Most Wanted: 2026

Okay so, that was 2025. I hope you liked it but if you didn't, there's nothing we can do about it now. It's over... on to the next! We had some very impressive releases from some expected and some unexpected stars to help make the year fun and, presumably (and hopefully), this time next year, we'll be saying the same for 2026. So we're already looking ahead to what the future might have to offer and to do that we're going to use a feature from back in da day. Today we assemble a group of ten individuals who we're hoping to hear from in the new year. Most Wanted 2026!

{Note: Names appear in no particular order}

{Note 2: I intentionally excluded people who I know have albums scheduled or are heavily rumoured to be releasing albums}

Anthony B

It was just 2023 when the great Anthony B released his most recent set, "Bread & Butter", so while the world isn't exactly starving for a new one from him just yet... it would be pretty nice considering the roll he's been on in recent times. I'm sure I'll say this in regards to someone else (if not everyone else) but, with the right producer, based on what he's been up t o lately, I think Anthony B's next album -- whenever we get it -- could be a contender for best of that year. Even at such an advanced and well grizzled stage in his career, the Original Fire Man appears to be well within reach of his prime. ANTHONY B! SHOW EVERYONE WHAT I MEAN AND DO AN ALBUM IN 2026! PLEASE.

Queen Omega

We're just coming up on the third anniversary of "Freedom Legacy", Queen Omega's most recent studio release but prior to that, a truly ridiculous FIFTEEN YEARS had elapsed in between records from her, which was entirely unacceptable. Three years is just fine in my opinion and the star of our Album of The Year for 2023 would look just fine making her return in 2026. In the summer or so I actually heard an interview (on a radio station in Toronto, I THINK) where the Queen said she was at work on her next album and I, of course, glued into that fact. She didn't say with whom she was working or give any type of timeframe for its potential release whatsoever but, if she does make an appearance next year, she could definitely do a lot for 2026. 

Damian Marley

"Stony Hill" will turn eight years old next summer and one of the legit, bona fide superstars of the genre, Damian Marley, figures to be DUE for a new set any one of these years now (and I can recall hearing a rumour that he was coming with something late 2024, I believe) and one would think that he is actively at work on the next project. I always enjoy stressing the fact that, despite the most obvious thing about him -- he's Bob's son ["Tell mi which CD do you think dem get? Di one closest to di Bob Marley boxset"] -- Jr. Gong is a wizard. Lyrically, the man is virtually peerless and what he is capable of is downright special. Hearing a brand new performance of his talents is always a gift. Hopefully he brings gifts next year and I think he will. 

Ras Batch

Without looking anything up, I would probably say that Ras Batch releasing an album in the next twelve months would be THE biggest surprise if everyone on this list were to do the same. The last time we heard from him would have been on "Rootz & Kulcha" from early 2017 and if you know anything about Batch, he pretty much likes to do his albums by himself. Of course there're exceptions (one in particular) but he generally keeps production in-house via his own Sound V.I.ZIon imprint. That's fine but I think if he could, somehow, get into that never endingly active mix of Trinity Farm Music (like other VI artists, Ancient King, Abja, Danny I and  even Akae Beka) it would see the rather reclusive Ras Batch to a greater level of frequency... and he can bring Ras Attitude with him! I don't think it happens but stranger things have. 

Sara Lugo

Finally (technically. I'm writing this one last but she won't be listed last), you knew she was coming. How about a new Sara Lugo album for the new year?! Recently returning to the familiar ground of Oneness Records, the now VETERAN singer (Sara Lugo's probably getting towards (if not already) forty years old (that is RIDICULOUS!)) (further research reveals that she just turned 38!) could definitely freshen up 2026 via dropping album #4. It's been a minute (and four and a half years) since "Flowaz" ["Bring me flowers!"], so she's also due (...for an album) any year now and 2026 seems as good as any. I'm actually going to predict that this one does happen in the new year. Maybe it comes from Oneness, maybe not, but I suspect Funky Comfort will reign in 2026!

Luciano

I could definitely be wrong and I probably am but, off the top of my head, I THINK that the most recent studio album that we got from the great Messenjah, Luciano, was 2020's Oneness produced GIANT, "The Answer". He's had re-releases, remasters, greatest hits and compilations since then but, as far as I can tell, not an actual new album since it (he had one called "Return Of The Chronicles" which was an odd R&Bish re-working of some of his biggest hits that was really hard to listen to). That's fucked up... it just is. Even if I'm forgetting one, hopefully one of the greatest voices this music has ever produced and one of its longest serving soldiers comes back to us in a characteristically BEAUTIFUL way in 2026. 

Mark Wonder

There was an EP back in '23 called "Reflections Of The Dragon Slayer" but I think that the last full album from the GOLDEN Mark Wonder remains 2020's "Remz Of The Dragon Slayer" (the man has been slaying dragons for a really long time). That album came from a very familiar source, Oneness Records and, not too long ago, Wonder appeared on their High Peak Riddim. I'm thinking that 2026 could be a very good time to get the old band back together again and see what could happen. What could happen has history as, way back in 2012 Wonder & Oneness teamed up on the aptly named "Working Wonders" which is, EASILY, one of THE best albums I have heard in my entire life. I think that it's time for a sequel ["WHO ELSE COULD IT BE?!"]. Will it actually happen??? I wouldn't bet on it. 

Busy Signal

This one is very specific and I don't really think that it has a legit shot of happening but let me ask you something: How damn cool would it be if Busy Signal's next album came via the Zion I Kings?? Doesn't that sound pretty good?! Obviously, the thought arose as the well versatile Busy actually did cross paths with massive Reggae collective for a single, 'The Days', back in October. Now, if they could get together again.... this time for a full album, the results, just as the quality of the single would suggest, could be MASSIVE.

Jah Defender

Such a list from me these days HAS to include the currently flaming chanter from out of Trinidad, Jah Defender. Along with being quite active these days, he lays a giant claim to dropping THE single best tune that I heard in all of 2025 altogether 'Haile Selassie I', so of course I'm interesting in getting my hands on a full release in 2026. Magnifying matters is the fact that he's been doing a lot of work with one single outfit, House Of Riddim. I can DEFINITELY see HOR reaching with a full Jah Defender project in the new year and you know what? I think it WILL happen and if it does, at least on paper, this one will have Album of The Year potential in my opinion. 

Reemah

I know that I said that these were listed in no order in particular but I specifically saved Reemah for last because she's probably my #1 in terms of how much I want it to happen. It has been a downright heinous soon-to-be eight years since her last set, "Breaking News", and... frankly I'm getting tired of waiting. This is some bullshit! Had I done this list last year or the year before, my prospects would have probably been higher. Today? Nope. I have none. I don't think this is happening. I do hope that I'm wrong but I'm not seeing one of the true, bona fide GENIUSES that we have today doing a new album in the new year. I'm just not.... but DAMN, I HOPE I'M WRONG! 

