Haile Efficient: A review of Worthy 2 B by Jah Myhrakle

Hola! I like to focus on how songs are worded and written a great deal for several reasons; the least of which is certainly not due to the fact that, as I've said in the past, I don't think we give enough credit to that aspect of music-making enough, particularly when it comes to 'message music' and Reggae, in general. We have bona fide geniuses in the genre who display it to some level of consistency (or at least have in the past) and they deserve recognition and respect and to be celebrated and I will go out of my way to provide all of those things every single chance I get. Now, you may choose to take that with a grain of salt because that's coming from someone who absolutely adores lyrics which center around "jump and wave and misbehave", but I think that my TRULY RIDICULOUSLY LONG record will speak to my fascination with those that are proficient with the spoken word. With that being said, however, music is also about entertainment and making a sound that people can enjoy. In the written sense of things, you can read some... well written technical instructions and you'll come away with a purpose having been served and you will probably feel good about it but you won't have been AMUSED necessarily. It isn't an independently pleasing experience (if you don't give a damn what the instructions are to, they're not going to do anything for you) and music should be that in some manner. With all that being said, when you can combine beautiful wordplay with an enthralling sonic experience, that is where special things occur and throughout the history of Reggae music, we've seen so many powerful examples of that, played out in album form. Personally, the PRIME case would be little release by the name of "Black Woman & Child" by Sizzla Kalonji but we don't even have to go to those loftiest of levels for the sake of comparison (...even though I just did). Take a listen to a number of sets by someone like Perfect Giddimani; as someone who CONSTANTLY provides a most thrilling brand of modern Roots Reggae while not abandoning good lyrics which are fresh takes on the genre's typical fare. Just last year, we talked about the burgeoning Eesah (BEAUTIFUL debut album, "Deep Medz", more than worth your time) and he is definitely another one who is well skilled and specializes in making music which that you can find as entertaining as it is educational and meditational (if that is even a word)... and don't even get me started on someone like Capleton yet. 

I took this direction for this review because I found myself fairly deep into "Worthy 2 B" when it finally struck me that I might actually be listening to something pretty special but when it did, it knocked HARD. There was a dominant quality to the music which kept me at least superficially interested but I was listening on a casual level for the most part (never want that first listen to be too heavy) while doing other things. This went on for awhile but eventually got to the point where I had to take a closer listen, There was a BEAUTIFUL and POWERFUL sonic appeal to "Worthy 2 B" and, coming on the heels of what I had previously dealt with ahead of it, as far as Jah Myhrakle goes, I got REALLY excited to dig into it further.

What was that, exactly? The most recent review that I wrote was for an album by the name of "Heart Of One". It was a lovely compilation from the delightfully active people at Trinity Farms Music. Amongst the impressing vocal artists appearing on that set was Jah Myhrakle with a pair of offerings... and it just so happened that he had recently been at work as, earlier this year, he had released "Worthy 2 B". It wasn't TFM on board who pushed it (although I'd LOVE for artist and label to get together on a full project at some point in the future), however, "Worthy 2 B" comes to us via Phallu Ras Sound and Gold Den Arkc Recordsz (....because people don't have enough of a hard spelling properly on their own. That is BRUTAL!). I believe that Gold Den may be Myhrakle's own imprint as everything that I have come across that they've been involved with has been his releases and, like Jah Myhrakle, the label appears to be based in New York although the artist (and if it is his label, so does it) origins trace back to Belize (biggup Ras Indio). Myhrakle's is a name that I've definitely come across over the years (sometime probably confusing him with Jah Mirikle) (biggup Jah Mirikle) but had never really tuned in, properly, until his work on "Heart Of One", which is such an added bonus in listening to compilations such as that one. They'll introduce and reintroduce you to names that you haven't paid much attention to/paid attention to at all and that is exactly what I did for me in this case (and a few others as well). I'm damn thankful because, when I started to get into the work of Jah Myhrakle, not only did I run into "Worthy 2 B", the man has SEVERAL impressive projects that I am currently working my way through, not the least of which would be "AncienT" from just last year. That album is GORGEOUS, it's full of dubs as well (nineteen tracks in all) and had I come across it last year, I might have had to make room for it in my Albums of The Year choices. Another that really stood out for me was "All 4 U" from a few years back because I found the vibes of that one to be somewhat similar to "Worthy 2 B" (call the new album a new and improved version of "All 4 U") in that they both have this BIG, chanting sound which works so well when spread out in album form. I could talk about "Eyc On Fyah", "He Who Keeps The Seals", "A Rival" and other still as examples of Jah Myhrakle turning in very strong performances. So I think it's time that we all get to know him better, courtesy of the new album. Let's take a closer listen.

There is a "dominant quality" that I alluded to prevalent throughout "Worthy 2 B" that definitely draws you in (and keeps you in). The album just has a very LARGE sound to it and it is VERY intoxicating (but in a more subtle way) and, like I said (or attempted to say), there is weight behind the words  as well - it ends up as very well written material as well. Want an example?? Check the chilly opener, 'Don't Come Plain' (is that not a very Vaughn Benjaminesque way of titling??) (is "titling" an actual word??). Though not my favourite on the album (several songs here have a dash of Hip-Hop, which is not for me, 'Don't Come Plain' has more than a dash), with the level of wordplay on the first track, Myhrakle definitely does not come plain. You can stop and take a snapshot of pretty much any line here and find something seriously impressive: 

"This is not a comedy, neither allegory

Prophecy fill judgment, now dem all ah worry"

The next tune up, 'No Knight Fall' ASCENDS! It is, easily, amongst the very best that "Worthy 2 B" has to offer and if you wanted to make the case that it is THE best altogether, you'd have a fair point in my opinion. I told you there was LARGE sound to the vibes of this album and that sound makes its initial appearance on this stunner as Jah Myhrakle burns oppression and a general negativity straight to ash!

"A who fi turn clown fi go blow dem bubble

A who dem entertain fi go walk and wobble

BABYLON YUH TROUBLE JUST AH TRIPLE-DOUBLE AND IT DOUBLE"

I told myself I wasn't going to POUR lyrics on this one because... the entire damn review would just be lyrics with teeny tiny paragraphs of actual review in between but 'No Knight Fall' is nearly as PERFECTLY worded tune that I've heard in a good amount of time. It is shattering and anchored with this big chanting sound at the chorus which goes up into verses chock-full of both knowledge for the brain and inspiration for the heart. It is a gorgeous selection. NOTHING in terms of quality is lost to the next song up, the MAMMOTH 'Hail The Emperor'. TEARS! I hear this tune and I think that, somewhere, Vaughn Benjamin is listening and he is enjoying what he hears. There is something very Akae Beka-ish level hypnotic about 'Hail The Emperor', which finds Myhrakle taking a most spiraling and winding road in the name of praising His Majesty. Benjamin might find himself a supporter of the whole of "Worthy 2 B" and that includes 'Prepare The Banquet' as well. I'm also giving it my full approval as I hear nothing on the level of 'Prepare The Banquet' on the whole of "Worthy 2 B", it is a SPECIAL tune. It's a praising piece and though they are so incredibly prevalent (and probably BECAUSE they are so prevalent) it makes such a powerful impact on me when I hear one that goes above and beyond.... 'Prepare The Banquet' goes above, beyond AND then it just keeps going!

