The Eye Of Tha Tiger Riddim

Just wanted to take a break from writing my next review (which you wonderful but awful taste having people should get a look at sometime this week) to mention a fun tune that comes courtesy of Outfytt Records and their Eye of The Tiger Riddiim as, seemingly as a slap to individuals like myself suggesting that his best days are behind him, the great Sizzla Kalonji declares himself 'Bad As Ever'. Just in case you need a little GRRRR! in your life (and who doesn't) check not only this track, but Bounty Killer blessing the same riddim with 'In My Bed'. 

Bounty Killer & Daseca Go Jet Black

...and the world is a better place because of it

"Trenchtown mi bawn

Callaloo bed grow mi

SEAVIEW MEK DEM KNOW MI

Mi gun everyweh, so mi bad every anyweh

Mi will send yuh anyweh weh heaven or di devil deh"

Strictly The Best 63

"Strictly The Best 63" [VP Records]

1. 'Driver' by Romain Virgo

2. 'One More Time' [Don Corleone Remix] by Jah Cure

3. 'Don't Say You Love Me' by Aza Lineage

4. 'Soulmate' by Lutan Fyah

5. 'Open Heart' by Jah9

6. 'Nah Sell Out' featuring Kabaka Pyramid by Alborosie

7. 'Cyaah Done' featuring Iwaata & Country Hype by Konshens

8. 'MUGGER' by Intence

9. 'Happy Living' by Jahshii

10. 'Only Room For Two' by Gyptian

11. 'Gyal Dem Time' featuring TeeJay by Shaggy

12. 'It's Guaranteed' Remix featuring Bounty Killer & Busy Signal by Christopher Martin

Okay so, while we aren't too sure who's showing up these days and, if they are, when exactly they'll be arriving, I am damn pleased to say that we definitely are getting a shot of one of the most reliable compilation series in... in ever, as the latest installment of one of Reggae's most reliable sets, "Strictly The Best 63", is set to reach in just a few weeks' time. VP Records delivers as always in a time where "STB" remains quite consistent, having missed only one year in recent times, by my count [2021], despite one of the label's other large annual releases, "Reggae Gold" (which just may be the genre's most identifiable collection), being a bit more of a mystery in terms of scheduling these days. I took a quick look at the tracklist of "STB63" and a couple of things that I saw caught my attention and did so in a good way. 

The first thing that I noticed was that they kept it simple. You get a dozen tracks and in those tunes (and the second thing that grabbed me) you get a very healthy mixture of artists and styles. Compilations and albums in general can be too damn long at at times and I was very happy that they chose to keep "STB63" on the more 'cozy' side of things. As for the sounds you will hear here, how about this: You get people such as the incomparable Jah9, Lutan Fyah, Alborosie, sitting Reggae Grammy holder, Kabaka Pyramid and Jah Cure, then we make room for the likes of Romain Virgo, Christopher Martin, Gyptian and Aza Lineage and not to be excluded, we'll also cover the Dancehall with Bounty Killer, Shaggy, Konshens, Busy Signal and Intence (or whatever they call that stuff Intence makes) ('Mugger' is not Dancehall. I don't care anyone says) (not saying it's bad, IT IS TERRIBLE, but it isn't Dancehall).  So the vibes on this one are HEALTHY to say the least. "STB63" also boasts of four exclusive tracks, including efforts  from the Fyah (a new Lutan Fyah tune??? Works for me!) and Aza Lineage as well as several selections which have never previously been available on disc (if you're old as hell, like me, and're still interested in prehistoric physical media) (just make a contraction out of anything. What the hell is "and're"??) (Andre who???). So, it seems as if they've taken great care with assembling this year's edition of the esteemed series.

How well does it work? Well, you can join me in figuring that all out when "Strictly The Best 64" releases on the 15th of December from VP Records.... but I can tell you it's probably going to be pretty good. 

What I'm Listening To: SUMMAH!

"Special Lady" by Junior Kelly [Muzick Vibes Records - 2023]

It has definitely been awhile from since we've last talked about Junior Kelly, at least in regards to any project he had around, so I was well pleased to not only see that he was back with a new EP, but also that it.... was actually pretty decent. "Special Lady" comes courtesy of Muzick Vibes Records from out of Argentina and features some very solid material which is what the chanter should be making. At his best, Junior Kelly is a mark of consistency in Reggae, but he... has his moods. In particular check 'Them Nah Know' and 'Stand Up' alongside Blessed and just generally give "Special Lady" a try. You might find a big tune or two.

