manners of our guest - observation fi is

THE MANNERS OF THE HOUSE MAY BE INCLINE-ED

These are the roadsigns from the time weh wi live

Di warrior bust from ancient was explicit

Bible seh nothing new, under the sun, exist"

I remember "Stand The Test" (it was kind of a Hip-Hoppy sounding album) but I do not remember it sounding like THAT! There is a further connection in here as the press release (that no one bothered to send to me) mentions that one of the players of instrument on "World Tap In" is a Jordan 'Iaahden' Jones who, of course, is also the Iaahden behind Iaahden Sounds and produced "Stand The Test" in its entirety. THIS would also take me on another journey through Benjamin's catalogue because, of course, I was also certain that I remembered another tune which reminded me a lot of 'King Ring' and this was easier to find because I had actual words in my head and that was 'Ithiopia Millenium Deliverance', from the album "Ina Now". 

"And the Genesis of the age is Selassie I, Jah

And the Genius of the age is Selassie I, Jah"

I hadn't listened to "Ina Now" in quite awhile so what I do with things like that is that I'll go back and read through my own review, curious as to what I said about the album generally and, particularly, which song I said was my favourite at the time and in this case I was really happy because I actually did choose 'Ithiopia Millenium Deliverance'; and I even referenced that lyric as well.

Okay, that "one thing" that I mentioned from my review that kind of started me to actually writing this was this:

"Benjamin's work is truly the gift that keeps on giving."

Do you see what I mean? This isn't a random occurrence either. It's surely more often happening these days given the new album release but, even without it and not to exaggerate anything, but I'll have episodes like this... maybe once or twice a month even without new material pointing me in a certain direction (the "Kings Bell" album usually does it for me. If you REALLY get into that one, there're so many lines you can draw to other work) and whether I find what I'm looking for (if I'm even looking for anything) does not matter. It is the journey to comprehension that matters most and Vaughn Benjamin left us with a, literally, endless musical itinerary. That is not death. I don't know what that is but that is not death.

Lion Land: A review of World Tap In by Akae Beka

Appreciation. As I get older (and older and older), I find that the importance to appreciate the moment that you're in is something that is increasing in value. From something as simple as the current calm to an inevitable storm; to something as crucial as my daughter, who I once held in one hand, now being damn near as tall as I am - if you enjoy something right now ENJOY it! If you appreciate someone right now, TELL THEM! Things change very quickly and, even if they change for the better, you will never have it exactly as you have it RIGHT NOW. When we bridge that gap and head towards the reason that we're hear today, things are certainly no different. Not too long ago, I can remember an era where Greensleeves Records (annoying, I thought at the time) released riddim albums at a rate of... maybe 10:1 to those from actual artists that they had signed. Who would have known that, just a few short years later, the practice would be gone (so would Greensleeves, basically) due to the fact that actual riddims are of a dwindling concept and what has replaced them, particularly on the Dancehall side is something other than Dancehall. Similarly, while we may've complained about struggling to keep up with the personal release schedules of certain individuals on the album side, I'd give up a bit to go back to those times. Sizzla, who I've been writing about quite a bit as of late, presents all type of fitting examples in this space. The once hyper-active legend of August Town can go an entire year without releasing a single album (and while, REALLY, such a thing doesn't come as a big surprise (everyone gets older and slows down - the blog you are currently reading is a perfect example of that) it is still noteworthy) and when he does come up with something, it sounds NOTHING as it did in his most devastating of halcyon days [years]. The same line of thought would apply to just a few others in some aspects (I do struggle, and do so MIGHTILY, however, to think of someone whose work has deviated as much as Sizzla's has) with the prevailing line of thinking being that, things have changed SO much and will never go back to the way they are and DAMN! I MISS IT! Although, with that being said, there're still somewhat healthy lines to the past that we stumble across occasionally and, just as it is of a supreme level of significance to acknowledge and appreciate the current moment, it's just as crucial as we ENJOY and celebrate times like these. 