"Haile Selassie I keeps the high place

Seraphims and cherubims they dance there

Upon the surface of the Earth there is a market

It's Haile Selassie I who prepares the banquet

Incline ya ears unto the ites and hear the words of the wise

Knowledge, intuition and discernment on your heart fi apply

For it's foolishness which is bound up in the heart of a child

Rod of correction remove these inna spiritual drive

For the preservation of good and mercy is within The Lord's eyes

Deliverance of grace and mercy by The Almighty's side

Jah overthrow the word's of the faithless who has no spiritual ites

Total laziness inside fears the lion outside

But a courageous lion inside face the punctuous

Clairvoyance and good attitude is a disciplined mind

MANNERS, DISCIPLINE AND SELF-RESPECT IS THE WAY TO LEAD A CHILD

Proverbs 22, 23, 24 and 25

And properly Proverbs is the selection to testify

He shall take heed unto I word

Lift thy heart - heart and hand unto I word

As earth" 

BOOM! BREAK SOMETHING! CALL SOMEONE YOU KNOW AND HANG UP WHEN THEY ANSWER FOR NO GOOD REASON! 'Prepare The Banquet' is THE class of "Worthy 2 B" and though there is some truly STELLAR material here, it's the clear head. If you need an example of such "stellar material" (I've already told you about some of it), check a couple of numbers on when the downright majestic 'I Behold' rolls through. There is something so damn mystical and.... EARTHLY about 'I Behold' as Myhrakle expresses the emotion behind being in complete AWE of The Almighty. Some of the wordplay on this one, particularly later on, is damn impressive as well and not to be passed over. Similarly steered (and of a similar quality) is the track chasing 'I Behold', 'Thy Gaad'. This one is SPACIOUS! It definitely does handle the business end in terms of the wording but 'Thy Gaad' comes across as being very open and, though the chanter does eventually tighten things up (you'll know what I mean when you hear it) by going Vaughn Benjaminesque, I still come away from this one FEELING just as much I am THINKING on another giant praise. I'll also add 'Rejoyce In His Name' to this lot though I don't love everything about it. The chorus on this song is somewhat strange, a little ponderous and almost overly simple to my opinion but 'Rejoyce In His Name' isn't a bad song at all (no such things exist on "Worthy 2 B") and it really flexes during the verses when Jah Myhrakle shines, in bursts, as he always does. 

Speaking of shining (and in bursts), there's a song here called 'Lion And The Lamb' which was CLEARLY intended to be a highlight (and it is) as it is the album's longest effort by nearly half a minute and, following a somewhat unremarkable start, Jah Myhrakle flips the switch and levels up to a HUGE degree. 

"Extinction ah stink waste, nuff a dem no waan let it go

Pride punctuous and pompous, nuff a dem waan pump up

Air balloon, helium balloon

Loony Tune cartoon watches a boom, boom, boom

TNT explosion, IV in living room

And all spill over right dehso inna di ocean womb

Fox News censor messenger and Google too

Puss and di boots have dem ah trooped up, boot-by-boot

Big recuit tight, tight, tight

Buckle up belt and boot

And fi di Strait of Gibraltar, right ya now dem ah parachute

Fi religious with structure, right yah now dem ah harm and loot

Fi sewage canal dem dun hammer fi drop their nukes

HE'S THE LION AND THE LAMB

RASTAFARI: LION AND THE LAMB

HAILE SELASSIE I: LION AND THE LAMB

ALPHA & OMEGA: LION AND THE LAMB"

If you enjoy -- like I do -- combing through and combing through words and analyzing people who... OVERLY proficient in their usage of words, 'Lion And The Lamb' is divine! Jah Myhrakle's style is to go in as many different directions as he possibly can under one unifying topic (which is almost ALWAYS crystal-clear) and listening to how he arrives there, at times, is thrilling. 'Lion And The Lamb' is one of those times. In a much different way, the title track is also a fine display of Myhrakle's talents. This one is nearly brutally straight-forward. This is right out of the Vaughn Benjamin bag of tricks (I literally hear stuff that I recognize as being from Benjamin ["Inna di world wide open"]). Of course, at its core 'Worthy 2 B' is a tune giving honours to His Imperial Majesty, placing HIM above all. It isn't very melodic or immediately pleasing but if you have an ear for things like this (and You do), you will have all kinds of FUN with this song. 'When We Learn' comes with a bit of a gestation process to fully receive its gifts but IT TELLS YOU EXACTLY THAT:

"CULTIVATE EAR FI HEAR"

You will have to have done some work on yourself before even approaching this one (otherwise, I can't imagine you'll get much, at all, from it) and, now that I think about that. I'll definitely revisit that idea in closing (and I'm almost done now) . There's the swinging closer, 'Pass Dat' which is one of the more sonically enjoyable songs on the whole of "Worthy 2 B" but also [DUH] isn't a lightweight at all, lyrically. I was definitely curious about the direction of this one (title almost seems a ganja tune) and it turns out to be a kind of spiritual grounded (the irony there, I know) social commentary and a BEAUTIFUL one. 

"As the hand on the wall write a language which is clearly spoken

As the compass set the space and point the direction to go

Such as the clock on the wall which alludes the mind of our true existence

There is a spiritual war going on the open, unfolding

And there's eternal war between good and evil inna di to and fro

Which way to go?

Which way have you chose?"

'Pass Dat' ends up being another of the numerous highlights "Worthy 2 B" has to offer and a stellar way to end matters here. 

Quickly, just in case I didn't make it completely clear in all of that stuff ^: "Worthy 2 B" is an EXCEPTIONALLY WELL WRITTEN release. Because of that, it becomes a very specific album to recommend. If you stress being challenged while entertained as a listener, you will LOVE this album. It's detailed as can possibly be and, musically, while you will definitely cross paths with more entertaining listens in Roots Reggae, "Worthy 2 B" is promising for what it is. It isn't dull or lacking musically. 