The Slow Motion Riddim [Madhouse Records - 2023]

Partially due to their infrequency and largely due to.... him being a complete and utter genius, there will always be a very rare air reserved for the work of Dave Kelly and his Madhouse Records label. The very reclusive ace is arguably THE finest creator the Dancehall has ever produced (off the top of my head, he has my vote right now based on strictly how BEAUTIFUL his tracks are) and he's blessed 2023 with his work on his latest creation, the Slow Motion Riddim. As you might suspect, the kind of slower detailed track makes for a very snug fit for most of its artists, but it is, surprisingly, TOK who takes top honours with their very clever 'Sexy Time'. Blakkmann also registers as does Busy Signal and a trio featuring Bounty Killer, Dexta Daps and, of course, Baby Cham.

 

"Island Hopping" by General Degree [Size 8 Records]

Of course I will always have room for General Degree and that extends to his latest creation, a four-tracked EP release by the name of "Island Hopping" on his very own Size 8 imprint (like most of Degree's work). This set won't change lives at all anywhere, but it does serve its purpose of providing a bit of light amongst the very DARK landscape of what is considered Dancehall these days (and I got that from a review General Degree did for The Gleaner). While the title track here is fun, the main attraction is definitely the hilarious 'Di Bwoy Oral' which follows a career length line of very clever such tunes from the deejay ["She waaaaan di pianist"] (these days apparently she wants something else as well). Fun times are to be had as they always are with the General.

"Dancehall Gift" by I-Octane [I-Octane]

TRASH

"Moodiraw" by Féfé Typical [DJ Kaprisson - 2021]

And for our blast from the past, we don't go too far back as also on my radars as of late has been the latest release -- just a couple of years old now -- from someone who I should definitely be listening to more, the brutally consistent Féfé Typical, "Moodiraw". The former sparring partner of longtime Achis Reggae favourite, Tiwony (big new album of his own, "Frequency", out now), from out of Martinique would deliver an absolute GEM of a set here which most certainly did not receive the attention it deserved but I'm doing my best these days to make sure anyone within earshot of my players has an AMPLE opportunity to right their previous wrongs if they overlooked it. "Moodiraw" was just outstanding. Reaching the furthest amongst the pack were winners such as 'Le pater', 'Un Bon Sound' with DJ Kaprisson, 'Ecoute-moi', 'L'emuélanine', the big BIG closer 'Corona' and the KNOCKING 'Reprends Tes Priéres'. You couldn't go wrong with anywhere you dropped in on "Moodiraw", however, and, for what it was, it was definitely one of the best Reggae albums of 2021.

I've Been Waiting: A review of B.A.D by Skinny Fabulous

Scary. Now typically, this would be the point of the review where I attempt to grab on to some interesting angle from the album that we're looking at during that particular day and reach obscure conclusions and connections to other things and go off on my beloved tangents before ascending (or descending) into the artist and music; but today I don't think that is necessary (even though, TECHNICALLY, I'm doing it right now). Nope. Instead we're going to take the more direct route to things because TODAY we have reached such a significant point in the history of this blog as one of my favourites -- and probably my absolute favourite Soca artist in recent times -- is now delivering a debut album that we have been anticipating, fruitlessly, for a VERY long ass time. I couldn't tell you, within even a relatively close window of time, when I began to listen to the AMAZING music of St. Vincent star, Skinny Fabulous. What I can tell you is that it was almost surely after I had become a fan of his musical 'brother' Problem Child (more on him later) ["THIS IS NOT A PARTY AND THIS IS NOT A FETE, THIS IS MAD-MAD-MADHOUSE!"] and it was years and years ago and, after refreshing for the sake of this review, I can go back nearly FIFTEEN YEARS now of ultra-familiar tunes and bona fide personal anthems that he has provided me. What I can say that struck me, especially, about his work is that, first of all, when it comes to POWER Soca music, he has very little in the way of peers. While Skinny may not pack the lyrical punch that someone like Bunji Garlin does (but.... no one does), he is very impressive with the spoken word, crafting CONCEPTS of songs which so fittingly match the genre. On top of that, you will NEVER find a powerful song that he has done which isn't impressive melodically. Even if you don't LOVE every single one of them, Skinny Fabulous makes a point of not only bashing his listeners over the head (and he will do that), but making them enjoy it at the same time by providing a fantastic tempo to go along with the bruising. Each and every season, along with others such as Garlin and Fay-Ann Lyons and Destra and a few others (Mr. Killa), I am MOST keen on hearing new work from Skinny and he has rarely disappointed over the years becoming, EASILY, one of Soca's most consistent of acts. I've also had the fortune of seeing him perform on quite a few occasions on some truly big stages and I can tell you there are very few people that I have seen with THAT level of personal energy. It is DEVASTATING! It is a quality possessed by very few individuals (off the top of my head, there's Machel Montano (more on him later as well)... Lyons and.... uhmmmm) that make a similar brand of music that they can give you that energy both in person and in just hearing their music. It is ENTIRELY transferable (Garlin is different. His energy does come through but you'll find yourself coming back over and over against attempting to hear every single word that man says) (Ilah Man from out of St. Lucia may be another good example of that) and he has provided so many powerful displays throughout the years which, again, have more than made a fan out of me.