The Vault Reviews: "Rootz And Kulcha" by Ras Batch

Wizard. Roots Reggae music, more so than any other we deal with here, is an artform very much based on the message. It is about an artist who has constructed an opinion and a point of view coming up with a way to express that idea and then presenting it to the masses for our digestion. At its best, it provokes thought and action and really just challenges the listener to do more than just sit and enjoy what they are hearing (although you can do that as well). These messages... you know them very well if it is your intent to read a review such as this one, are staples of the genre. They occur so frequently in the music that people like me often use the term 'obligatory' in describing particular songs because there is a virtual 'checklist' of requirements in terms of certain foundational ideas of Roots Reggae music. And it is still music, which means that there is an inherent 'show' or entertainment aspect to it (it has to sound good, at the very least), but the messages behind that music can be so strong that... well I don't even have to explain it. You can go through the archives of these pages and see just how appealing and moving some of this material can be and I have not even scratched the surface of tiny percentage of what has existed during our time. On top of just how plentiful and popular the music can be, it does have a ROOT and a purpose. Though we may tend to overlook it or maybe people like You and I have listened to so much of it that it takes something truly extraordinary to get our attention on a higher level, it is still present and the very fact that the music is so populated may just be the greatest piece of evidence that a great deal of work remains to be done. Now when you get into that next aspect of individuals who at least seem to take that next step and actually apply it to something further than making a song (and we don't know them, we don't live in their houses and we cannot say what they do behind closed doors or what is going on in their thoughts), I think that the list of those type of artists becomes much less populated. SURELY one of the individuals who carries the mantle of not only making a certain type of HEAVY Roots Reggae music and, again, at least seemingly, living it as part of his everyday life is St. Croix veteran, Ras Batch. Batch is someone whose presence I have so wonderfully grown to appreciate as I've gotten older and while I would not say that in my youth his work was unattainable or incomprehensible, I would have been absolutely SHOCKED had you come to me... a decade and half or so ago and told me that I'd wake up one day and he would, rather easily, be amongst my favourite artists. I surely appreciated his work and was coming around more and more to know about everything he had his hand in at the time (more on that in a second), but I never would have imagined that I'd wake up one day in 2021 EXCITED about writing a review for a four year old Batch album.

So what changed? What clicked? I wish that I could tell you about one specific thing or moment, but I think that I may be able to come close to doing that if my memory is correct. in 2005 Batch had an album by  the name of "Jah Guidance". I heard it, I thought it decent and I put it down and moved on from it. Fortunately I hung on to that set (which wasn't always the case and I have passed on some GEMS in my day, but fortunately I still own the physical disc for that album) and, somewhere down the line I gave it another listen. I could force my memory to attempt to be able to explain what the shift was or I can just tell you that an album that I had once set down and marked as "decent" had grown to the point where you will now find it listed as a Modern Classic on these pages which as distinct an 'honour' that we give to full studio releases. "Jah Guidance" is one of the finest albums that I have ever heard. It just is and, what is most remarkable, is that he's managed to top himself since then, with an even stronger project.

2005 & 2012

In 2012, Ras Batch would FINALLY link up with the Virgin Islands' dominant label for Roots Reggae, Achis Reggae favourite I Grade Records and the Zion I Kings collective. That union would birth the downright STUNNING "Know Thyself", another modern classic (probably time we got around to doing a few more of those), and really take Batch's career to another level in terms of notoriety. Prior to that, Batch's career is one of someone who has had to GRIND. The man has seemingly been one of Reggae's hardest working soldiers of his era. Starting out on his own Sound V.I.Zion Records imprint, Batch did virtually everything there was to do with his music and for that of other artists as well. He played instruments, he wrote, produced and put it out (PAID FOR) on his own label. He was also very instrumental in bringing to the world, fully, one of the most naturally gifted artists we have ever seen as the first two albums from the great Ras Attitude, "Happiness" and "Love Life" were Sound V.I.Zion productions as well (they also took a credit for the "Trodding Home" release as well) AND, were that enough (and it was), the label also released an album called "Ah We Deh Ya" in 2012 by an artist named Ima, who is Ras Batch's wife. As I said, it has been a grind and he has been someone who has CLEARLY embraced it and doing the work required. So, following the step up that was "Know Thyself", I was damn interested in seeing what the next move would be for Batch and it took half a decade, but in 2017, the chanter returned with his eighth studio release to date, the most fittingly titled "Rootz And Kulcha". The set would mark Batch's first album released through Sound V.I.Zion Records since 2007's "To The Root" (which was excellent. It was so good!). And, like "To The Root" and "Keep The Faith" and "Who You Are" before it, "Rootz And Kulcha" was a project steered by Batch himself. I heard him say in an interview that there was about ten people, totally, involved in the work of the album, including his own son. That's the type of thing that you're going to get from someone TRULY dedicated to doing this work and getting the message out to the masses (in the very same interview, he would go on to say that he had, years previously, come to the conclusion that the work he was doing would not bring him economical success, but he felt it still so very important to do the work. He felt like he HAD to do it). There's no one over his shoulder, telling him what he has to do or about a deadline or anyone talking about a performance or anything like that. It all comes from Batch, himself, and when you look at exactly what he's managed to accomplish in his career, given that he has had to be self-motivated and, for the most part, self-sustaining, it makes it even more striking. Strictly on the music side, Batch's style has remained so wonderfully simple and direct, that I have made the case in the past that he may be someone who has actually ahead of his time. That, years from now, someone will come up heavily influenced by Batch and doing their own fantastic work. Until then, however, we're in a position to APPRECIATE the artist for what he has become.

Which is very strong. These days, I don't worry about Batch's music very much (and it's been a minute since I have, actually), in terms of the quality or the actual sound, for the most part. The formula he has used throughout the years is well proven and he knows it. He is well aware of his strengths and weaknesses and you know precisely what you're getting into when you listen to his work. I don't know when his next album is coming (hopefully it is in the works, it's been four years now since this one), but I can tell you already how it sounds and that it's going to be some type of excellent. Reasons supporting that prediction can be found throughout "Rootz And Kulcha", the most recent album from VI Roots Reggae wizard, Ras Batch. The title track and, I think, the second official single gets us up and going. If you were going to name Batch's entire career -- like a greatest hits album -- 'Rootz And Kulcha' might be apropos. The way this one is written almost has a double meaning if you take it just a bit deeper. Along with the 'roots and culture' being a clear identifier of the style of the vibes you're listening to, Batch also takes the tune to African shores and uses it to say that he will always be observant, respectful and prideful of his origins ["No tree can live without roots. How can it stand? How will it bear fruit?"]. When you combine the two, and the general structure here, you end up with one SWEET offering and one of the finest on the album it titles. Another highlight, 'Bless Up', is second and it definitely keeps the levels high as, following an electric beginning, it ascends into this sparkling Roots set which is geared towards reminding us all to take a moment and appreciate the things that we do have in life No, everything isn't perfect (it never will be perfect and if it were, it would probably drive you crazy), but you do you have something good in your life and something to be thankful for. I also really like how Batch specifically directs this one to his own community and neighbouring areas in the Virgin Islands, which is something that I don't recall hearing very much, although it is not at all surprising coming from him. Though "Rootz And Kulcha" gets off to a fine start with its initial pair of selections, its third, 'Rastafarian Chant', is even stronger. Beginning with a traditional chant, the song goes on to SOAR!

"With the drum beating, from deep in the wilderness

A royal gathering-

To see the Rasta kinship and the Rasta Empress

Everyone feeling the best

Fragrance from the frankincense and he myrrh incense

Headstrong come deh and kette ah beat 

Judgment, hotta fyah fi tun up di heat

Crushing devil unda feet

When Rastafarian ah chant!"