2025

Overall, to make it even more narrow: Do you like Akae Beka's music?? If you do, I can well suggest you take a deep listen to the work of Jah Myhrakle and why not start with "Worthy 2 B". Personally, if you've hung out here at all, you know how much I revere the work of Vaughn Benjamin and I encountered more than just the one moment that I mentioned where Myhrakle would say things that either indirectly or directly reminded me of the wizard from St. Croix. On top of that, I think I've listened to enough of his work now (from the time I started this review until now has probably been.... the better part of a month by now, if not longer) to be able to place it, in comparison to other work that he has done. Since this one, in fact, Jah Myrhrakle has already released another album, "OF 1". While solid, "OF 1" is not on the level of "Worthy 2 B" and it isn't particularly close. "Worthy 2 B" finds its very high level almost immediately and rarely dips below it and then goes discernably higher on several occasions. What ends up happening is a MOVING education of an album and, unsurprisingly, you can now count me as a fan of Jah Myhrakle from this moment forward. OUTSTANDING. 

Rated: 4.6/5

Gold Den Arkc Records

2025

Still Blessed?: A review of Voice Of The People by Ras Indio

Plus one. There is something very powerful about making a strong first impression. In almost any type of situation that I can think of, if you get someone's attention in a positive way and impress that person and give leave with something to remember you by, you have potentially done something special and laid a very important foundation for what is to come. You (YOU sitting right there) can think of situations where you've experienced such a thing. Maybe some of the best people you've ever met or some of your best friends are so because something they did or said right around the time when you first met them (then there's that one you have that has made awful impression after awful impression but you just love them for some reason) (biggup Loa). The obvious direction here goes to the position of a musician making a big tune and grabbing the initial attention of a listener and, at least potentially, making a lifelong fan out them. If you do that enough times it can help you immensely in not only widening your reach but also.... it's going to put some money in your pocket, which is always a good thing. On more simpler and personal terms I can think of a very nice group of artists who, from around the very first time I heard from them (and maybe even of them) managed to display some level of talent that, at the very least, went a great way in making them a name that stayed on my radars for quite some time. DEFINITELY the most interesting of this lot would be Turbulence and the very rocky 'relationship' that I have had with his music over the years. Turbulence is one of the most gifted artists in Reggae music that I have EVER heard. Period. He has a GREAT singing voice. He can chant. He is powerfully lyrically. He can literally do it all and that has been the case over the past quarter-century plus. He has, unfortunately, spent the better part of the last.... decade and a half or so (it's probably more like seventeen, eighteen years at this point) CONSISTENTLY making these uneven love songs dominate his catalogue and if he makes ten of them, maybe I'll enjoy one; maybe not. Still, because of what he showed so early on, I am convinced and will likely ALWAYS be convinced of his abilities, so whenever Turbulence makes new music, I'll be paying attention (new tune, 'Cut Off The Serpent Neck', w/Makaru) (good song) and hoping for the best. I could run through several names of artists who've impressed me through the years with some of the very first output that I heard from them (Pressure Busspipe would be another good example) and have remained at least interested in many years later and today we get an opportunity to take a long awaited look at another.

2009

You don't come across Belize too often in your 'travels' as a fan of Reggae music. I could name a few off the top of my head but really at the top is but a couple of names (unless I am REALLY forgetting someone). One would be the sweet voiced Eljai, who we don't hear from nearly enough and consistently churns out at least SOLID material. The obvious other and, arguably the most popular, is the esteemed Ras Indio of whom I'd like to think I spent quite a bit of time 'back in da day' doing my absolute best in trying make people aware. Why? I'd heard a few singles of Indio's (one in particular, 'Healing of the Nation', his cut of the MASSIVE Show Love Riddim) (biggup Itation) but a large portion of my attraction to his sound came via a very large (literally) album Indio did by the name of "Jah Bless Us". TO THIS DAY, "Jah Bless Us" holds a very strong (and strange) place in my affections as, although I'm not going to tell you that it is one of THE best albums that I've ever heard in my life - it was absolutely fantastic. Loaded full of wonderful songs (and familiar names) (including Turbulence) (as well as Lutan Fyah, Luciano, Chezidek and even Ras Attitude), "Jah Bless Us" was one of the very few sets that I've come across that, thought clearly overstuffed -- twenty three tracks -- it was NOT too long. Its signature and title track is likely one of the best... hundred or so songs that I have ever come across and it is just a beautiful piece of work. That album reached way back in 2009 and it made a fan out of me as I have been sure to keep an eye on what Ras Indio had been working on ever since. 

And 2025 has brought us very nice news. Though he's been remained fairly active over the years, it'd been awhile from the last time we'd heard from Indio in any type of full way. To my knowledge, "Jah Bless Us" remains his most recent album, but a decade ago, he did give us "One of A Kind", a love-centric EP which was probably better than you recall (and by "you", of course I mean me). There's been a bucket of singles as well, including 'Love & Inity' a HUGE track from just last year, done alongside the aforementioned Pressure Busspipe. I was hopeful -- I'm always hopeful for such things -- but I had no actual reason to believe that forthcoming was any type of new album from Ras Indio but look what we have here! 2025 has been a fun one so far and it goes even higher, courtesy of "Voice Of The People", the long awaited brand new album from Ras Indio! BOOM! Credited for production is a David L Smith (who is probably Ras Indio) and the same Indigenous Productions (also likely Ras Indio) that releases all of Ras Indio's work and I've also seen our friends at DaVille credited with its distribution as well (biggup ReggaeVille). I have to say that the feeling when I found out that Indio had FINALLY done a new album wasn't quite to this level, but it was awfully close to what I felt in 2023, when the incomparable Queen Omega ended the drought and delivered "Freedom Legacy": I WAS SO DAMN HAPPY! For someone who you try to make it a point of to 'check on', at least semi-routinely, when you come back to them and notice that they have an album, in general, is a very big deal (any day now, Reemah), but when it's Ras Indio, for me, it was a special feeling and maybe I'm the only one saying it but "Voice Of The People" IMMEDIATELY became one of the most anticipated sets of 2025. When I got my first taste of what was to come, it was magnified and all of that was even before we got to how good the actual album even was. 