We were presented with such a "time" just a couple of years ago in the form of an album by the name of "Living Testament". That set came courtesy of the very active (and interesting) Trinity Farm Music (with Go A Chant Productions) and was dubbed the final recorded album from the great Vaughn Benjamin and Akae Beka. It was fantastic and would even go on to take our top honours in 2024 as the Album of The Year. Despite the fact that it was called the final complete work of Benjamin (and I'm not suggesting that it isn't, the album we're talking about today could have very well been recorded after "Living Testament"), there was absolutely no doubt in my mind that today's situation was on the horizon but, as I said, I made the most of that release and I still am (currently POUNDING 'Holding the Amen Key') ["Among the ministers of The King's High Court"]. I think that we got spoiled by Akae Beka. Even when the pacing of others slowed down a bit, they were still quite active and would go on to reach a point where, despite making a brand of music that would probably be incapable of being any further from "mainstream", their music had begun to attract a wider level of attention and deservedly so. Some of the later Akae Beka sets have been SCALDING. 

Akae Beka & Higher Bound Productions

So the prospects of getting my paws on a new one, regardless of when it was recorded, were damn appetizing and they always will be. Vaughn Benjamin -- PHYSICALLY (and only physically) -- left us in late 2019 but because of the type of work that he left behind, it hasn't seemed so. Not only have there been more releases but the older material remains just as enjoyable to listen to and to work through in order to find the true meaning and inspiration of one of the very few undeniable geniuses I have ever come across. It's still as challenging and rewarding as ever from songs that're... decades old at this point. Benjamin's work is truly the gift that keeps on giving. Along with missing certain sounds and situations that have faded away over the years, I also miss the delightfully infrequently frequent way we ran into certain entities. If you look at Midnite and then Akae Beka, in particular, Benjamin would record with certain labels that you either wouldn't see AT ALL without him or others that you would run into they got more of the spotlight on their output via their releases with him. You think of outfits such as Rastar, Fifth Son Records (a personal favourite of mine). Iaahden, Natural Vibes.... and. of course, Afrikan Roots Lab and Rastafaria. Without the physical presence of Vaughn Benjamin, you worried about some of these labels and some of them, CLEARLY, have exited the business, while others have DELIGHTFULLY stuck around (and this is, of course, without mentioning the likes of the Zion I Kings). Another body that would have been in that lot would definitely be Higher Bound Productions. I'm going to be a bit circular here but I will bring myself back and do so quickly: Headed by one Ishence, whether you realize it or not, HBP has been very productive in their time and even without Akae Beka. The US based imprint has worked with the likes of Ancient King ["Ethiopie"], Danny I, Ras Abja ["Songs Fa Jah"] and even the reclusive Army (whose "Dredlocks Time" may just be the single finest album Higher Bound has ever done) through the years so, if you pay any attention at all to Virgins Islands Roots music, chances are pretty decent that you've ran into their work somewhere along the way. Even if you're not, the fact that they've also released FOUR full Akae Beka/Midnite sets, should have popped up on your radar at some point during the last twenty years or so. There was the FUN "Bless Go Roun" ["Rinse out the dirty cup!"] (always fondly remember that album and then I go back and have a listen and it's even better than I recall) from 2007, which preceded "Ark A Law" by three years. Solid and impressive they both were, Benjamin & Higher Bound hit higher heights three more years on when they sent out the GORGEOUS "Free Indeed" (simply one of the best albums Benjamin has ever done for anyone in my opinion) and kept the quality high with the most recent entry, 2019's 'Hail The King". 

And let's talk about "Free Indeed" & "Hail The King" for just a second. We started a new series called "Signatures". It's most recent entry, #14, was for Bushman; but the very first was for Akae Beka. If you are unfamiliar, Signatures is just a compiling of my favourite songs from a given artist and, apparently, my favourite Akae Beka songs include one song each from "Free Indeed" & "Hail The King", respectively. Those two songs, 'Hemp Scroll' & 'New Race' were NECESSITIES for that list. It would have been incomplete without either! So, when you take ALLLLL of that and add on top their most recent history, if/when the new Akae Beka album, that I presumed but didn't know was on its way, were to come from Higher Bound, not only would I have no problem with that at all, I'd also be pretty damn excited about it... even more than usual. LUCKY ME! The early part of the second third of 2026 now delivers to us an Akae Beka album of full music that I've never heard [!], "World Tap In"! BOOM! The feeling going into these records, for me, is always an interesting one. You may not think that Akae Beka makes a brand of Roots music that is necessarily exciting but that's where I'm at! I am downright THRILLED to be diving into a new album and, again, when it comes aligned with such a proven source, it magnifies it even more. Even the album cover (biggup Marcus Wilson) gives me that wonderful nostalgic feeling! LET'S GET INTO IT!