In my opinion, 'Rastafarian Chant' has no equal on "Rootz And Kulcha". It reigns supreme here as one giant piece of praising tune and, from someone who is EXCELLENT on the subject (he had a tune on the "To The Root" album called 'Hail The King': TEARS!) (had another one that I'll you about in a minute as well), it still ranks very highly in his catalogue. 'Burdened' with following that giant effort is 'Truth and Redemption' and it actually does just that quite well. The vibes of 'Truth and Redemption' are a bit difficult to describe maybe. Something about, the pace or something, is very unique at least to my ears, but in a very subtle way (probably doing a horrible job of describing something that no one else has ever felt about it). Whatever it is, Batch uses it to deliver a social commentary with its feet, very much, on spiritual grounds. The point here being made is that when we turn to a Higher Source, many of the problems we have in the world will be corrected. We definitely have to be aware and to carry our load and do our part, but an absence of His Majesty will leaving us wanting more. It is a very interesting lyrical composition as well and one which I have, wonderfully, spent quite a bit of time on working through and you know I will continue. And definitely make sure you take it in its entirety as, later on, Batch dazzles. 'Chant Down Babylon' is a bit more straight-forward, but it also kept me quite busy and I've well enjoyed it. You can take this one in a few different ways (two in particular) and it will work out for you. The first would be that Ras Batch is telling us all just how important to call out and point out nastiness and injustice ["Them think forever dem injustice gonna last. Jah judgment ah come down fast"] wherever you may encounter it and. And you could also, specifically, apply it to the artist, himself. He's talking about how much it means to him, to personally be in a position to make this type of sound and put a flame to those who mistreat the world. As I said, either course (or both simultaneously) will lead you to a fruitful destination... so yeah, you may want to try both. 

Though you'll find my single favourite selection on it in its first third, the next 'batch' of songs on "Rootz And Kulcha" is, arguably, even better in many ways. The biggest attraction here (literally) is the downright EPIC 'Only Truth'. Checking in at a delicious six seconds just south of six minutes, 'Only Truth' is absolutely EVERYTHING you need it to be and probably a bit more. The basis of this one is education. The more you know and the more you are you aware of what is going, the more capable you will be in identifying negative things and negative actions against you. That's the foundation; and Batch begins methodically building on it with a message which reaches out to subjects regarding religion, slavery, history and others. It is a fantastic tune and which now has me questioning my favourite song present here. I also should mention the vibes. 'Only Truth' CRAWLS! It comes through on a divinely slow-paced HEAVY Roots track which is also amongst the album's very best. Surrounding 'Only Truth', right in the middle of the project, are four more stellar efforts. Check the unity-driven 'Live as One', where Batch chants down infighting and disharmony amongst oppressed people, while THE ACTUAL OPPRESSOR walks away unscarred (kind of reminds you of a piece he did with Achis Reggae favourite, Messenjah Selah, from "I-Ver Strong", called 'Us Against Us') (big tune ["Cah di ignorance and folly deh ah gwann fi too long. Waan cut each other throat and still can't get along"]. I loved the background singer on this one as, whoever she may be, she really does a nice job in enhancing the URGENCY of the topic and as it progresses, Batch does the same thing as well. The background singers found on 'Word, Sound, Power' also do very well in helping set the tone of things. They come in with a gorgeous African chant. 

"Just can't keep I down

Rastaman word, power and sound

Jah lifted I face off the ground

HIGHER ELEVATION BOUND"

From a strictly sonic point of view, this one may just be the best listen on this entire release (and that's saying quite a lot, especially considering some of the later ones). What I ultimately took away from it was that Batch was attempting to infuse some PRIDE in his listeners and to be proud and HONOURED of our heritage and what we come from. Again, the method he uses to make this point is a GOLDEN one. It is so nice! And, taken as a whole, you have another highlight from an album which is proving to be better than the rating I had in mind for it (which is part of the reason why I write the way I do, when you scrutinize EVERYTHING, you get so much more detail as a listener). There're also two more 'colourful' tracks in the mid portions of the album, the scathing 'Hue Man Race' and 'Red, Gold and Green'. The former actually deals with race relations to a degree in the world an, clearly, it is a topic for which Batch carries a whole heap of passion. 

"Is it because of my broad lips, I dark complexion-

I am targeted, fit description and di colour for detention 

Still remember slavery, mass genocide

Ethnic-cleansing families, conquer and them divide

Like we don't know eugenics, immunization and abortion dem a whoa

While we stay drunk-

Pharmaceutical vaccination pon di people dem ah dump

To control conception of specific people

Marginalizing, discriminating get I and I people"

Batch makes the comparison of the race in the song to an actual race ["The race is on, all bets are in. And a time fi start, so let's begin"] and it is such a wonderfully detailed expression of his ideas, that it comes off as if Batch was standing there not just singing a song, but also teaching some type of class (biggup Reemah) and your fee is free. 'Red, Gold and Green' is another strong piece about being proud of who you are and where you come from and it is outstanding. I won't rank it (even though I really want to, I'm not because I'm going to start working on the last few tunes and then hear something that will make me have to come back and rewrite this), but there is not a single thing on this album that is considerably better than it and if you were someone to say it is THE best, that would be fine as well. It has this very large sound at times, which mixes with a more laidback sound which Batch and co. utilize to near perfection ["For so long, wi ah wave this yah banner, for so long. From father to son"].

Along with the title track, there was one piece on "Rootz And Kulcha" which caught my eye from just looking at the titles and that was definitely, 'Healing of The Nation'. What was so special about this one? It, sort of, shares a title with a previous Batch song from the aforementioned "Jah Guidance" album (which is officially called 'Healing', but you listen to the song and they share a punchline) -- and he's done that before, having one song on two different albums, as the towering 'Zion Kingdom Come' from "Jah Guidance" was originally "Zion King Come" from "Keep The Faith" ["IT'S A PRIVILEGE FI SEEK OF ZION KINGDOM! AND IF YOU SEEK HIM, THEN YOU KNOW WILL LIVE LONG"] (WHAT!) (BOOM!) -- but while similar, these two are different. I won't compare them directly, but I will say while both are strong on both fronts, one is stronger lyrically and one has a finer sound, in my opinion. Of course, they share a subject and that is one of Batch's favourites  as he LOVES singing about the medicinal and remedying effects of the herb. Batch's ganja songs have always been big and 'textured' (my favourite probably is 'Green Gold' from) and you can really tell his love of the plant (I've also heard him on an interview talking about the topic and saying how much better the world might be if everyone indulged). So for something, CLEARLY, so important to the man, he gives it the quality it deserves and he always has. If 'Hue Man Race' was Ras Batch teaching a class, 'Teach Dem' is a full honours course. Batch takes this one in a variety of different ways, with the prevailing theme being one of Africa being an ancestor for not only people, but for knowledge and education, in general.

"It is a long  time dem ah tell lie pon wi

Talking about some kinda supremacy

When every nation come from wi 

Melanin Mama, and di child di belly

Longtime dem plagiarize history

Ah still ah try to hide di truth from wi 

Remember culture, our story

Di African science, math and philosophy

Come fi teach dem

Come fi teach dem

Recognize di brainwash inna di system"

The roots in this one go REALLY deep and, as it progresses, 'Teach Dem' wonderfully begins to acknowledge legendary African intellects and others. This is the type of song that you KNOW he did his research for, he refreshed some ideas and placed them together in such a gorgeous package. There's also 'War Fighting' which doesn't have the sound that you would think its title would dictate. It isn't at all aggressive and, instead, its actually more of an anti-violence set and not the kind of commentary that I envisioned (which was probably just a mistake on my part). Regardless, it is solid and one which I would suggest you spend a bit of time on. 'Still Have Love', on the other hand, is pretty much precisely what one would expect in terms of sound. It's course, however, is something different. I was thinking it would be a love song, but it's actually about perseverance. I THOROUGHLY enjoyed the direction of this one which, if you replace certain aspects of it (and what I mean is that 'love' can be a very specific thing, but if you 'broaden' it and make it just general 'positivity' -- meaning, though I have been through so many things, I still have a positive outlook on things, I do not think the world is ending and the sky is falling) it GLOWS! And, I think it's actually quite unique. As I said way back at the beginning of this review, there're certain messages which are foundational to Roots Reggae music, but this isn't one of them. Occasionally things can seem a bit bleak and desolate, but a song like this is damn reassuring in the small and large senses. You take 'Still Have Love' in anyway in which is resonates to you, but to my ears, it's one of the most satisfying on "Rootz And Kulcha". And finally, Ras Batch is sure to give a massive praise on the golden 'Hail Jah' (THE foundation of Roots Reggae) before sending us on our way. As I said, Batch's musical history is brimming with tracks like this one and they are always very impressive. 'Hail Jah', which is quite detailed and specific, is certainly not an exception. It's also excellent (and I would also recommend you check out a tune he did with an artist by the name of Haile Israel called 'How Excellent [Pslams 8]' for Israel's "No Worry Yah Self" album from last year). 