Ras Indio's style is a subtly interesting one. On its surface, it is fairly straight forward modern Roots Reggae chanting and if that's how you want to describe it, that is fine and accurate. However, when you dig into just a bit more, his methods do open up just a bit. He has a very strong command of melody but it isn't a sound that you would call 'loose' or 'wild' to any degree. What results is a very entertaining brand of Roots music, via kind of 'gruff' and clever delivery. You won't actually get your first taste of that on Ras Indio's new album, "Voice Of The People", until the second and title track because the first is an Intro, which appears to be a part of an interview, where Indio declares himself one of the people ["How can I be the voice of the people, if I am not a part of the people?"]. On 'Voice of The People', he formalizes matters. This song actually turned out to be, lyrically, nothing like what I expected. After its beginnings, it basically drifts into a VERY general direction where Indio goes through pretty typical topics for the genre. I was looking forward to something far more specific. Of course, that doesn't mean that the 'Voice of The People' is a bad song necessarily (it is not) but given what happened the last time, the title track for a Ras Indio album had VERY large shoes to fill.   One third of the twelve tunes here are combinations and we get the first of the lot on the excellent 'Strong Everywhere', which taps the golden vocals of Jamaican singer Ginjah, displaying his talents alongside Indio. This is actually a remix of an old tune of Ginjah's, which now features Indio. Presumably, the Belizean was a fan and wanted the song for his album and while Ginjah largely dominates (as you would imagine. That man's voice can literally be OVERWHELMING at times) but Ras Indio makes his presence known in adding a colour to what was already a big piece of work, in tribute to the all-powerful, ever-present nature of Rastafari. Later on, Indio is joined by a pair of Hip-Hoppers from out of Belize (I THINK), Big Bang Manifest (cool name) and Kassa for 'Bang Bang' (with a helping hand [SAMPLE] from Eek-a-mouse). I have never much of a fan of Hip-Hop and this song won't change that at all but I do not hate it and the anti-violence creation definitely does has its place on an album such as "Voice Of The People" in my opinion. No less than FIVE other artists join in on 'Time Is Now', King Siege, Wonder Boy, Fobi, World Foe (who is the only one I'm confident in saying that I've heard of) and Fuego. This one is also kind of leaning towards more of a Hip-Hop side and, as you would expect with so many names on board, it's sort of all over the place. It is VERY animated and made for ears other than mine although you definitely give credit to Indio for putting together such a tune, giving exposure to other artists to people like You and I; providing them with a chance to make a fine first impression of their own.  I'll also add, right here, a later track also of a more of a Hip-Hop sound, the rather solid 'Bad Mind'. Musically speaking, 'Bad Mind' doesn't do much for me at all but it damn near SOARS when you actually tune in what Indio is saying ["Certain thing wi just nah go tolerate yah. As a Rastaman, it's just my Rasta nature"]. Song won't change your life and you've likely heard dozens like it beforehand (probably with the exact same title), but some of the things said on an otherwise largely nondescript track are not to go overlooked. 

If you've spent anytime at all around here, you won't at all be surprised to know that 'No Curse' is my absolute favourite song on this album. Why would that be so obvious?? Well, 'No Curse' just so happens to feature Norris Man who's also been a favourite of mine, particularly in recent times. This song just makes me SMILE! It's about being upfull, having a positive attitude and treating others well (even when they don't reciprocate) (.... ESPECIALLY when they don't reciprocate). 

"Wi neva do dem no harm

Neva bring dem no hurt

ALWAYS PRAY FI DEM FI BE BLESSED

Never bring dem no curse"

The full vibes from this one are just so powerful and attractive, making for the signature moment of "Voice Of The People" in my opinion. Desire you another winner? Check the album's obligatory ganja tune, 'I Blaze'. 'I Blaze' is just a COOL song. It has some slightly more aggressive elements to it but, for the most part, it comes through as a very chilled herb tune and I have to mention how Indio seems to combine a couple of different older songs in his lyrics. I (and maybe only I) hear an ode to a personal favourite of mine, 'Bun It' by Mr. Vegas and Ele, but regardless of its possible inspirations, 'I Blaze' is excellent. On a similar level is the tune chasing 'I Blaze', 'Me Against the World'. 

"For He is all I need, throughout my times of tribulation

He's all I need, to keep me from those devil temptations

Jah is all I need, to give I & I a daily inspiration

JAH IS ALL I NEED, THE AIR I BREATHE, WHILE DEEP INNA MI MEDITATION

So in tims when you are down and feel like no one's there

Search and He's all around

Always keeping you safe and sound, oh yeah

In times when you're in need and the rocky roads still ah get steep

Put your faith inna The Most High

My forever Guide and Shield"

This song is a praise, wrapped up in a vibe dealing with perseverance and determination, with the lasting sentiment being that when you're in a bad place in life, Indio is saying that it may not be as bleak as it seems because SOMEONE always has your back, should you seek HIM out.

If you didn't get enough fire, Ras Indio has you covered between two songs helmeting (just make ANYTHING a verb. "Helmeting" = 'at the beginning of') the second half of "Voice Of The People", 'Rise & Fall' and 'Hotta Fyah'. Both are pretty mid-level and fun Dancehall (I mean real Dancehall) tunes, with the latter being the better of the pair. I was very happy that both of these songs were on the album because it kind of gives the project more of a balance. You have Roots and then you have some Hip-Hop. The PERFECT stop between the two is definitely Dancehall and, coming from someone who is obviously and admittedly biased towards one side, the Dancehall tracks are CLEARLY better in every way than the Hip-Hop on "Voice Of The People". Lastly, and I hate to say it but I can explain myself is a song with which I was VERY disappointed: An acoustic version of version of the aforementioned 'Jah Bless Us'. Initially, when I saw this included I got super excited because the original version of the tune begins with an acoustic sound before developing into that... chunk of diamond that thing was (it is SO beautiful), so I thought this version would just be an expansion on the first half or so of the original. It isn't. This is an entirely newly sang tune and it just isn't as good. It isn't BAD but I was expecting a slightly more streamlined cut of the original and, again, that is not what this is. 

Overall, obviously it goes without saying that this album does not quite reach the levels of "Jah Bless Us" and that's fine. I wasn't expecting it to and would have been shocked if it did. However, "Voice Of The People" is still an entertaining and compelling piece of work and I think that much of the crowd that began listening to Ras Indio because of that earlier masterpiece will find at least something here to enjoy. I do wish it were a bit more Reggae-centric (and so do you) and maybe more consistent but I'm not disappointed, wholly, with "Voice Of The People". Regardless of how it registers, there's nothing that I've experienced here which will shake me from whatever it turns out that Ras Indio releases next. It is the case when you make such a fine entrance. Maybe a more varied type of fan will have that moment with this album, more Reggae heavy listeners, look to get on where I did.

Rated 3/5

Indigenous Productions

2025

Ras Indio Meets Pressure Busspipe!

A truly ridiculous collection of talent is to be found on 'Love & Inity', the GIANT new tune bringing together the finest Reggae talent from out of Belize (unless I'm REALLY overlooking someone), Ras Indio, and VI supernova, Pressure Busspipe.

"While enough a dem caught up inna dem vanity

Mi look around, boy, a just insanity

There's no love at all amongst humanity

Dem no listening to di words of His Majesty

Hey mystery babylon, don't you intervene

Mi si you ah try fi slow down di youths dem with yah terror scene

But a fyah bun when mi dash di gasoline

And then drive pass di whole a dem inna mi limousine"

This combination is just like a hypothetical for me: 'I'd REALLY like to hear Pressure on a tune with.... damn, what about RAS INDIO???!' And it happened! Like it's right here! 'Love & Inity' does not disappoint at all (not possible) as the duo put on what has to be one of the finer tunes I've heard in all of 2024. BOOM!