Along with, obviously, that of of Vaughn Benjamin (who also serves as producer along with HBP), "World Tap" also features the work of a lineup of venerable players of instrument such as Ras L, Kenyatta Itola and the great Tuff Lion, all of whom have a long line of working with Akae Beka/Midnite throughout the years. So, at least on paper, if you were coming to this album expecting something of a deviation, you most certainly will not get what you're looking for. For the rest of us, however, we get precisely what we want out of "World Tap In" which gets up and going courtesy of what, kinda/sorta, would be its initial single (it's the only song present here that I heard a tiny bit of before it launched), the wholly destructive 'Kingdom'. The way this song comes in... it makes me tingle! The hair on my arm stands up when I hear that damn pulse because I can only imagine what is to come atop it in a second. The song sits as a table-setter. It sets the stage for what is to follow in direction and I don't have to go too far to tell you what direction that is (you know exactly what this song is about) and does so with a very OPEN and inviting style. Let's stick with that for just a second: You'll find, literally, thousands of Roots songs that are more suitable for people who may not be typical fans of the genre than 'Kingdom' ["Kingdom of Jah remain"] and are maybe easing their way into it but this is the litmus test for what is to follow. If you like 'Kingdom', I think there's a pretty good chance that "World Tap In" is for you. FORTUNATELY FOR ME, I absolutely love it. I hear so much natural emotion in this tune with this man singing about his King that it proved to be a downright HUMBLING start to this release. The responsibility for keeping the quality up following the opener goes to a song which, RIDICULOUSLY, threatens to outpace 'Kingdom', the multi-multi-faceted 'World Volatile'. On one hand, you've heard Benjamin do something like this before. He will get into topics centered around financial matters and such themes (the one that immediately came to my mind was "All I's On You' from "Beauty For Ashes") and though they typically aren't (they never are) CLOSED off and straight-forward), I don't know if he's ever done one as all-encompassing as this stunner.

"World volatile just to make decision

Leaders with constituencies of millions

For the wellness of the land and who have dominion

Changes at a rate beyond human comprehension

To ease the vibes and cool the tension 

Mass-media inna the world must make distractions-

To prevent unrest inna the nation central

A leader to face the stiff faceness of the situation-

At the market of ideas, where they making their mention

Market stumble, fall down and stock prices regression

It's like to where to seek in the world for stable vision

The ideal human-commercial interaction

Where, just fairness appeals to the participants

World volatile just to make decisions

Leaders with constituencies of millions"

Now you take that and leave it there and you have a song that is sort of a financial commentary but, later, Benjamin, on the same damn track, comes in with:

"Of augmentation and it's about diminution

It's who get reduce-ed and who get augmentation, addition

THIS IS INTENSE, WORLD COMMERCIAL COMPETITION

Nations has never before gone on a mission to secure their place on the world platform

SPORTSMAN DEXTERITY, POWER, SPEED AND FORM

IN THE SCIENCES IS WHERE IT GOES ON 

THE ROYALTIES REGARDING THE PATENT AND THE LAWS

THE REWARD FOR DILIGENCE - THE CAUSE FOR APPLAUSE [!]

Then in come the generation of the mystic radiant

The same racist concepts can't hold dem yah stagnant

WHERE LOVE IS NOT STOLEN

WHERE IS RECIPROCAL-

HAILE CIVIC DUTY, LOVE OF COUNTRY, LOVE OF WOMAN AND MAN, BOY AND GIRL

THIS LOVE WOULD MAKE THE ONE LOVE TOTAL"

I mean... what do you even do with that?? Where do we go from here after he goes and does something like that? Maybe we should all just pack it in and go and find something else to do! Until we figure it out: 'World Volatile' is one of my favourite songs on this album (with respect to the 'Kingdom' and a  certain plant that I'm going to tell you about in a second) as it is this TOTAL battering ram of ideology that challenges you as a listener in ways that only Akae Beka's music can (go from analyzing stocks to talking about the power of appreciation....). I should also mention the riddim which is on the VERY simple side but is GORGEOUS! Next in is the delightful bounce of 'Asking Some More'. I'm predicting that this one will get lost. It will be heard and enjoyed on a superficial level but if you grind it down, even a little your gift is brilliance. It just is. Where I am currently with 'Asking Some More' is that it is a track on the importance of education and awareness. Of course, I'm not strictly speaking about the type of knowledge attained in a classroom (although there's nothing wrong with that); this is a more experience based - instantly applicable - type of insight. Benjamin approaches this one from all angles including, wonderfully, a historical one.