Most recently there was Garn (not completely true anymore, but it's only been overtaken recently by a tune we're going to tell you about today), but I can seriously name you probably a couple of dozen FAVOURITES either off the top of my head or with just a little thought. Tracks such as 'Mental Home' (I have no idea why that one came up first) ["WE JUST ESCAPED FROM THE.....MENTAL HOOOOOOOME!"] (random ass ten year old tune), 'Fire Anthem', 'Pieces' ["THE FIRST PARTY WI TOUCH - IT AHGO MASH UP INNA PIECES!"], 'Soca Defenders', 'Swarm The Town', 'Act Normal', 'Famalay' with Garlin and Montano, 'BTW', 'Rock This Place', 'Head Bad', 'Going Off' [BEHAVING LIKE WE GOING OFF!"], 'Monster', 'General', 'The Cave' [" NO CELL! NO TOWER! NO BATH! NO SHOWER!"], 'GODZILLA', 'Ignorant', 'Mash Up International', 'John Wick', 'Bongokart', 'No Other Way' ["NO OTHER WAY! WI DON'T KNOW NO OTHER WAY!"], 'Duracell' (tune grew on me, I used to not like it very much), 'Brutal', 'Hurricane' and PROBABLY my favourite, 'Scary'["EVERYTHING MASH DOWN! EVERYTHING TEAR DOWN! EVERYTHING BRUK DOWN! WHEN YOU SI WI COMIN!!] .... and I left some out (like 'Reckless' w/Garlin) that I could also mention (and 'More Jab'). Each and every season he drops a new batch of tunes and that list grows, clearly making for one of the most decorated catalogues that I've ever come across in Soca music.

But there was something missing. Wasn't there? I'd looooooooooong given up hope on Skinny Fabulous making an album, though if you go back far enough on these pages, you'll find at least a couple of Most Wanted lists that we've done in wishing that he might release one in any given year. Its prospects had, literally, descended to the point of thinking it may be even less likely to come than that long rumoured next album from Lady Sweety (who has returned to us), but apparently time changes things. I read an interview with Skinny Fabulous where he said that he never saw the importance of releasing an album because he was performing constantly and making money, but that he gradually began to see its potential benefits as the digital medium became more and more popular and albums had become so much more accessible. By the end of the review he was advocating for his fellow peers to follow the same route (GOOD IDEA SKINNY!), as he sees it as only a positive and he even goes on to talk about things such as Grammy's in the future and the general development and PROMOTION of the genre. I'm biased as hell. I love albums. They're very convenient and identifiable and, when you go back through an artist's career, albums stand up as these pillar-like moments of various portions of their career. I also think it's an 'easy' (that's not the best word but it's what I'm going with) way to generate buzz. If someone pays for you to make an album, they're also going to at least make an attempt to promote it to the masses. Skinny Fabulous has mow wonderfully and OFFICIALLY exited the ranks of the album-less as his anciently awaited debut, "B.A.D [Beyond A Doubt]" comes to fruition via DSM Music and Monk Music (of the aforementioned Machel Montano) and, if I have yet to paint that picture as vividly as I possibly can: THIS IS A BIG FUCKING DEAL! Like I said, I'd given up hope and when I saw "B.A.D" in the offering, I didn't believe it, but I was extremely pleased as someone who has enough ammunition to build a few 'greatest hits' collections, gives us a proper debut. Soca albums can be tough because they typically go in only two or three directions: In very rare cases they're accounts of a particular season or two (and that's something probably only reserved for the likes of Montano, Destra and maybe you could include Nadia Batson - people who almost ROUTINELY release albums); they also, even more infrequently, could be bigger productions of labels such as VP Records and you'll see that with Garlin and Lyons most recently (I'm thinking I'm forgetting someone); and sometimes they'll come through as digital DUMPS as, presumably, someone responds to fans asking for such things (coincidentally this was recently done by fellow Vincy star, Fireman Hooper, a couple of years ago when he gave us FORTY tracks of "Fireman Hooper Classics"). Skinny seems to have chosen the first route as, despite being TWENTY-THREE tracks deep, "B.A.D" is built on fresh material and, as you would expect from such an expansive project, it covers a very large range of vibes and, by its end, serves as both a very powerful introduction to and SUPPORT for an artist destined to be (and ALREADY) one of the greatest Soca has ever produced. Let's take a listen! 