'The Push Up': A Review of "Jah Bless Us" by Ras Indio

There comes a point in the life/career of an artist when, if he or she is going to truly make an impact on the music, it becomes the time to make the necessary step-up to the proverbial next level. To place that thought into some perspective, I would tell you to think of some of some of your favourite artists and, probably in every case, you’re likely to be able to pinpoint some time when they went from being just kind of ‘there’ to really gaining your favours. Within the scope of Reggae music (which is why we’re here) that very moment could come in a variety of ways (so much so, that we could even point to certain songs and riddims from producers). For an artist, of course there remains the very elusive catch of the first undeniably BIG hit: The scoring of lacking of which can simply make or break your career, particularly in that middle ground after people have come to learn your name a bit. Even more impressive than a big tune, although even more elusive because of the way the genre works, is that kind of statement-making album which, although it may not gain so much in terms of popularity initially (but it may), reveals an artist to be more than just your ‘run of the mill’ and average name. The greatest example of this, clearly, is Sizzla Kalonji who did the double dip back in 1997 with two legendary releases, ”Praise Ye Jah” and ”Black Woman & Child”. Those were the chanter’s second and third albums, respectively, and while his debut album, 1995’s ”Burning Up” was certainly decent, I don’t think it even came remotely close to accurately forecasting what the youth was ultimately capable of, just a couple of years on. On a different scale, we can also look at the ”Halfway Tree” album from Damian ‘Jr. Gong’ Marley which went to re-put the King’s youngest song in a category much closer related to what was going on in ‘terrestrial’ and non-royal Reggae levels and I remember all of the buzz surrounding that release actually being higher in Reggae circles than international and ‘mainstream’ ones. Also there’re albums which showed and proved for a variety of artists such as Tanya Stephens and even Capleton, to a degree, which showed that maybe there was even MORE that was previously thought of to those artists (although admittedly much much different in Capleton’s case).

So, in addition to that very esteemed group of artists, I’d like to give you another artist who just accomplished the same feat last year - Belizean Reggae star, Ras Indio. To make this point crystal clear, the album I am about to tell you about is, in fact, Indio’s FOURTH to date and while I do know the titles of his previous three (because I looked them up); I probably couldn’t name a single track on either of them. Yet, when I’d found out that he had released his fourth, I was almost immediately interested. The very first time that I can recall really given the artist a listen was with the impressive tune ‘Healing Of The Nation‘, which appeared on Itation’s big big Show Love Riddim back in 2008. The tune caught my ears definitely and while I wasn’t SUPREMELY impressed with the kind of ’gruff’ sounding chanter, I was impressed on a level that signaled to me that his was a talent which, given the proper opportunity, could really be something significant. Well, little did I know that it wouldn’t be long at all when such an opportunity would arise as bright and early in the following year, Ras Indio would release what is EASILY his most high profile album to date, ”Jah Bless Us”. Of course, it would take me most of the year to actually notice that he had, in fact, released an album (I believe it was following Ras Indio’s appearance on the Standing Firm Riddim, when I, again, began to do research on him again) and when I did, I tried to get a copy of it STRAIGHT AWAY and tried unsuccessfully for the better part of this year before my Brother-In-Law finally got tired of waiting, himself, and bought it. And because the album was released at the beginning of last year and I finally get it at the end of 2010, one could well say that it’s been two years in the making and the prevailing question, obviously, was whether or not it was worth the wait. Oh yeah. Definitely. Having now spent quite some time on this MAMMOTH twenty-three track monster, I can easily say that it was worth the time in waiting. The album, very much like the release which I would go on to proclaim 2010’s finest, ”The Burning Melody” by Lion D (more on that later), exhibits so wonderfully Ras Indio’s interest in this wonderful music. I could name you artists more naturally gifted in certain areas (and that would be saying a lot, because I do surely detect quite a bit of natural gifts in Indio as an artist), but it would be rather difficult to say someone APPRECIATES their position more than he does and that is a quality which is, typically, reflected in the music through the PASSION involved. CLEARLY anyone who is going to make an album this big has a passion for the music first of all, but the way it is carried out, and given its size, it could have been an absolute mess, you definitely get the feel that a great attention was paid to the details of producing ”Jah Bless Us”. And the music? Like I said, sometimes there’re albums which simply find the artist ‘stepping up to the plate’ and delivering on a level which just wasn’t evident previously at all or at least not present consistently. ”Jah Bless Us” is GORGEOUS!

In terms of direction, the album well covers the ‘standard’ ground in terms of Roots Reggae music, but it does so in a very refreshing and COHESIVE manner. I would and have described this artist as ‘rough around the edges’ as far as his style but, as I said, it is clear that he, or someone else, spent quite a bit of time detailing exactly how this album would play out. Ras Indio’s latest album, ”Jah Bless Us” essentially puts it all on the line with the very first tune you’ll hear on the album, the title track. MAGIC! This song . . . I heard this one from a while back, when I’d first saw that the album was around so, for more than a year at this point I’ve been well enjoying it and putting into context of the entire scope of the album, it really encapsulates the prevailing sentiment that I found for the album. Thus, not only was it an excellent choice of a title track, but it‘s also the single best tune that I hear on this project. MASSIVE! The next tune, ‘Psalm 1’, obviously takes things on a biblical level and does so with an absolutely delightful vibes, in the process. This song is one which definitely shows off Indio’s style in a great light because, while it does sound so well produced, you can almost feel how great of time and how much joy he felt in just vibing this song and it comes through, like I said, in the form of so much passion for the message of the song altogether. And to skip ahead just a bit, we come to an even better tune (in my opinion) the pulsing ‘We Need Love’. The message on this song is excellent, but really I’ve been having a pretty difficult time getting around that DIVINELY colourful one-drop riddim and how Indio’s subsequent words virtually meld themselves to it (and had he wanted to just . . . Let this one play on by itself a little, I wouldn’t have minded none at all).