"Nameless Ethiopians, remotest men of all-

Came to the west inna handcuff, inna chain and ball

Inna modern contemporary, standing tall

BECAUSE OF AMNESIA, WE DON'T RECALL"

And then there's the "plant" I alluded to before, the MAMMOTH 'Sycamore Tree'. There is a certain FORCE behind Benjamin's vocals here that I'm struggling to recall hearing previously on this level. There're points during 'Sycamore Tree' where his voice gets a little raspy and it almost seems like he's a little pissed off (maybe 'Sha-tee') ["Deputy & legacy"] but when you check it out, 'Sycamore Tree' is a biblical tune, almost entirely. I make this case for other artists but so rarely for Akae Beka because he doesn't change it much; but, at least here, the delivery adds so much to the vibes here and it absolutely TRAPPED me as a punchline/headliner for "World Tap In"...

"FROM THE OLD LION LAND, WHERE THE VIBE FIERY"

I have found 'Hemp Scroll'. I have located 'New Race'. 'Sycamore Tree' THRILLS as the single finest moment on the album. By comparison, the vocals of the tune behind it, 'As We Will', are much lighter than 'Sycamore Tree' but they also work in its case. It almost reminds me a little of the title track from "Free Indeed" ["Work of light and word of truth that King Selassie I reveal"] as far as its sound. 'As We Will', in its direction is a fairly broad life observation. It's about the balance of all things -- good & evil, heavy & light --and how they play a role in the things we do and the decisions we make. It comes from a spiritual source, obviously, but you could well apply facets of the song into tangible, everyday life. I thought I had a pretty solid idea of what 'Across The Eons' could be about and I was fairly close (for a change) as it sits as both a praising piece and one which attempts to link the present with the past ["Reaching across the eons to hold hands, to break bread and give thanks"]. It does have a more directly biblical heart, particularly later on but, again, you could just as easily take it to mean that the foundation and teachings set by our ancestors can be helpful to us all these years later. So, if you do take the effort, you could also give it a more grounded significance. Oh and 'Across The Eons' is also kinda beautiful but I'll talk about that more in a minute. I'll also mention 'Cover InI' right here because I've been stuck on it for the better part of an hour now. 'Cover InI' is a pure praise and nothing else and it is simply glorious. I want to emphasize the "simply" part of that statement because it doesn't even attempt much else (which is rare for Vaughn Benjamin) and he says a couple of things during the song which definitely caught my attention and did so in a very, again, plain and uncomplicated way. "I keep The King in front I face continually", he says and the goes on to talk about both the rewards of doing so and the struggle to maintain that type of FOCUS. Speaking of "focus", that is the secondary thought I have regarding 'Cover InI'. He also says, "Higher man over material sensibility"; essentially saying that there are many things (and people) that can distract you from The Source but the greatest joy is not straying and not falling for them. BOOM!

As always, you go into an album and you're very curious about the title track and 'World Tap In' is no exception. This one took me a minute... and then another minute and then another one and that is largely due to its sound. Maybe its just me but I hear a lot of things going on in the background on 'World Tap In'. There's a certain GRUMBLE behind it (it sounds like someone is doing something, physically, in the background but doing it in a way while trying to stay on the melody) that can be a bit distracting and, for as aggressive as the song comes off, for his part Benjamin doesn't match it. He just goes about his business. His business in this instance is awareness. It is the idea that if we TRULY cut through a lot of the bullshit that we are served that our successes can soar. He goes SO FAR as to even get biological ["Pure water, clean air and all that thing"] in his image of upliftment so, if you dare to get through the sonics here (and maybe (probably) that was only an issue for me), a diamond awaits. Like You, I had a pretty good idea of what to expect from 'In Your Hands' and it did give me that but it also delivered something more unanticipated. There's something very VINTAGE about it. It's that beautiful, old school, disheveled and kind of messy Midnite sound and I mean that in a good way. It's what I used to run away from when I was younger and what became addictive for me when I was finally able to appreciate this work. I LOVED finding a song like this one "World Tap In".