Overall, I want to talk about TIME briefly here. There're fifteen songs on "Rootz And Kulcha". Its run time is sixty-nine minutes. By my count, out of his eight albums now, six of them have been at least an hour long and one of the two which is not, "I-Ver Strong" ["Africa a weh wi from!"] (BOOM!), was more than fifty-nine minutes. The smallest was "Vizionary" (which mysteriously has not gone digital) (whatever happened to Itation Records???), but it only had twelve tracks and eight of those were at least four minutes long. On the opposite end would have been "Keep The Faith", which was more than seventy-five minutes in length. The point being that Batch does not make that kind of 'cookie cutter' brand of Roots music. His is far more involved and developed. He is most certainly not the type of artist who some producer/label could give a bucket of riddims and then churn out a release in a week or two. His work is so RIPE with material and, when you combine that with the fact that he does so much of this work on his own and with a very small unit of  people, it becomes that much more impressive. He is his own boss here and the 'quality-control' is, ultimately, his responsibility alone. Throughout "Rootz And Kulcha", in that respect, Ras Batch is EXTREMELY responsible, but in a career and a LIFE which is seemingly gone in courses like his have, that comes to no surprise. Lovely, as always. 

Rated: 4.35/5

Sound V.I.Zion Records

2017

CD [Good luck finding it] + Digital

'Bright Spots': A review of The Jump For Joy Riddim

Erupt. Though it is something which, for great reasons, we generally deal with in regards to vocal artists, when you look at the life-spans of full labels it can be a tremendously interesting experience. Labels, just like artists, do definitely tend to 'come and go' quite frequently, but the ones that stick around in some way can also make for endlessly entertaining and thought provoking moments for fans as well. We're fortunate today to have a few labels who, even though they may not have been around for decades and decades have already made for such a bright contrast of what they used to be and what they currently are. We can look at someone like Don Corleon who went from producing tracks (albeit producing tracks as a bona fide GENIUS) as the leader of a then up and coming generation to being someone from whom the absolute heights are expected. To watch his growth has been so fascinating over the past decade and these days he exists as one of the finest maestros Reggae music has ever seen. In other examples perhaps the comparison or the turnaround isn't so great and, instead, what becomes most compelling is the blossoming that a label has shown. Of course, in this instance I have to mention the work of I Grade Records (which is a very good reference point for today). That label has evolved from being THE biggest from out of the Virgin Islands (even before anyone knew that's what they were -- and a position they surely still occupy) to being one which records extremely talented artists from all over the world (biggup Toussaint and The Nazarenes) and whose releases are grandly anticipated in any form. For me, that's a prototype of building and developing a brand in Reggae music and they did it the finest way in which it could be done: I Grade Records made great music for a really long time and then… everyone began to notice. Fortunately, IGR weren't the only ones to do that (and I could mention a line of European imprints who have done the same - the Irie Ites and IrieVibrations of the world, in particular) and maybe someone else is ready to take that next step as well. As far as labels from out of the Virgin Islands, though that initial explosion wasn't as great as it seemed to be for the virtual production warehouse of talented artists that we saw a decade or so ago, there were some solid names. Ones such as Mt. Nebo Records who dealt with so much of Bambú Station's early output, Ras Batch's Sound V.I.Zion Records who largely introduced us to Batch, Ras Attitude and Mada Nile and there were others as well such as Groundbreaking Records who managed to make a heavy impact in their respective times (and still are in some cases).

Another label who took a similar trod and did so almost exclusively with one name was Splatter House Records. Up until very recently (two or three days ago) (or whenever I finish this review), I've only known SHR as the label responsible for pushing the projects of Jahman. To my knowledge, Jahman has had four or five releases through the years and they've all been products of Splatter House. Jahman has just always seemed to have his own operation set for what he does and, obviously it's worked well for him.

"Diamonds & Pearls" [2012]

But maybe things could be just a bit… weller (- not a word), and the fruits can be shared which is what, apparently, was the plan for Jahman and Splatter House Records for 2014. The artist released his most recent album, "Diamonds & Pearls" just a couple of years back and instead of following it up in the way I'm sure most people presumed that he would, the latest SHR project goes in a different direction as the label delivers (at least to my knowledge), its very first compilation and riddim album for the golden Jump For Joy Riddim. Going back to the aforementioned I Grade Records, if you do follow their work, you've surely noticed that, along with the Zion I Kings, they're currently doing a Riddim Series (the next installment of which, the Junction Riddim from Lustre Kings Productions, is reportedly coming soon) of their own and it has been very impressive through just two sets thus far and I was damn happy to see SHR not only begin to branch out, in general, but to also take this actual step. And that was just on paper - digging a little deeper it also helped that they chose what turned out to be a big track and one which figures to be familiar to some attentive fans as it appeared in a major way on the aforementioned "Diamonds & Pearls" album (more on that in a second). Furthermore, on top of being a good idea and having a strong 'backbone' in a big riddim, the roster of vocalists involved with the Jump For Joy was absolute CANDY to my eyeballs. I saw names here which just struck me as being smart and although I don't have credits for this one, I got to thinking about just how much help SHR may've gotten in putting together such a release because, although it may be destined to fly beneath the proverbial radar (but I really hope not), this is a BIG project and one which should be respected mightily. I'm also hopeful that it isn't one of a kind and although it may not be the first of a full series, I would love to see the point where we look back at the history of Splatter House Records and see the JFJ as this moment where everything really began to fall in place for them and maybe even help to push future releases from Jahman to an even higher level. Until that point where we are afforded some retrospect, however, what we can right now is appreciate what is clearly one of the best riddim albums of the year. Let's talk about it!

It may not be (it won't be) the case for everyone who runs into this set, but when I first saw it, as I said, I was DAMN impressed by not only what I heard but also by who I saw present. The eclectic but extremely solid selection of artists sits amongst the most striking that I've seen on any track in 2014 and most of those names do at least very well on this track which is pulsing and intoxicating and makes for a fine selection, itself, to be featured on an album. Speaking of "very well", to my opinion things get no weller [WHAT?!] [AGAIN?!] [BOOM!] than on the opening tune on the Jump For Joy Riddim from Splatter House Records, the MAMMOTH 'Today' from Notch, who is apparently a favourite of Jahman's and, singing songs like this, he should probably be a favourite of mine as well. 'Today' is musical inspiration to its core. You'll find better written songs on this track (and that's not to say that this one isn't well written), but you won't find any which make you FEEL AS GOOD as veteran Notch does on what has to be the finest song that I've heard from him in… in an ever! An amazing way to start. Next up is the song which was likely the first time anyone got a taste of the JFJ Riddim, its title track, which featured prominently on the aforementioned "Diamonds & Pearls" album. This song linked Jahman alongside the great Sizzla Kalonji and it was a strong piece as well. The composition here was just about taking value in the things that have going for you in your life and attempting to shrink those things which bring negativity ["Don't get caught up in di hype, waan live a million dollar dream, when you really find out it's just a million dollar scheme"]. Lutan Fyah [new album, "Get Rid A Di Wicked", in stores now] also contributes here with the sterling 'Rasta Won't Fail'. 