The very last tune on Ras Indio’s ”Jah Bless Us” album, ’Liberate’, an excellent tune, features what is apparently a band/group from out of Seattle, Washington in the States, The Dynasty Crew. It is definitely a very nice tune, but it is my LEAST favourite of the album’s six official combinations. Why? Let me tell you. The album’s very first link, ‘Digital’, features Indio alongside none other than LUTAN FYAH! The tune is dazzling in almost every aspect. It speaks about the harm of the world going into a digital age (even the mosquitoes, according to Fyah) and it borders on lyrical perfection, at times, to my ears (it’s also worth mentioning that in earlier 2010, Indio and Fyah toured Europe together briefly, so hopefully we can look forward to more links between the two in the future). So what do you do for an encore after Lutan Fyah exits the booth? Give CHEZIDEK a call! That’s the direction taken by Ras Indio and company for the next guest on the album. The singer joins in on the obligatory ganja tune, ‘Herbalist Song’. This is a bit of specialty for Chezi and, although this one doesn’t even try to take things to new heights (which you should’ve guessed by the title); it curiously becomes one of the best tunes that I hear altogether hear as the two make a MIGHTY duo. So that’s Lutan Fyah [check] and Chezidek [check]. Who’s next? Ever the gentleman, the next guest, legendary singer LUCIANO, phones in and says hello briefly before his piece, ‘Powers of The Most High’ gets going. I’m thinking that this one would probably get thought of as being the best combination for the album (and apparently I just read an interview with Indio where he, himself, said as much) and it is surely right up there as the two go on a praising message for His Imperial Majesty which is sublime and not to be missed. That song, however, is topped to my ears by the next guest spot on the album, the heavenly ‘Make Way’ which features who? RAS ATTITUDE! Why and . . . I just don’t know why you would even . . . I mean . . . Brilliant it was to link these two together and the resulting tune, probably about the second time through it literally had me in tears because that song is just so beautiful as it speaks not only to give thanks and praises, but to speak of how much Rastafari has gone through and how resilient HE has remained. POWERFUL! And finally is ‘Love Is Da Way’ which features TURBULENCE - In a good form. This most streaky (and one of the most talented) of artists is sounding EXCELLENT on the tune and that’s news alone, but the tune certainly is noteworthy as well. So that’s Lutan Fyah, Chezidek, Luciano, Ras Attitude and Turbulence on the same album and it isn’t a compilation? I’m about to give you some anyway, but should you need more convincing to know that you want this album then even as longwinded as I am, I don’t know what to say.

“Bushman ah say ’grow yah natty bongo Rastaman ah mek it come down’
‘All pon yah shoulder it fi come down’
Mi locks long so dem heart it ah twist
Babylon dem caan stop diss!
Sizzla him ah seh ‘Rastaman, Rastaman, have you any wool?
Yes I, Yes I
Mi turban full’
Caan sen mi pickney turn no pagan fool
Sen dem go Jerusalem school
Tell mi if you ‘don’t haffi dread to be Rasta’
How will we identify di imposta?
Haffi firm up now
Caan perm up now
Rasta youth wi nah bowwwwww!”

That WICKED passage comes from one of my favourite tunes on ”Jah Bless Us”, ‘Children of Israel’, which finds Ras Indio paying respects to some of his talented peers (LOVE that piece) in the midst of delivering such an excellent vibes, again, based on the perseverance of Rastafari throughout the years. ‘Rumours of War’, although it’s kind of the type of tune that I was just tired of hearing a couple of years back, also manages to make a nice impact. These days, I almost just take it as an antiviolence piece but, had I heard it a few years ago and the concept were less explored, it would’ve definitely been stronger (and still, the delivery on that song is probably one of the best on the whole of the album). ‘Dem A Fraud’ was apparently one of the singles from this album (as was, I believe, ‘Herbalist Song’) and as far as I can tell, it did quite a big damage in Belize and just listening through I can definitely hear why. The song is a great social commentary, particularly pointed at the leaders of society who make it as harsh as it is.

“All politician are di same
Si dem deh yah smile and wave
But after dem election
Si dem ah pass and none ah dem nah aid
Pure champagne deh pon dem campaign
But dung yahso di people still ah complain
Seh dem ah help di poor people
But si wi yahso still ah wait in vain

Politician dem ah fraud yeah
Dem no care about di people none at all
Politician dem ah fraud yeah
Si dem inna dem fancy suit and dem fancy car
Politician dem ah fraud
Talk about peace when dem ah push pure war”

I’d DEFINITELY suggest to listeners to take in that tune in full because the man really makes some significant points, it is just so interesting hearing such a tune, clearly one of Indio’s best and probably one of his personal favourites as well, in a manner in which is seemingly so carefully constructed, but ‘rough’ at the same time.

As ”Jah Bless Us” winds down it still saves a few surprises for the masses. The biggest, ‘Rastafari Calls’ is TRULY a big song. Sandwiched in between two cuts of speeches by His Imperial Majesty and the Most Honourable Marcus Mosiah Garvey, the song is almost placed upon a pedestal in a sense and gorgeously so. It is reminiscent of the opener (and how long ago does that seem?) in terms of the natural pacing and course of the song, but this one is just so BRIGHT and it really just makes you feel good at its core, which I’m sure was the intent of the piece, besides making its point. I also really like the somewhat unusual ‘Never Keep Us Down’. That one has a riddim which I’m not necessarily thrilled about, but lyrically it is an ‘ear-catching’ experience. And speaking of things I’m not thrilled about, ‘Gyrlz Tyme’ is the excusable worst track on this album. It is a Dancehall song (certainly nothing wrong there), but from the moment I saw how the title was spelled, my hopes were low and although it proved to be better (slightly) than I thought it would be, that wasn’t hard to be and it still isn’t very good. The song is ‘made up’ for, however, in a couple of different ways. The tune preceding it ‘We Blaze Fyah’ is a much harder vibed tune also, but it is pretty good and the second verse is MAMMOTH!

“Capleton say MORE FYAH!
Sizzla say FYAH!
Fantan Mojah say fi welcome di FYAH!
Lutan FYAH!
And di FYAH Mumma
Chuck Fenda say fi gash dem and light dem wid di FYAH
I blaze di fyah
You blaze di fyah
Rastaman blaze di fyah

Yow wi bun vampire
Blaze up yah lighta
Rastafari inspire
Tell dem King Selassie -
Him ah di true Black Messiah”

And as for GOOD tunes for the feminine gender, Ras Indio does give two nice selections later on in the form of ‘So Many Places, So Many Faces’ and ‘Royal Queen’. I’m having a hard time saying which of the two I prefer, but both are strong efforts and perhaps show the proper direction he should pursue when tackling such subjects (although based on this album, the next time you hear a love song from Ras Indio, it’ll probably be a Dancehall track featuring . . . Oh I don’t know, Beenie Man or Buju - The man has links in the business!).

I should also mention that along the course of the album are five interludes. Besides the two aforementioned speeches there’s one which, just before ’We Need Love’, features Indio apparently teaching his daughter to spell numbers (and then making the mistake of trying to get a small child to say the word ‘Rastafari’, but she does make a superb attempt at it. Another finds Indio in his car receiving a call (maybe from Ras Attitude), on his way to Rootzville, listening to Jah Cure on the radio (obviously before ‘Make Way’). And there is another where Indio explains the concept of the ’fyah’, prior to ‘We Blaze Fyah’.