Going back, I was also pretty happy to find the downright hypnotic 'Your Needs' as well. If you've ever seen an Akae Beka performance, perhaps you've seen Benjamin in some type of rapture, lost in his sound and, presumably, some type of JOY. I get that when I listen to 'Your Needs'. Just the sound of it and how his delivery hardly changes (WHAT he says changes, obviously, but not much in HOW he says it) signals to me that he was REALLY feeling the vibe here. What he does with it is to speak about how everyone has a role to play in building prosperity ["The people that hold things to together. Make systems work, run efficiency; and training and order. What are your needs?"]. 'Your Needs' is RIPE with ideology and I think it'll end up being one of the songs I listen to most from "World Tap In". Finally, the album goes out on a very high note, with one of its legitimate champions, the mystical and curious 'Freedom Route'. 

"The long march is on

Sounds like boots are on the move

The displaced people seeking rest and food and mood

Pace yourself

The journey's long

Take your palce among the strong

Pray that goodness lead in front

Greater numbers from month-to-month

Politicians who are rude and flaunt-

Take your hopes and dash dem down

Turn your smile into a frown

Turn their thorns into a crown

Jah be with who makes it out 

All about the freedom route

All along the freedom route

Jah be with who makes it out"

I won't go into it too much (because I'm about to right now) but the closer has such a LOVELY sound to it. It is so nice to hear! Its 'route', in my opinion, is about how we all need to be willing to help one another and to also be able to receive and ASK for help when we need it, ourselves. There is a journey that we must all make and MAYBE you can make by yourself but your chances improve greatly when you have someone standing next to you and in front of you and behind you...

Okay! I do want to very briefly elabourate on what I just mentioned and refrained from mentioning several times throughout this review. Musically, "World Tap In" is exquisite. It is REALLY good but, because of its subtleties and simplicities, I don't think that this album will ultimately be appreciated for just how pleasing of a listen (on the most casual of levels) that it actually is. I go back to the "Bless Go Roun" set and it's seriously approaching those levels and, it's a better album than "BGR" was in my opinion. Credit goes to Higher Bound Productions there because they made them both. 

Overall, because we don't know when or even if we'll get another opportunity like this (although I think we will and I'm REALLY hoping that someone out there is working on putting together a 'greatest hits' type of release for Akae Beka) (but I doubt it), I'm definitely making the most of "World Tap In" and, outside of this review, I'm looking forward to enjoying and digging into all of these songs for years to come. That is a gift that is most unique to the music of Akae Beka. Sure, it can be pleasing and fulfilling and gratifying at once but the way Vaughn Benjamin made music... it almost came with a time-delayed function. Much of his work will carry even more value years on from now. "World Tap In" is not only another winner from Akae Beka and Higher Bound Productions, it's also another VERY healthy collection of music to add to a catalogue that is truly immortal and I got EXACTLY what I was hoping for and DAMN I'M HAPPY!

Rated: 4.40/5

Higher Bound Productions

2026

{Note: Album is available on vinyl}

Signatures Vol. XII: Reggae Random

Okay so, I was working on a few ideas for what would be next on the Signature series (it is EASILY one of the most enjoyable things that I write as it, primarily, involves me going through a lot of old music that I really, REALLY love) and I had some good ones. While I'll tell you about a couple of the others in the notes for this (right down there ↓ in small print) the one I'm going on today is probably the most fun and less stressful to write. Today we get random: HERE ARE FIFTEEN RANDOM SONGS THAT I ABSOLUTELY LOVE. Signatures: Reggae Random

{Note: The only rule is that no one artist would be repeated}

{Note 2: If it works out right, there'll also be Dancehall & Soca versions}

{Coming soon: Bushman, Vybz Kartel & Destra}

[BOOM!}

1. 'King Selassie H.I.M.' by Tarrus Riley

Never before. I spend a great deal of time talking about people like Norris Man, Chezidek and others: UNCONVENTIONAL TALENTS. These are individuals who offer a very different style but one which is largely effective and downright stunning when at its best. However, with that being said, there is definitely room for.... refinement. "Refinement" would be someone like Tarrus Riley. If someone had a sound signifying that they had no greater purpose on this planet than to sing this music, it would be Riley and, arguably, the single greatest demonstration of this  EN skill would be in one of the best songs I have ever heard, 'King Selassie H.I.M.'. TEAR! You're likely to find similarly organized songs throughout this list (I know at least one because I've already written it) but you'll have a damn near impossible task in locating one -- on or off this list -- which was as PRISTINE & FLAWLESS as this diamond of a praise. 