2023 just might prove to be a very crucial year for Soca music, on the whole. There may not actually be a genre MORE dependent on the in-person experience than it is and having had it removed, on a large scale, has certainly been damaging. Things should be fully back to normal this year and we've already seen several pieces marking the occasion. Skinny Fabulous is also obviously doing his part in the festivities and a large chunk of it is to be found on his brand new debut album, "B.A.D", which gets up and going with its title track, following a  very interesting Intro which features, amongst others, Bunji Garlin, Destra and Machel Montano (who mentions that the artist, born Gamal Doyle, has been a songwriter for him "for some time") speaking on behalf of Skinny who chimes in himself as well. "#BAD" is outstanding. It is a delightful demonstration of Skinny's devotion to Soca music. 

"Well I hope you know we're unruly

Know in fact we're unruly

And when Soca music goes through me-

No one cannot talk to me

I can't help myself, I have no chill

When dem tell mi stop, it's just more still

Cause I'm a bad child

I'm a Soca bad child

If you open up di mad file

I'm a Soca bad child

Di crowd I moving mad wild

I'm a Soca bad child

Since I young I was a bad, BAD child"

Well said, coming from one of Soca's most PRODUCTIVE of offspring. The tune is such a nice, predominately Groovy, and easy listen and by album's end, it well remains a definitive highlight. Next up is a tune I'm well familiar with as it was a previous single from... maybe just three or four weeks ago now, 'Tek Jam', which features young Trini veteran vocalist, Nessa Preppy. This one probably lands somewhere between Dancehall and Hip Hop (although more on the Dancehall side to my ears) and, to be honest, it has grown on me just a bit. While I won't say that I LOVE 'Tek Jam', I do see a quality in it that I didn't the first few times that I heard it. Check the pretty old-school, innuendo-latent Soca vibe of 'Sauce', featured on the fittingly named Retro Fete Riddim, courtesy of Vybez Productionz and International Stephen (who also takes executive producer credit for the album). Here, Skinny gives a shout to some of his female peers ["Yes suh. Bring something like Nessa. I waan give she pressure. I still waiting on Destra"] and women, in general, with a damn infectious sound. In terms of singles, I wasn't at all surprised to see the treatment given to this one as it is terribly difficult to get out of your head (the video is probably in here somewhere. You can give it a shot yourself. If you were looking some a little early-album chaos, check 'Big In The Dance', which taps Trini artist and radio host Viking Ding Dong to join in on the fun and that is PRECISELY what 'Big In The Dance' is. It is a lot of fun. While we haven't pressed the pedal completely to the floor, it is close enough to get that intoxicatingly POWERFUL vibe which Skinny Fabulous is so damn special at and, for his part, VDD definitely holds his own, making for one of the baddest tunes on the whole of "B.A.D". Chasing 'Big In The Dance' and having a name like 'Buss Party', I definitely envisioned (or is it enaudioed????) another mash up/jump up affair and though that wasn't at all what it ended up being, I was very happy with the clever Wetty Beatz produced (Quick Riddim) drop. I'm going to use this one to illustrate just how potent Skinny can be lyrically because I doubt that anyone else will REALLY do so, but very early on in 'Buss Party', he lays things to ruins and not be ABSOLUTELY DESTROYING it in typically Skinny Fabulous fashion but, instead, by producing one of the album's SHARPEST instances. 