Overall, I’m most certainly am not going to do it, but I do feel like I should go back and change my Top Ten Reggae Albums of 2009 to make a space for this album. I alluded to it before, but now I’ll make the full point - This album reminds me of ”The Burning Melody”. They both have this kind of ‘raw’ appeal to them and you can tell that the music is just so important to the artist that making both of these albums was just a joy and regardless if they proved to be commercially successful or not (and I hope they both were) (and it is a coincidence that both albums featured Lutan Fyah???). In this specific case, I’m not as surprised because I’ve been well looking forward to this album and it’s more of a matter of vindication for what I was thinking - Yes. It is a powerful piece and thrown back into 2009, Ras Indio’s ”Jah Bless Us” is probably SO good that it was one of the top five best albums from that year. Excellent.

Rated: 4.99999/5
Indigenous Productions/Mi Yaard Productions
2010
CD & Digital




Ras Indio
Ras Indio @ Myspace

"Vibes In Disguise": A Review of I Know by Eljai

I’ve spoken on this in the past, but certainly this artist provides me with the wonderful opportunity to speak on it in the opposite and far more comfortable position. It seems as if when we have artists in Reggae music and particularly singers who show a certain type of a flare or a certain type of style, scribes and fans alike (and labels who promote the album), will take those artists and say things about them like ‘this artist clearly has R&B or ‘mainstream’ vibes’. Basically what they’re saying at that point (and as much as I write, I’m certain I’ve done it before) is that the particular artist sounds like a singer from a different genre. At certain times, this actually pisses me off, because it almost always seems to travel in the ranges of artists who have shown themselves to be superior vocally and in the traditional sense. When you take that concept and apply it to an artist who doesn’t seem to have those types of capabilities, however, you don’t hear those same type of calls. For example, you may very well (by his own doings) hear many people refer to a singer such as Jamelody as an artist who has leanings towards different genres, but you’d almost NEVER hear such things about someone like Ras Shiloh. Who’s more talented between the two? Of course that’s subjective, but to date Shiloh has placed more of an impact on the music (and, in my opinion, had already done so at a similar stage of his career to where Jamelody is now), but even if Jamelody stopped singing right now, the Trini wunderkind’s career would have had more ‘buzz’ surrounding it in the more mainstream sense than the vastly underrated Shiloh’s will even if he sings into his nineties. That’s not cool by me and in response I so do love when talents emerge like Eljai, because what they do, inherently, is present me with an opportunity to talk about an artist who would ostensibly fit into the mold of someone who people would say would seemingly belong more into another genre (from the way he sings, to his actual past accomplishments, even down to the way he apparently dresses), but upon further investigation is SO FULLY and CLEARLY an artist who was made for Reggae music that claiming otherwise would just be downright dishonest (or just wrong as hell). Yes, he’ll make headlines for various reasons and I’m quite sure people are going (if they haven’t already) (and they have been) to describe his style using words like ‘soulful’ or ‘deep’, which typically aren’t linked with Reggae (by people who don’t know any better), but Eljai is Reggae on top of Reggae and he’s quite good also thankfully.

So, who is Eljai and why should you care? Eljai is a singer originally from out of Belize (have a BIG few Belizean artists out there doing amazing works) whose name has been around here and there. I don’t know if he actually lived in Jamaica at one point, but a couple of years ago or so, I believed he struck quite a bit of local successes in doing some shows and making some nice links as well (more on those in a minute) and as you begin more and more to do the research on the artist, you see that, as I alluded to, he well has an international history and one which would definitely leads heads to perhaps see Eljai in a light which isn’t typically shone on Reggae music to the fullest. I believe he currently resides in California in the States and while I would love to see him immerse himself in the Lustre Kings and Itations of the world, Eljai has seemingly done his things in his own way and in doing so has developed himself into an excellent artist capable of producing the very HEALTHY type of output that I’m about to tell you of. Said output, his new album I Know from Jah Mix Entertainment (which I think may actually be his own label, because I‘ve never heard of them to do anything besides Eljai related pieces). This album is (at least) his second, following 2006’s Da Rebirth (which contains a few of the same tunes, in different versions, as this release) and according to his bio he apparently spent time in a group as well, which may’ve produced considerable output as well, so there may very well be a few other pieces from the singer floating around out there, however, I Know FULLY becomes his ‘coming out party’ as his most recognizable and highest profile release to date. And what a wonderful way to introduce oneself to the masses is the album. First of all, there’s the matter of Eljai’s voice which I used as kind of a ‘pillar’ of sorts in establishing the type of discourse artists like Eljai typically seem to ignite - Eljai’s voice is EXCELLENT! It is strong when it needs to be, but at the same time there’s this nice and ever-present ‘fragility’ in it - something like you might experience from singers like the aforementioned Ras Shiloh, Glen Washington (although certainly not as ‘earthy’ as Washington) , Avaran (although not as ‘agitated’ as Avaran) and of course the great Garnet Silk. And that is a very nice quality to have in Reggae music (obviously) and one which is so familiar to my ears that I definitely tend to gravitate towards it when I do hear it and it isn’t the dominant style of Eljai’s, but it’s very present and wonderful. There’s also the matter of the actual music here and the direction of the album. LO AND BEHOLD just who Eljai has come into contact with to provide a bit of the riddims backing the tunes on I Know - the inescapable Kemar ‘Flava’ McGregor. That quality alone would make it worth my interests, of course, and add to it the fact that Eljai seems to have a very sharp pen for himself. He focuses on interests and concerns which are prevalent in the Reggae world and although I wouldn’t say necessarily anything I hear here is ‘GROUNDBREAKING’ (although I may be wrong), what it is, is definitely SOLID. It’s very fine craftsmanship and the fact that I’ve heard some of these topics explored in seemingly every way possible through listening to as much music as I do, I had very much a REFRESHING sense regarding Eljai and his wonderful music by album’s end. That’s why you should care about Eljai.