“Nuttin no personal, when di Rasta check out

We are all one family - east, west, north and south

One blood - sun shine or cloud

It no matter skin colour

Jah Jah love is profound

Sometime mi feel, I'm on my own

But the Good Lord shout out 'YOU'RE NOT ALONE'

Just to find justice inna town, mi haffi draw fi mi steel and make a sound

"Rasta won't fail

I know my life is brave

Worst will be the same

Mi know seh di world can be a better place!"

"Selassie I seateth inna di secret places of my heart

Elevation - a new faculty of thought

See di world as it is

Nuttin no strange, a just so people live

No one is perfect - 

BUT IF YOU LIVE AND GOT WEALTH AND NO SHARE, IT MEAN WORTHLESS

You could be cursed to death -

Or di people ahgo treat you like mess"

From this track I really just took the concept of being capable of relying on something. Obviously, here the Fyah finds dependence in the absolute highest of sources, but I think that you can take it in smaller situations and apply even to being someone's 'rock' yourself. A lovely tune and one which comes well expected from Lutan Fyah. Fittingly, chasing Lutan Fyah here is Pressure Busspipe (new album, "The Sound", in stores now - best album of the first half of the year) as the two linked on what is one of the best songs that I've heard this year ('This Train', from "The Sound" album). Pressure continues a fine stretch of his own with a big offering here as well, 'When A Door Is Close'. This is a very clever and well-arranged praising piece and a lyrical near masterpiece as the St. Thomas doesn't particularly care if a door is closed in his face because he keeps company with The Locksmith. 

"When a door is closed, another opens wide

I'm grateful to have The King by my side

His name I glorify

Emperor Selassie I!

Race is not for the swift, a just di fit who survive

There's no one beneath the sun to take my pride

Conquering Lion in I

Emperor Selassie I!

RASTAFARI IS THE KING OF ALL KINGS AND A THIS WE WANT THE WHOLE WORLD KNOW

Blasphemers will do just that, but as far as I see they will sink down below

Look how much dem tell di poor man 'no'

As dem get di money dem ah tell mi is a goal

Give and take back and tell mi nuttin nah go so

LIFE ROUGHER THAN THE TIDES BUT MY BOAT STILL AH ROW

Nuff youth make it out di hard way

So di Rastaman give praises all day

Praises to di Incient always

So mi make di fyah blaze!"

BOOM! The downright majestic song would have fit well on "The Sound", which should tell you how strong it is if you have heard that amazing record (and you have) and, surely, it is a favourite from the Jump For Joy Riddim.

Ras Batch

Along with some of the more expected names to make an appearance, such as Lutan Fyah, Pressure and Jahman, of course, I was wholly delighted with some of the other names tapped by SHR to voice the JFJ. For example? Check 'Win' which comes from the previously mentioned and completely brilliant Ras Batch (easily one of my favourite artists, altogether, today). Although he's picked up the pace in recent times (biggup the Zion I Kings), new songs from Batch in between albums still aren't in abundance, so even the opportunity to hear from him is exciting and, because he never does, he doesn't disappoint on the JFJ with another mighty inspirational vibe with fantastic sonic appeal. Junyah P (formerly Junior P) tries to "bring back the culture" on 'How You Doing' - a WONDERFUL selection about… being nice to other people. 

"So how you doing?

How you feeling?

Hey, good morning

Good afternoon

Sometime a greeting can change your day

A little 'bless up' can change your vibes -

When you feeling down and out

Sometime a greeting can change your mood

A 'bless up' make you feel so good

Sometime you feel like you lost your way

Nuff time you need somebody to talk to

Express yourself, yes you need to vent 

Release your anger - before end up inna danger

Nuff ghetto youth need someone to tell dem that we love them

And we care for them"

A terrible, terrible thing it is that Junyah P felt the need to write a song like this, but 'How You Doing' is GOLDEN and I was very happy to see him with a new song as well. The venerable Junior Reid also shows up to Jump For Joy with a solid release, 'Can't Get Over Me'. Reid goes in a different route than most, but he does well with a more relationship oriented vibe. He is in a good form and when he is like this, I could listen to him sing all day long. Cruz Rock finds similar fortunes with the entertaining 'Love Ah Come Down'. Cruz Rock is someone who I probably have never listened to as much as I should and I give credit where it is due with this effort. Credit is also due in the direction of BVI native (biggup Jalena), Ritical, who is pouring out credit and thanks with the praising song, 'Thank You'. This is a fairly straight forward and easy track to my ears, but I did hear things on listens two and three that I didn't initially, so pay it a special attention because it may just be one of the best songs on this riddim altogether. And I should also mention the tune 'Smile' which comes via Maurice. Maurice is someone who doesn't seem to record nearly as much as he should and if you needed further evidence of that (and you didn't), definitely check 'Smile'. Perhaps still best known as the brother of arguably the most talented Dancehall DJ ever, Papa San, Maurice makes beautiful music of his own and 'Smile' is one of his best.

Going even further, there were five artists who appear on the Jump For Joy that really even took more of my attention, just on paper alone and, again, I was so pleased by the work of Splatter House Records to include them. A pair of them come near the tail of the album in the form of Army and Danny I. As I said, Ras Batch isn't someone who, historically, had made many appearances between albums and he hasn't. Army, on the other hand, has been full-on phantom-like, unfortunately. His most recent album, "Dredlocks Time", was a master class of modern Roots music and he keeps it going here with 'Long Long Road'. I saw this piece as something of a 'personal commentary' where Army seems to acknowledge that many people have made great strides but that all of us, collectively, still have a very long road ahead of us and much work to do. 'Long Long Road', as it usually is coming from Army, is an utter JOY to listen to as he melds perfectly to the JFJ Riddim. For his part, Danny I soars with 'Gathering Of Lion'.

"If you feel your burdens extra heavy and you can't bear it all

If the world feels like it can dissolve right in between your arms

If the battle makes you feel like you cannot when the war

I say hold onto your faith - it has gotten you this far"

The song is an amazing one and really helped to solidify something for me - Danny I has been making great music, without exception, for his entire career. He hasn't had any missteps. There weren't any questionable moments. He's been spectacular from his musical origins and he still is. Mada Nile is someone else who you would really like to be a bit more prolific and she also provides a spark to this track with the humbling 'Bending Knees'. Here, we find Mada Nile saying that no matter how smart you may think you are, eventually you'll have to pay for the wrongs of your life in one way or another. It was another female artist who probably got the biggest response from me in seeing her name, Reemah, who continues to spellbind with 'Be Free'. So many artists from the VI seem like they don't tend to be so active (as I've already mentioned here) and when I really began to take in Reemah's music I was so hopeful that she wasn't added to that list -- especially when it comes to women, I don't know if I can even remember the last new song that I've heard from the likes of Lady Passion, Empress Nyingro, Natty Empress and maybe even Dezarie -- because what I heard from her was a supreme level of talent, especially with the written word. She is amazing!

"What a world it will be when -

We give thanks to the birds and the trees and -

Everyone got plenty food there to eat

AND WE BURN THE THINGS THAT MAKE BLOOD RUN INNA DI STREETS

When consciousness increase

When we go stop jealous people for the least

When life is worth more to the human beings

When they start to care and now the cure get released

When none a dem ah step inna di pure white sheets

When I no see no faces on di cold concrete

Now, when children stop carry di AK piece

When di world no want di fighting over in the Middle East

In the test of time

Love will last forever and ever and ever and we-

Will cast our doubts aside and stand in love forever and ever and ever and we will be free

Watch di things that you do to get by

Oh my

Rob another, can you please tell me why?

CAN'T USE YOUR LIFE AS AN EXCUSE NOT TO TRY

CAH DI VERY THINGS YOU DO IS COMING BACK AND BESIDE 

It's up to us to fix the sufferation

And to those weh locked down inna di station -

Keep your head up

Got to stay strong

Know your days long

BUT NO GIVE UP CAH MI TELL YOU LOVE DI HEALING OF THE NATION, YEAH!"