"Hold on dey, wait mi seh look

Anytime I step in, di whole place shook

I bring all mi money from mi bankbook

Watch gal just ah bubble up dem body like soup

Yes, I jump like a fish I hook

I teefing a whine tonight, I'm a crook

IF YOU CAAN FIND WORDS TO DESCRIBE THIS SCENE YA-

I GO LEND YOU MY FETTING BOOK

Cause is a move wi feeling tonight

Enjoy wiself widout fight

So tell dem how just do it

Cuz wi just do it like Nike

Wi does mash up place and leave it flat

Every girl is wi type

So if you just hate to show yuh behaviour

Well wi just do it on site"

This one has a somewhat unusual pacing to it (I'm almost tempted to call it R&Bish) whoch does really compliment it well, but the star is DEFINITELY what is being said, so pay a level of attention which you may not have anticipated having to on a Soca album from someone besides Bunji Garlin (I told you, the man is a razor). 

Speaking of lyrics: 'Big Millions' is a slightly older tune (from last summer about) that I most certainly did not expect to see on a Skinny Fabulous album. Chimney Records supplies their Upstairs Riddim for the track as things take a decidedly Dancehall turn on "B.A.D" (which I just start referring to as the far more easily typed "BAD") (DUHHHHHHHH!). As a complete song, I don't particularly favour 'Big Millions'. You know exactly what this one is about - it' Skinny enjoying the fruits of his considerable labour, but he says some things here, occasionally, which well keep you on your proverbial toes so while you'll surely size it up (correctly) as something you've heard dozens of times, be careful to not dismiss it fully. Jamaican Charly Black comes through for the colourful 'Please Don't Call Me'. This is track looking at the final embers of a failed relationship burning away. It certainly isn't amongst the biggest winners here, but 'Please Don't Call Me' has a fun vibes to it and, again, I wasn't surprised to see it featured as a pre-album release single as well. There is a skit here, called 'Bounty Is Legend', which features SF talking about one of his greatest musical influences and idols, Bounty Killer, and from just how far back he's been a fan and the ultra-high esteem he has always held him in. The skit makes way for a tune, 'Up Dey', which features the Killer and the 'Killa' as, joining Skinny and Bounty, is none other than incomparable Greenz torch Mr. Killa. The trio does what you knew they would do (on... just a dirty song) and produce a piece of work which proves to be incredibly difficult to shake out of your head. Just look at though, Bounty Killer, Skinny Fabulous and Mr. Killa on the same track! That's almost overkill on a tune which is, I THINK, is a rematch of an original solo effort from the Killa across Tall King Productions' appetizing Gyal Up Riddim. I'm also going to mention both 'Double Bubble' and 'Perfect Touch' here (because I just wrote it with them in the next paragraph and it didn't work quite right) (little behind the scenes action there for you). The former, Skinny's cut of the pounding Big Cup Riddim from International Stephen and DJ Avalanche serves absolutely no purpose whatsoever, none at all..... besides making SOMETHING on your body move for the whole of its nearly three and a half minute duration. If it does not do exactly that - seek help my friend. 'Perfect Touch', on the other hand, impresses in an unusual way. 'Perfect Touch' sounds like something you'd hear from Vybz Kartel. It's dirty, it's highly lyrical in bursts ["Girl bend over like when you see something drop"] and it has this kind of.... STUTTER to it (Kartel, at his best (in my opinion), always sounds like he was doing three or four things at the same time. He was doing the tune, but he was looking for something and maybe cooking or WHATEVER, so instead of rolling straight through it, the vibes came in smaller groups, which I also hear on this one) (probably did a SHIT job of explaining that, but I don't care. Let's see if it survives editing) (it did!).