You should also care about the fact that this wonderful album is currently making the rounds as it’s probably one of the most SOLID efforts through the first quarter of 2010 to my opinion. Despite checking in at just twelve tracks, the album is VERY filling and healthy as well, which is definitely saying a lot (especially these days). Of course that ‘fullness’ is at least partially due to the aforementioned ace producer, Flava, who helms ‘The Leaders’, which opens Eljai’s new album I Know. It took me to identify, but the VIBRANT backing this excellent tune is the same which previously backed Gyptian’s CLICKING tune ‘Take My Money’ from the My Name Is Gyptian album. Eljai actually tops his more popular peer, in my opinion, because this tune is not only very poignant, but it is BEAUTIFUL! Its also clearly one of the better tunes on the album and one which is kind of inspirational. I took the message here to be somewhat odd, because what Eljai is saying that “when” the world comes together (“when the leaders of this world unite”), that it will be a much nicer place, but what he SEEMS to be doing (although I may be wrong), is presupposing that said “uniting” is coming. Either that he’s just really hopeful that it is. Either way, however, what a lovely song to get things going on. While certainly McGregor, in the current aspect, is going to be the biggest named boardsmen on the album, Eljai offers a blast from the past on the next tune, the title track, which reaches to the absolute heights in terms of Reggae producers. The tune rides a version of Bob Marley’s ‘Natural Mystic’ riddim and NO, this time around Eljai doesn’t match the previous known effort (nor has anyone else) (ever), but this is another very strong tune to my ears. I particularly like when the tune has progressed on and Eljai says, “the wicked dem say - ‘How could these powerless people be so strong? I really really think that we have judged them really wrong. How could these illiterate people be so smart? I guess in every man chest, I know there really beats a heart’ “. The tune is excellently placed, because it kind of builds on the social structure of the opener and whilst I was, of course, going to over-think and overanalyze this one into the next dimension given the opportunity, it’s a fairly straight forward vibes, which isn’t a bad thing here. I’m not quite sure as to the vibes of the next tune in ‘So It Set’, (it sounds like a slight version of the World Jam Riddim, I’m pretty sure I know it from somewhere), but I am sure that it’s a next big tune on the album and another which continues the social aspect which has been explored throughout the first quarter of I Know. All in all, a very strong start for Eljai.

There’re many vibes and ‘trends’ which jump up through the twelve tracks here and of course, the one which catches my ear the most are the tunes produced by the greatest Reggae producer on the planet, Kemar McGregor. Not surprisingly (AT ALL) that material also just happens to make up not only some of the most notable vibes on the album, but also the finest tune on I Know altogether. Such a “notable” tune is ‘Blessed’ which is clearly going to be one of the most looked at on the album (okay, THE most looked at on the album), because it just so happens to be the first of three official combinations and it features the biggest name of the three, Reggae superstar Capleton. This one is just BIG tune and a praising tune for His Imperial Majesty and one which runs across McGregor’s lick of the Rudeboy Shuffling riddim. It is excellent and I love the musical chemistry between the two definitely! That being said, a tune which may just fly beneath the proverbial radars follows ‘Blessed’ - ‘Jah Cares [Forever]’ - actually tops the more recognizable tune as the absolute best tune that I hear on the album, period. This SUBLIME selection utilizes the 83 Riddim (which you know for having backed Queen Ifrica’s big hit ‘Daddy’) and it would have to rank as one of the strongest pieces on that stacked riddim. The tune kind of comes as a surprise as, just by looking at the title you certainly have some type of expectation with the direction of the tune and although it doesn’t stray too far from that expectation, it kind of builds upon it and in doing so offers itself up as a type of dual-layered tune of praise (saying - Yes Jah does care and will forever, but perhaps even more importantly we will also love HIM “until the end of time”). And at the same time, it is beautiful and the most beautiful on the album, so definitely while rushing to listen to some of the other tunes here, give a stop at ‘Jah Cares’, the best tune on the entire album in the process. McGregor also serves up the Rock Steady Riddim for another big LIFE commentary on ‘They Don’t Know’ which is probably the best written tune on the album; and fans might also recognize the electrically charged Drop It Riddim which serves backing on the nice jilted lover’s piece ‘Don’t Leave’.

Now that certainly isn’t to say that the balance of I Know, sans McGregor (I THINK) and largely produced by Jasic Records (and the one named Fabian Cooke) is to be ignored because, after all, Eljai is the star here and what he does throughout is BIG. Of course it doesn’t help to have a bit of help either and that’s exactly what happens with ‘The Wilderness’ on which the Belizean taps EASILY one of my favourite artists of ALL TIME [General] Degree, of all people. How this link happened, I have no idea, but I am so grateful that it did because I’m always happy to hear Degree rhyming again. The actual “wilderness” spoken of on the tune is society and Eljai and Degree paint it is a ‘jungle’ of sorts and how important it is to be wise and careful when dealing there (“always remember, this no forget, if you no street smart you gwan regret”). It’s a big combination and one whose mere presence makes I Know a better album. Also check ’Wise Up’ which kind of has this big somewhat old school vibes to it. You can well imagine the direction of this tune (which isn’t too far from ’The Wilderness’ tune), but it places that concept (those concepts) into more of an Afrikan setting and how important it is for the children of Afrika, in particular, to come together and THRIVE in that unity (and not just ‘unite’ as fulfilling some lame cliché). There’s ‘Angel of Mine’ the definitive positive lover’s piece on the album. It would’ve been a damn shame had Eljai gone through the album without giving a love song, given his skillset and when he finally does, it proves to be worth the anticipation. This tune has an old school type of sweaty vibes on it, bump and grind style, and it is a LARGE love tune definitely. The unknown (to me) Trish Love guests on the other love song and the album’s final combination ‘I Just Wanna Know’. This one is probably more of a ‘relationship’ type of song that strictly a lover’s piece, however, whatever you’d like to categorize it as, it works. Trish Love, whoever she is, does a very nice job complimenting Eljai and I suppose I’ll be keeping an eye out for her on future works as well. And closing things out on I Know is the obligatory acoustic number ‘If Only’. This is apparently an older tune (it was on the first album), but it is one whose presence here is apparently livicated to the Haitian tragedy and in that respect it certainly is fitting and really the more and more you vibe this song, the better it sounds. Very nice and definitely appropriate to send the album on its way.

Overall, I want to briefly reexamine my premise for this review because, although I didn’t lean on it heavily, it DEFINITELY proves true. There aren’t any obvious leanings towards an R&B crowd or a Pop crowd here and the subjectry of I Know is PURE Reggae music. I don’t think too many Pop or R&B heads are going to be interested in tunes INHERENTLY calling for the destruction of corruption wherever it may exist, so I’m definitely claiming Eljai and his new album for Reggae heads everywhere. But what type of fans? Well, I don’t have too many reservations in recommending this one for a newer fan. Although the subject matter is definitely streamlined and specific, I Know isn’t something along the lines of what you might hear from the aforementioned Ras Shiloh or someone like such, it’s fairly accessible. More established and longtime Reggae listeners will also have no problem with this one (and we never do) as the lyrics are on point and sonically speaking I Know is EASILY one of the best SOUNDING albums I’ve heard in quite awhile. So taking everything into consideration with this album and Eljai, what you have isn’t the most complex and not the finest album altogether you’ll hear, but just a very nice and uplifting vibes and vibes which are instinctively done in Reggae, so please - Leave our artists with us and we’ll appreciate them. Well done.

Rated 4.25/5

Jah Mix Entertainment

2010

Eljai

Eljai @ Myspace