2. 'I Have My Goals' by Anthem

Wicked ahgo fall. You remember this song??? Chances may be fairly high that, if you ever were familiar with a band (which may or may not still exist) by the name of Anthem from out of who knows where, you probably do remember 'I Have My Goals' over everything else they've done. I don't know if they still exist and, if they do, under what form. I don't recall where they were from (I want to say Connecticut, US for some reason) but full credit goes to the band for blessing us all with this SWEET uplifting and inspirational piece from many years ago now. Take a listen. 

3. 'Health & Strength' by Warrior King

My Father's work. My Father's work. TEARS! I can safely say at this point that I missed on Warrior King. He's made some fine music  but, to be honest, I expected him to enter a level of the music that he has not and, almost surely at this point, never will. A lot of those very high expectations were built upon the work that would go into his 2002 debut album, "Virtuous Woman" (I have a signed copy of that album around here somewhere and the second one too). While the title track there remains his biggest hit to date (unless I'm REALLY forgetting about something) what his actual BEST SONG has been is of even less question (and, in retrospect, that album had some SERIOUS songs on it alongside 'Virtuous Woman'. 'Never Go Where Pagans Go', 'Breath Of Fresh Air' ["ANYWHERE THERE'S LIFE, YOU KNOW MY PEOPLE WILL BE THERE!"], 'Love Jah and Live', 'Empress So Divine', 'JAH IS ALWAYS THERE'.... and I could go on and on) ('Rough Road', 'It's Been Awhile'). Song #14 on "Virtuous Woman" is the mighty 'Health & Strength' and that song, for me at least, puts "virtually" everything that Warrior King does well at its optimum. It is melodic and beautiful to hear and it also carries a high level of substance to it as well; this time combining the enjoyment of the lovely things the world has to offer with a sense of hard work and accomplishment. I don't find myself looking up much of WK's output these days which is too bad and that's too bad because of the skyscraper of talent this man has as is crystal clear by a song like 'Health & Strength'. 

4. 'Before I Lose My Strength' by Akae Beka

All for The Most High, Jah. Here's an interesting one. On the very first edition of this series, we featured Akae Beka and there were several REALLY difficult choices in tunes that I cut off from the final list (to the point where I may, someday, make a vol. 2 for Akae Beka, specifically, and it wouldn't be difficult filling with another 12-15 songs). One selection was DEFINITELY 'Before I Lose My Strength' from the "Jah Grid" album. I can distinctly recall hearing this song (and most of that album) at a stage in my life where the music of Akae Beka (then Midnite) was almost entirely lost on me and the contrast of what I hear these days is absolutely ridiculous. "Jah Grid" is a borderline Modern Classic in my opinion and its finest offering, 'Enter' was on the aforementioned Signatures: Akae Beka post. Its second best?? That honour is up for debate but it settles at the glorious 'Before I Lose My Strength'. Something that I think is unintentionally beautiful about this song has stuck with me: It is delivered in a way (that may, actually, make it one of the best SANG songs that Vaughn Benjamin has ever done. That was never a specialty of his) that directly coincides with its direction. Benjamin sounds... kind of tired, doesn't it? He sounds like a man who has given almost every last drop of effort that he has in his body and before that final spill has been exhausted -- before he is at THE end of his line -- he has something to say. 

"Before I lose my strength-

All of my breath, OH JAH

A joyful song, I sing

Today & tomorrow"

5. 'On My Way To Zion' by Turbulence

Seeking The Conquering Lion. I definitely considered doing a full Signatures feature on Turbulence but the slightest bit if you want to know the signatures of Turbulence's career,  just dig up the "Rising" album and you'll probably be about 80-85% of the way there. One of the exceptions is, arguably, the single greatest tune he's ever done in my opinion, the absolutely STUNNING 'On My Way To Zion'. If ever you've had the fortune of seeing him perform this tune live (and I have) you'll know just how much you can actually FEEL this song but even the studio version of it does a fine job in capturing its presence. I've definitely had my issues with Turbulence's output over the.... best of the last decade and a half or so (and probably longer than that) but, here, he put on a downright ROYAL performance; one befitting The King.

6. 'Black Coffee' by Anthony B

No sugar. No cream. The perhaps surprising standout from the self-prouduced 2001 VP released "That's Life" set, 'Black Coffee' was an absolutely GORGEOUS and SMOOTH tune giving praise and honour to the beautiful Black women of the planet ["Here's my token of appreciation"] from the great Anthony B. For as popular as he is (for good reason), coming across compilations of Anthony B's work isn't the most difficult thing but you probably won't find this true gem of a tune that has largely gone forgotten. That is most unfortunate because it easily ranks amongst the finest love songs of his storied career.