Reemah

BOOM! DAMN! WHOA! And it is effortless! It comes off as if she just walks in the studio and starts talking and the song is what comes out of her mouth! It surely is too early but one of the biggest gifts which will be on my wish list for 2015 is definitely going to be a new album from Reemah. Finally, one of the finest and most surprising additions to the Jump For Joy Riddim is Revalation ["Flame on! Another life down the drain -gone!"] who is someone else who just doesn't seem to be very active (I don't know if I've heard FIVE songs from him following his debut album, "Serious Matters", which was six years ago now) so hearing him anywhere is a big deal for me. 'Bunch of Gold' is his effort for this track and it is another highlight ["dem caan play mi fi no X-Box nor Sony. Impossible to take man fi a ride cause me no pony. Jah Jah you're my shield. You're my guide and my glory. A you know mi bio, every inch of the story"]. I don't know what to expect from Revalation but his talent is huge and anything in the way of a boost of activity can only be a good thing. This is a prime demonstration of that. 

Overall, BOOM! There is so much to enjoy about this set and, again, I'm really eager to see the masses respond to it in such a way. For everyone who has loved the work of I Grade Records and the Zion I Kings, this should find a very healthy audience amongst that same crowd. The Jump For Joy Riddim, itself, is lovely. It does have a strong edge to it as well which helps to make for more than a few dazzling moments when it is placed in the hands of Pressure, Lutan Fyah and the likes. Of course, my one real critique is that the album is sans an instrumental but for what is here, as I said, it is one of the finest riddim albums of 2014. Maybe in a few years we will look back at the Jump For Joy Riddim as that moment when Splatter House Records began a big stretch of releases and became one of the biggest names in Virgin Islands Reggae music. Sublime from beginning to end [even the cover!]. 

Rated: 4.55/5

Splatter House Records

2014

Digital

Review #518

Modern Classics Vol. XLI: "Know Thyself" by Ras Batch

"Know Thyself" by Ras Batch [I Grade Records]

There are certain albums that come down and do so with quite a bit in the way of both interests and questions regarding their quality. These are the type of sets which you so much look forward to but do not really know what to expect and how you are going to receive them… today we are not going to talk about an album like this. Instead, today we have a record whose exceedingly high quality was guaranteed even before it was created. 

The very idea of Ras Batch doing a project with I Grade Records is a sterling one. I don't actually need to hear that album to know that it is going to be a great one nor do I need to hear it to be able to give it a thorough recommendation, but thankfully I did get to experience this one. As I've gotten older one of the greatest gifts that a tiny bit of maturity has given me has been the ability to fully appreciate the music of the VI Roots Reggae wizard. Though I always had an appreciation of his talent (particularly as a producer), during the second half of my twenties and the first two years of my thirties, he's become a bonafide favourite of mine and you will not find too many other artists whose output I anticipate more so than Batch's. Prior to 2012, in my opinion, he had already produced a genuine classic in 2005's MASSIVE "Jah Guidance" (an album which STILL gets more impressive and every time that I hear it), but now I may even make the case that in the link with IGR and the Zion I Kings, Batch not only added another classic to his catalogue, but he added the absolute best album he has done to date.

"Jah Guidance" [2005]

Today we give the biggest honour we have on these pages, for the second time, to the brilliant Ras Batch for pushing one of the most obvious additions to this line and, easily, one of the smartest and just BEST albums that I have ever heard: "Know Thyself"

Ras Batch

1. 'Jah Children'

In 'Jah Children', "Know Thyself" had fully ROYAL beginnings as Ras Batch delivered a single classic and one of the best songs of his entire career in my opinion. The vibe surrounding this tune was of the caliber that it immediately grabbed your attention - it sounds like something crucial is about to happen and it subsequently proves to be even more. I look back at this piece now as Batch taking an appreciation of that same vibe and moment. The idea was to highlight and stress just how important YOU are. So while it is a spiritual tune to its core, it also had a substantially tangible context as being of such a powerful spiritual heritage, it is our responsibility not to waste what we have been given by The Almighty. And this song glowed from beginning to end. It was magical. 

Lyrics: "Rum dem ah drink, when herb Rastaman dem itinually planting. Deep inna di teachings of His Majesty, I & I stay standing"

2. 'Give Jah Thanks For Life'

I still hear echoes of Toussaint's tune, 'Jah Golden Throne' (biggup Toussaint) whenever I hear the riddim behind 'Give Jah Thanks For Life', but that does not (nor has it ever) take away from the high class of a song like this. As it fits on the album, the song kind of serves as an extension of ideology of the tune which precedes it here. On 'Jah Children' Batch spoke of appreciating the standards from which we originate, but on 'Give Jah Thanks For Life', Batch deals with actual standard, itself, and its foundations. From a lyrical point-of-view I've come to place the first two songs on this album in a pair which kind of go to tell a small story at the beginning of this album - one which is constantly revisited and expanded upon throughout. 

Lyrics: "Some trust in house and land. THE TEMPLE OF THE MOST HIGH BEGINS WITH THE STRUCTURE OF MAN. From Mount Zion, feel the touch from Jah hand. In humbleness receive Jah instruction"

3. 'Stay Fit'

The most fascinating aspect of 'Stay Fit', lyrically, is definitely Ras Batch's concept and usage of the word "fit". I've come around a bit on the acceptance of the physical nature of the tune. Yes, definitely Batch's idea of fitness in this case is one which is very much akin to staying aware, but for the many directions that one could well take this one in, I think even Batch would agree that all are more capable when physical fitness is first achieved. And when you place it in the context of "stay fit"(which normally does mean physical fitness), it creates a metaphor where both sides are applicable. Batch says to stay fit in every aspect of life. 

Lyrics: "Rastafari genealogy - unbroken. Four corners of the earth, Rastafari name is spoken. HAILE SELASSIE FIRST, I HAIL HIM IN THE OPEN"

4. 'Dem Against Jah Rules'

'Dem Against Jah Rules' is a tune on which I'm convinced that Ras Batch is fully ANNOYED by oppressive society and the oppressors, themselves. It, subtly, has a bit more of an edge than some of the similarly vibed songs on the album, including one particular stretch which is somewhat Damian Marley-esque in terms of how it is presented. It is one of the most memorable stretches on the entire album (and surely I chose it as the lyrics just below) and stands out on a tune which is a social commentary about something which has obviously rotted away at Batch's patience. Despite the aforementioned "edge", this isn't on which Batch is angry. He's disgusted. 

Lyrics: "REBEL! Bun babylon and send dem straight to hell. REBEL! For too long Jah children under your spell. REBEL! Controlling what we buy and what sell. REBEL! Dem ah suck you out and leave an empty shell"

5. 'Love Always'

'Love Always' is a song which has always done something to my senses. I can listen to it as a song, straight-forward, but it is MUCH more of a fun experience to take in the sonic FEEL behind one of the finest pieces on "Know Thyself". As for the song, what it is for me is the idea of keeping a smile on your face, no matter what people try to do against you and keeping your 'head up' when others try to drop it. When you combine that with its presentation, you have an exceptional composition and one which, fittingly, makes you feel good in the face some dire situations ["Cause if a love, wi want yuh rally and come take a stand. So long wi ah suffer and ah bleed inna dem foreign land"]. 