"Acoustic" isn't a term often associated with Soca music at all. Just thinking about it, the only musically-streamlined brand of the genre that comes to my mind is work done by Kes, here and there. Skinny Fabulous takes his shot with an acoustic version of previous release 'Apology'. The original drop came via Big Z and Vybez  for their Big Mood Riddim and was Zoukish to my ears which definitely makes for a seamless transition into this medium and, likely because of that, I can't actually tell you which version of 'Apology' I prefer. The original surely is more familiar, but this set is well growing on me (and it also helps that it features the lovely backing singing from the first). 'Apology' kicks off the second portion of "BAD" which is carries its both of its heaviest hitters. Before that, however, there're more than a couple of other very solid selections rounding out the latter stages of "BAD". For example, definitely do take a spin of all kinds of interesting 'Bang' with Walshy Fire & DJ Crown Prince. Maybe I should call 'Bang' "Soca Dub", because that is basically what it is. You hear from SF in bits and pieces, but his presence is there only to help highlight the riddim and the vibes which're the biggest star here. I was very happy that they chose to include this on the album; not only could I probably listen to it happily for a couple of hours or so, 'Bang' is a very welcomed changeup which, on an album with twenty-three tracks, is a GREAT thing. Also catching my attention was the "Bonus Track" (which comes after the hilarious Outro where an interviewer wishes Skinny all the best and then Skinny also wishes Skinny all the best), 'Stupidness Rocks'. This is a Rocked out remix of the original (just called 'Stupidness' on Marvelus' GOT Riddim of about a year ago). Again.... why do this?? I have no idea but I'm glad that they did! Ultra gifted sweet singing French sider Oswald adds some shine to the gleaming 'Girls That Like Girls 2'. If this one gets a shot at getting a run in the spotlight -- especially in terms of promoting this album -- I'd be shocked if it didn't do quite well. Coming through with that intoxicating Kompas SWING, 'Girls That Like Girls 2' would find its way to GLUE itself to minds of listeners everywhere (yes, I did just use GLUE as a verb). Team Foxx' delicious Baila Riddim underpins one of the album's COOLEST moments, 'Naked'. I'm going to go into this more right before closing, but 'Naked' is such a WELL DONE SONG! It's just so finely crafted and put together by everyone involved and the result is, like the track just behind it ('Girls Like Girls 2').... and most of the rest of "BAD", an excellent vibe and one which should draw fans to this project. 'New Gyal' comes armed with the Buddy Pass Riddim (which, MOST FRUSTRATINGLY, reminds me of something that I cannot quite recall - which is driving me absolutely crazy at the moment) and I am SERIOUSLY thinking about placing it in the next  group of songs which're represent the strongest on "BAD" because it is that good. 'New Gyal' is funny, it's petty and, again, it is damn strong!

"You think I vex cause you inside di party-

Flex wid your new man

But hey, I have a new gyal and guess what!

She pretty than you

Prettier than you

Sexier than you gyal!"

Now! I just told you about all of those songs; All of them are at least "GOOD". I'm about to tell you about four more that range even higher. The worst of these is something better than GOOD, in my opinion. 'No Relationship' has found Skinny dejected (not really) and giving up on relationships for more 'temporary' encounters ["No relationship! I want to beat and dip"].

"Yow, they gone say I tripping

They gone say I wicked

I CAN'T HANDLE DI HEAT, SO I BURNED DOWN DI KITCHEN

I ripping out di stitching

Everything I hitting

I not even choosey

It's anything I picking 

Now this year, I changing up di slogan

Different, yes, I flipping up di program

I not committing to none of dem, no man

I seh I will neva wife another gal!"

Why this song sounds like this is an absolutely mystery. It need not be THIS aggressive at all! It's frenetic and DARK and GLOOMY (it sounds like that grimy shit (and I mean that in a good way) you hear from out of Grenada sometimes) (biggup Lednek and Muddy and Dash and all of those guys) (Dash is an EXTREMELY gifted artist who you should check out if you do enjoy Skinny Fabulous' music) and not at all the type of atmosphere you would expect behind such a subject, but I think that's a major part of the attraction, for me, here. Get upset as hell [!]... when you don't really need to. That approach is more appropriate on the recent 'Behaviour Nothin', SF's contribution to the Spirit Of Carnival Project (that entire thing is excellent; featuring Montano, Garlin and Kes as well). This thing is CLEAN. It's of a more 'presentable' ilk of Power Soca and lack of morals ["She can see. Even the Prime Minister, he can see; Mi and my crew have no decency. Wi on a different frequency"] and I'm fully expecting 'Behaviour Nothin' (and everything else on that riddim) to do a considerable amount of damage this season. If it is DAMAGE and absolute carnage that you seek, then "BAD" delivers your biggest prize at track #15, with 'Danger', alongside the aforementioned Problem Child. PROBLEMS! Despite what you might think, with them clearly being such good friends and having spent so much time around one another throughout the years, you are not going to find MANY combinations between SF and PC (I'm almost certain I know of at least one other, but I cannot sing that song in my head. I'm thinking it is very old at this point) (subsequent research dates it back to 2009, 'Drinks Reach') (I REMEMBER THIS TUNE!) (BOOM!) and 'Danger' INSTEANTLY becomes the best tune that they've done together and not only because of a lack of competition. This thing is FILTHY! It needs to take a shower, dry off and then get back in the shower.