"BLACK COFFEE, NO SUGAR, NO CREAM!

BLACK WOMAN MI A DI KING, YOU A DI QUEEN!"

7. 'Ganja Farmer' by Marlon Asher

Stinkin rocket launcher. Undeniably one of the finest ganja tunes in the history of the music, Marlon Asher left an impact on Reggae music over twenty years ago when he dropped 'Ganja Farmer' which can still be felt to this very day (typically I say it doesn't seem THAT long ago, 'Ganja Farmer' does seem twenty years old at this point). A strong case could also be made that it is the single biggest tune Trinidad Reggae has ever produced (and there're a few strong candidates but it is definitely in the conversation) and that has an even greater reach; it probably helped a number of Asher's peers get their foot in the proverbial door and who knows who we're listening to TODAY that we may not have been exposed to were it not for this tune. And as for this tune... 'Ganja Farmer', as effortlessly as possible, burned a giant hole in the minds of anyone lucky enough to get a taste of it, courtesy of a rocket launcher. 

8. 'Rub-A-Dub Market' by Luciano

Living legend. You come to expect certain things from certain people and when they kind of break that level of expectation and confidence, the results typically aren't very good...  but that isn't always the case. When 'Jah Messenjah', the great Luciano, broke the norm with the title track from his remarkable 2011 album for Irievibrations it was wholly unexpected but NOT AT ALL unwarranted. The man has (and had even fifteen years ago) attained a level of respect and accomplishment in Reggae music that is beyond reproach. We all knew that at the time but he'd never really expressed that, musically, until 'Rub-A-Dub Market'. 

"THEM KNOW THAT PAPA LUCI IS A LIVING LEGEND"

His place already secured, Luciano would even take a next step and criticize some of his less storied peers who are not willing to work but full want to reign.

"DEM AH GWAN LIKE DEM A DI ROOT BUT DEM A DI BRANCH AND STEM"

The tune was spicy, out of the norm and a gorgeous highlight within Luciano's LOADED catalogue.

9. 'Upper Room' featuring Empress Cherisse by Anchants

No need to wonder. I don't remember much these days about Empress Cherisse and the band Anchants. I THINK she was from Trinidad but I don't remember where they were based out of by the time they sent out their 2003 project, "Merkaba". I may've lost the stories of their origins but I do know that, barring some type of dementia, I'm not going to forget their actual work because one of the songs carried by "Merkaba", 'Upper Room', has been a personal favourite of mine from the very second that I laid ears on it. 'Upper Room' is... hypnotic. It is a.... CAREFUL EUPHORIA almost reminiscent of something you get from an ultra-tuned in Dezarie and I have gleefully lost myself in it. The biblically armed track is one with at least one foot on terra firma as, in a very relatable way, Cherisse tells us that there're many things that are questionable -- literally an endless line of them -- but there is something or SOMEONE who is above it and there is no need AT ALL to wonder about HIM. 

10. 'God Bless' by Junior Kelly

Anointed & Appointed. Buried on a long forgotten (but SPICY) album from nearly a quarter-century ago by the name of "Conscious Voice" is simply one of the single greatest songs I have ever heard from anyone, Junior Kelly's DAZZLING 'God Bless'. For anyone who has this kind of rigid archetype of what Roots music is, I'd point you in the direction of this most malleable giant. 'God Bless' had its purpose and it served it. Before we get lost in the stars, the track also deserves a giant lyrical credit as well:

"Yeah, though I walk through the Valley of Death, I man will never fret

Cause Jah is by my side and HIM ah guide mi footstep

Stood firm inna mi faith

Cause Jah is very great

So why you choose to fight man and don't appreciate?-

The vibes a weh mi fling, uplift mi race and thing

BADMINDED PEOPLE DEM DON'T WORTH A THING CUZ-

They would like to see you wear a frown everyday

They would like you throw your dreams all away!

But I'm anointed and appointed by Jah

Dem ahgo fi si mi face on ya!"

With that covered... LISTEN TO THIS THING! 'God Bless' sounds GORGEOUS. It's never failed to put a smile on my face in the last twenty-three years and, apparently, Kelly knew precisely what he had on his hands because he literally observes the moment:

"CAUSE A WI GOT THE GIFT FI MAKE HEADS ROCK AND SHIFT"

Yes, sir. Yes, you do. 