Lyrics: "Cheat and try to win, cah they don't have no joy within. HATRED'S GONNA DIE. LOVE'S GONNA WIN"

6. 'Guns on the Street'

Batch captures the moment on a song which has grown on me tremendously in the past couple of years, the anti-violence themed 'Guns on the Street'. What I focus on these days from this tune is its very easy and organic sound. I think there is something to be read into there, particularly when you notice it alongside the lyrics. For Batch this is a very simple thought with an equally uncomplicated course of action ["things woulda been nice if dem abolish di gun"] and throughout the song he is fairly level-headed and presents himself as someone who just so tired of the violence and is trying to inject some COMMON SENSE into the world. A BEAUTIFUL song which even I, personally, may've overlooked - but never again. 

Lyrics: "Things woulda been nice if dem abolish di gun. Wi know inna dem colony, nuff Afrikan blood run. So many Afrikan daughter, Afrikan sons - get killed by an Afrikan shooting an American gun" 

7. 'Together'

'Together' was, very much, a 'goal-oriented' type of song and it wasn't about the ultimate goal it was more about the journey towards achieving it. The thought is that you're more likely to appreciate something you had to work for over something that was given to you. And, as you would hope, he also presents to you the idea of the goal, he shows you what unity will bring ultimately:

"BABYLON BUN WHEN RASTA COME TOGETHER"

Something which I hear now is that this song, really, is a call to action. It is a piece which is asking for a most basic level of unity to begin something in a major way. If this had already happened, if it was a piece about enjoying the fruits of labour, the tune wouldn't be necessary, but it exists because Batch is saying that it is an ultimately (and, perhaps, immediately) reachable set of circumstances. It isn't unattainable! Also I should mention the vibes of this song. The very catchy piece isn't one which you typically hear from Batch, but it contains enough of his more distinctive characteristics that, when combined with that big sound, makes for a song which is a very easy choice for a single. BOOM! 

Lyrics: "Must haffi make it somehow! Must haffi mek it someway! Inna Sound Vizion Rastaman sight how babylon ah fade away!"

8. 'Live Pray'

It isn't only for the riddim and how nice it is every time I get to hear it but, looking back, 'Live Pray' was an amazing song and one of the strongest on this album in my opinion and a mighty way to lead into the second half. What I now take from this song is the notion that, again, things walk both spiritually and tangibly. Batch acknowledges that we much, MUCH work to do, but that work can only begin when we can seek the aid of The Almighty. In its latter stages, the artist hits a stretch where he even presents PRAYER as a utopia, immune to the ills of society and a direct line to His Majesty. I also look at the arrangement of the song (particularly at the chorus) and there is just so much to enjoy about this song and I'm STILL working on it. 

Lyrics: “Catch if you can! I & I ah run to the Mountains of Zion. To The Conquering Lion, HE is a Lion. TO THE POWER OF PRAYER, ONE OF THE GREATEST WEAPONS. Meditation of prayer, origin Ethiopian! AFRIKAN DEH DEH FROM TIME BEGUN - FI COME WITNESS DEM DESTRUCTION"

GRRRR! BOOM! DAMN!

9. 'Roots Tradition'

Professor Batch held class as the mighty 'Roots Tradition' rolled in and he made it crystal clear at the head of the track, "These are the things you nah learn inna babylon school". I'll surely come back to this one in synopsis, but to get it started: For me, this song has a direct line to the title track. They are 'siblings' if ever two songs were biologically related (and they were) and it is the first part of a double dosage of taking in the full meaning behind this album to my opinion. 

For itself, the tune was sublime and one which can be carried in several different directions. The one which I follow most now is the importance of setting a proper example to the youths, in general, but specifically in educating them on their heritage. I think Batch makes songs like this to instill pride and you may not be aware of everything he mentions (and you may be), but the thought is to show just how GRAND your bloodlines are and were hundreds of years before you - so you have a benchmark to live up to and living disgusting and nasty lives is just unacceptable. 

Lyrics: "If a nuh root, the tree won't stand. I & I a Olmec, I & I a Nubian. All melanin in skin come from the Afrikan land, Man and Woman"

10. 'Trees' featuring NiyoRah

Oft Batch collaborator and another favourite of IGR (and me) (and you) (… and everyone else), NiyoRah ["And if you feel a way about the herb"] made an appearance on another single from "Know Thyself", 'Trees'. I listen to this tune now and I hear such an unusual composition behind it (the riddim, which is perfect for this song is just something really different) and that well adds to the fuel of this song. Touching on one of Batch's favourite topics of discussion (Niyo isn't a stranger to it either), 'Trees' was a piece about the splendours of marijuana and it was one so passionately produced on the subject that, in a line of many songs coming from Batch about the same thing (including another on this same album), it still manages to hold a special place for me ["Wi burn a spliff and burn babylon dung"]. 

Lyrics: "Coming from the root, the stem and the leaves - green ganja trees. Cannabis smoke bring so much relief. Sacramental burning! Higher heights of learning. AFRIKAN MEMORIES RETURNING!"

11. 'Dem Wrong'

BOOM! 'Dem Wrong' may have grown to becoming the second best tune on this album (and it didn't have much growing to do on that) and that is based on the fact that it is COMPLETELY BRILLIANT from beginning to end. You may be able to call this one a 'social commentary' and you'd have an easy case to make on that point, but I call it more of a spiritual commentary. Batch is dealing with a long line of rotten behaviour and actions which make up the line of observations on this tune. What I hear most glaringly now is HOW appalled he has become with the ways of oppressive society. Not only is it, as a structure, disgusting (and it always has been) but, anyone who would say anything other than that is also living a foul life:

"Tell you dem wrong -

A WHO TEACH YOU FI TRUST BABYLON

Tell you dem wrong 

An dem push di wrong things all along"

Oh and the guitar on this song is in the stars. It is fantastic as is the entire riddim. 

Lyrics: "Slow poison from the doctor's pill. Radiation and the oil ah spill. Babylon ah live in a world of sin - caan win"

12. 'Mama Daisy'

I can't make a song like this but, hopefully, someday I'll come up with something to show my appreciation for my Mother the way Ras Batch did for his, who had recently transitioned, with 'Mama Daisy'. There is an entire 'institution' of Reggae music specifically devoted to singing the praises of mothers -- there have probably been THOUSANDS of songs on the subject -- but this is one of the best I've heard in recent memory and maybe ever. 

Lyrics: "In your honour, I'll do my best. For the love and time and money invest. You've passed the test. FULL-JOY YOUR REST"

13. 'Know Thyself'

Professor Ras Batch returns to the class on the MAMMOTH title track which, just like its elder brother, 'Roots Tradition', 'Know Thyself' is a lecture you do not want to be absent for (or talking on your damn phone). I'll have to save some of what I'm thinking for synopsis, but 'Know Thyself' was a pillar! Specifically standing out now are two things: First of all would be the sound. While what you have here isn't very dynamic in the way of 'Together' or a song like that, but I hear a song that Batch had fun singing. I hear a JOY in his voice and it isn't a misguided one, it is one well utilized in dealing with a very powerful subject. Second of all is just how crucial this song is. There is not a fraction of it which you can overlook. Every second of it is used to do something very important and more on that in second. 

Lyrics: "ANCIENT MYSTERIES REPRESENT ETHIOPIA AND KEMET, WITH AN AFRIKAN SPIRITUALITY GIVING US GUIDANCE TO REFLECT. AND I SEE HOW HAILE SELASSIE FIRST RECONNECT WITH THE AFRIKAN INNA DI WEST TO I ORIGINAL SELF"

BOOM! 

14. 'Most High' featuring Ima

Humility and humbleness are the central themes surrounding the final combination on the "Know Thyself" album, 'Most High', where Batch and his Empress, Ima, are giving thanks for the giving of thanks (biggup Marlon Asher). Songs like this always resonate for me because they strike at the absolute core of someone's mindset. If you are extremely humble or if you are as arrogant as you can possibly be, there is something for you in 'Most High', where the thought is that whatever you have, no matter how big or small, you give thanks for it! There are no exceptions. Later in the song Ima takes the lead and her crystal clear vocals light up not only this song, but a piece of the entire record (and you can check out Ima's own album which she released after "Know Thyself", "Ah We Deh Ya"). 