11. 'Volume Of The Book' by Ras Shiloh

The whole earth shook. Veteran vocalist Ras Shiloh is probably best known for two things: The first is his massive hit, 'Are You Satisfied', while the second is the similarity of his voice to the legendary Garnet Silk and that's just fine. I would argue that the single best song that he's ever made (even over 'Are You Satisfied'), is the literally inch-perfect 'Volume Of The Book', which appeared on his 2007 Bobby Digital produced set, "Coming Home", for VP Records. I'll put it to you like this: Shiloh is known, as I said, for being very similar, vocally, to Garnet Silk - if 'Volume Of The Book' were placed somewhere in the catalogue of Silk, it would still rank very highly in my opinion. There're songs that I like more than 'Volume Of The Book' in which I will acknowledge the existence of certain flaws which may even add to their appeal but that isn't the case here. If such a thing is possible: 'Volume Of The Book' was PERFECT. There is absolutely NOTHING wrong with it. 

12. 'I Wanna Go Home' by Alborosie

Island in the sun. I am not a fan of Alborosie's. I never have been and I almost certainly will never be. For some reason, his brand of music has just never appealed to me and though, once upon a time, I definitely did give it a shot I can honestly say that I haven't listened to much of his work, period. Something new coming from Alborosie will likely not get much of my attention. HOWEVER, with that being said there is one exception to all of this within Albo's catalogue, the complete and utter JEWEL that was 'I Wanna Go Home'. The song was just so easy and it was one of those magical times when the vibes of the tune so perfectly match the actual nature and focus of what is going on, lyrically. I wouldn't be surprised if I never found another Alborosie tune that I even kind of like but a big for 'I Wanna Go Home', he has earned and will always have my respect.

13. '50 Push Up' by Spectacular

Hundred skip. I'm probably more open on the heels of his wicked latest release, "Stay Up", from last year but that album didn't represent the first stroke of genius made by the scathing Spectacular. Way back in 2005, the Kingston native served up his debut set, "Find Yourself" and the lasting track from it maintains its STRENGTH to this very day. '50 Push Up' was a song stressing HEALTH & FITNESS of the highest caliber. You're well familiar with Roots music singing about the importance of keeping one's soul and mind in-shape by focusing on the proper things and, of course, praising His Majesty. You'll also hear the occasional offering talking about things such as living a more natural life and putting healthy things into your body. All the more rare is what '50 Push Up' does (as its title DIRECTLY suggests).... it's still necessary for you to break a sweat sometimes to keep your body in shape and to build muscle. There's a certain simplicity to this one, beneath everything, that really helps it along and made it a favourite of mine. Time to get off your ass and do some work!

14. 'From The Beginning' by Lyricson

The powers to sing. Though I may've (I did) beat up on Lyricson's most recent album, "African Dream", I actually did so because I've been witness to the mountain of talent on which he rests his head when at his best (and he's had an EP since then called "Zodiak Vol. 2", I didn't love that one either). Demonstrated amongst his earlier work on albums such as "Keep The Faith", "Born 2 Go High" and "Messages", the incredibly gifted Guinea born vocalist's  talent can be amongst some of the very best in the entire genre when steered properly and WITHOUT A DOUBT the best example of this would come on that "Messages" set from 2012, 'From The Beginning'. WITHOUT QUESTION, 'From The Beginning' is the single best piece of music that I have EVER heard from Lyricson (there exists a chance that he's made something that I haven't heard that I would rank higher but I HIGHLY doubt it) and you could drop it into the catalogue of a handful of others with more storied careers and that would still be the case. 'From The Beginning' was FLAWLESS. 

15. 'Manifess Joy' by Arkaingelle

JOOOOOOOOOY! I may have bad news for you, if this song does not bring a smile to your face. I regret to inform you that your ability to smile is GONE! It's found something else to do with its time and it's spending most of its time at someone else's house. For the rest of us, however, the Arkaingelle THRILLED! I've spent nearly twenty years singing the praises of the SWEET 'Manifess Joy' and with good reason: It's simply one of the best songs that I have ever heard... with no qualification at all (not one of the best from Arkaingelle, from Guyana or during a certain time period. IT IS ONE OF THE BEST SONGS THAT I HAVE EVER HEARD!). I should also do something that I'm not sure that I've ever done and give credit to a beautiful background singer who almost serves as a duet partner as much as a backing vocalist (...and may just be Malika Madremana).