Lyrics: "I thank you for this gift of life, Most High!. And for the love that You provide, Most High! In your creation we abide. Jah guide I & I"

15. 'Never Forget'

TEARS! Your ears and your mind really have to be open to appreciate what Batch does with 'Never Forget' a very thorough look at one of my own favourite topics, the Afrikan Diaspora. It certainly does not come a surprise -- his passion on the subject -- but I'm well thankful that someone with such a skill took this type of look at it, from a musical perspective. It is another tune which builds towards the prevailing premise of this album to my opinion and what it adds, specifically, is an even greater importance. Yes, you come from a very proud and upstanding lineage of people, but you also come from a people who have endured monstrous treatment and have managed to overcome and continue this journey. And I also have to mention the chorus on this song which is downright haunting and such a joy to hear.

Lyrics: "Cah di city woulda neva without the Afrikans. Slavery, come steal I from out wi land. Inna shackle and chain inna foreign land. To America and Europe and the Caribbean. And dem system neva gave a damn. Hard work and the days are long. So they try fi kill our will, still Jah bless di powers of the Nubian. Rising above oblivion, still trying to overcome. Water down the struggle in the pages of I history curriculum. Where we going, where coming from. Afrika a where wi from! don't you forget your roots and culture if you are an Afrikan. I & I WILL NEVER FORGET"

16. 'Sacramental Herb'

If you take some of 'Trees' and some of 'Most High', you may end up with something which doesn't sound too disparate to the golden 'Sacramental Herb'. The tune finds Batch both giving thanks for the plant as well as singing its virtues but, in the case of the latter, he takes things to an even more detailed level than usual. This song won't register in the same way as the one preceding it, the title track and 'Roots Tradition', but it is, arguably, every bit the musical address that both are in terms of packing SO much knowledge behind one's point. It is also a lyrical achievement and one of the best songs of its kind that Batch has ever done 

Lyrics: "When the THC get up inna di pineal gland. Nuff youth inna di ghetto start write and start to sing song"

17. 'Repatriation'

"Know Thyself" reached both its peak and its completion in the same song in my opinion. 'Repatriation' was one of the best songs that I've ever heard and while it may not have gotten the level of attention as some of the other songs on this album (and that's fine), but it was THE signature moment for me. The song served as the PERFECT closing tune as, seemingly after you've followed the instructions given on the album's first sixteen tunes, the only step remaining for you is to return home. On top of that, Batch also speaks of the decline of society and how important it is to begin the journey and how NECESSARY it is as well. A triumphant piece and, again, one of the single best songs I have EVER heard… from anyone. 

Lyrics: "Tell di carpenter and di mechanic and di farmer - mi ah tell dem unuh come! Tell di plumber and di mason fi stop waiting - mi ah tell dem unuh come! Wi in too long inna babylon now yeah. Cycle repeating from Sunday to Sunday! Mama Afrika ah waiting and aching - mi ah tell dem unuh come. Inna di marketplace of colonial-ship, well dem ah bargain - tell dem unuh come. Must haffi return to di land where we're from yeah. BUST WEH DI SHACKLE AND DI CHAIN THAT HOLD US DOWN YEAH"

Synopsis

My idea of the core sentiments behind "Know Thyself" is a pretty easy conclusion to reach but I also think that it is the most likely one. This is an album about instilling pride, specifically, within people of Afrikan descent. And throughout the album it seems to be the goal of Ras Batch to show what the standard is, then to set it and reinforce it and then give his ideas to how that standard (in the sense of having a base level of behaviour and life) can fully be met. That is what this album is about. 

In my opinion, it is evident on each and every tune here, but I narrow it down, especially, to three songs. The first, as I alluded to, is 'Roots Tradition'. 

"These are the things you nah learn inna babylon school

Of Mama Ethiopia, when Afrikans rule

From the lands of Maroon, knowledge of Timbuktu

The fighting Ashanti, warrior Zulu

Afrika a di root, dem nah tell di truth

We ah bring this to the nation, teach this to the youth

Afrikan attribute to civilization fruit: 

Solid and absolute"

Besides everything said in the song (and you really need to pay a special amount of attention to the lyrics in that song), I fully love the usage of the word "tradition". As I said previously, I look at this song as one which is saying, amongst other things, to set a good example for young people. And when you think of a tradition, in general, it is something which is taught and shared and passed between generations. So what I take from this one, in particular, is to LEARN your own heritage and then to become capable of presenting it to your children as well. Next is 'Know Thyself' which is, I think, the first half of 'Roots Tradition'. You cannot possibly teach something to someone if you do not know it yourself and I think the title track for "Know Thyself” is Batch's way of telling everyone to LEARN about your culture and your tradition and heritage, for your sake. 

"Could it be today

Could it be tomorrow

Inna dis time and space, to balance I joys and sorrows

So I & I can be free

Live long and prosper

Fulfill thy destiny with I mind over matter

Know thyself

Know thyself" 

You could make the case that in this particular stanza Batch equates knowing thyself with a genuine freedom… he equates an education of self with freedom which, immediately, strikes you with a grand importance! Very few things are more attractive than freedom and if one of those things are prosperity, then he's also offering you that as well. The title also presents a question in a way of what are you to know of yourself and I think that you can break that down as finely as you like but, here, I think that given the direction much of the album goes in, Batch is talking about knowing thyself from the source. Knowing where your people have come from. But I also think that is a general statement to say that the more you know about yourself, in any capacity, the better it is for you. And I also go to 'Never Forget' to further my point. The line of ancestors isn't only filled with royalty in Kings and Queens, it is full of some of the most tragic stories in human history and that is a point illustrated on this piece.

"I'll always remember how they beat I ancestors down

And taken to the bottom of the belly of the beast, down, down

With a lifetime of work with chain and shackle pon feet 

With no release, rob right of dignity

From the day they were born until this earth they leave! 

Afrikan sacrifice - they don't want you remember this

I & I will never forget

The middle passage

I & I will never forget

Weh dem talk bout three of fifth of a man

Bun all di Ku Klux Klan

Racist segregation, discrimination, Apartheid

I & I will never forget

I'll always remember

All the lynching and raping run, run

Didn't want to set us free so plantation haffi born, born

Messing with our thoughts, I ways, I dreams, I memories

Complexion of biology who distribute great brutality

They are the workers of great inequality

PSYCHOPATH OF INSANITY

RAW AGGRESSION AND PURE VANITY"

For me this highlights that standard even more. If your people have come through this then suddenly you complaining about having a bad day or something not being right in your life doesn't seem as justifiable. And I also want to bring in songs which may not look as if they go towards this point ostensibly, but both 'Trees' and 'Sacramental Herb' do fit into this premise as well. Both of these songs speak of very tangible gifts from The Almighty, and I think that Batch's point would be - how can you "know thyself" and be unaware of your Creator and what He has done for you. This places a concrete object in hand in a similar way to how 'Give Jah Thanks For Life', 'Most High' and others places intangibles in mind (and a tune like 'Guns in the Street' would take things out of hand and out of mind, but replace them with something of a far greater value). 

And hopefully, I'm placing something in your mind about just how mighty of an album this was. These days I look at an album with this length (or even a little shorter actually) and immediately begin to think that it is probably a little too long. Even if it's good you're likely to run into three or four songs which should have been cut out, but if you take any of these songs away, this is still a very good album and I may even still be writing about it in this context (and I'd be done by now), but it loses something. ALL of them are outstanding and substantial and make for an album in "Know Thyself" which was absolutely sensational and a bona fide modern Reggae classic!