Carried by the Jab Head Riddim via Jah Head Music (Garlin also did great on that one with 'Place Open' ["Jouvert is di vacine and I ready for di strong dose. !!! di social distancing woman and dem to come close"]), which has this GIANT feel to it (when it drops in, it sounds like an emergency is happening. Like someone needs help!) 'Danger' is also THE moment on "BAD" that is THE emotional release. It is the heaviest and MOST POWERFUL experience present here; that one moment where, if you had any energy left in your body, it's time to empty that shit. It is EXHAUSTING and I love it! Did you notice that out of all the exaltation and praise that I gave to 'Danger', one very large word was missing? "BEST"??? Despite it's disgusting genius, ridiculously I cannot say that 'Danger' is THE single best song on this album because "BAD" also features what just may be one of the best ten or so tunes that I have EVER heard from Skinny Fabulous; or maybe I'm juust being a prisoner of the moment because I ABSOLUTELY FUCKING LOVE 'Come Home'! Along with Soca's granddaughter, Nailah Blackman, SF pens an apology letter to Carnival for having taken Her for granted (which we all did) and it wasn't until she left us for awhile that we realized that we had all fucked up royally (well, everyone besides Shurwayne Winchester, who told us all years ago how much he revered Her on the IMMACULATE 'Carinval Please Stay') (always look for a reason to bring that tune up). 'Come Home' is of the type as many tunes you will hear this year, paying some level of homage to Carnival and how much she's been missed, but I will be SHOCKED if anyone does as fine a job as these two.

TEARS! BUCKETS AND BUCKETS OF TEARS! ["I'm sorry! And I need you back in my life!"]

I wanted to make a brief point about lyrics on this album and in Skinny Fabulous' music, in general. I used the word "concepts" in regards to the way in which he displays his music and, at least for me, that's different than just what he says. Skinny Fabulous can make a dozen jump up and wave/mash up Power Soca songs and each can have a similar base sound (it wouldn't happen like that, I'm just making a hypothetical situation) but you'd have twelve wholly unique EXPERIENCES. They'd all be different. That's what he's been able to do SO well in his career thus far. He's been able to remain unique and REFRESHING in a way which does not interrupt the intentional 'overboardness' of his sound. It's ridiculous. It's supposed to be; but at work is a level of orchestration only displayed by the genuine greats of Soca music and not ALL of them. 

Overall, "BAD" shines! Given its girth, I had no doubt in my mind that it would, but what I worried about was just how much fluff and filler it may contain and though yes, it is probably too damn long, I don't give a shit. I was thoroughly entertained by Skinny's debut album just as I have been by his long line of singles over the past decade and a half or so and I would expect to be for the foreseeable future as well. I do have to say just how damn pleased I was that this set did materialize and did so not as a 'greatest hits' (although I'd take that as well. Some of those older tunes are hard to find at a good quality. Were someone to remaster a bunch of them at a good quality, that would be very helpful) but as a single and current unit. I also love the cover with its kind of Matrix-like appeal, presenting Skinny as a superhero (or super villian) (he'd be fine with either, I'm sure) and doing so on the digital single covers as well. For me it all helps to put it in some 'official' capacity that Skinny Fabulous, ALREADY, sits as one of the biggest champions of Soca music, "Beyond A Doubt".  

Rated: Who Cares!/5

DSM + Monk Music

2023

Digital

What I'm Listening To! Again and Again!

"Acoustic Gold Vol. 1" by Etana [Freemind Music -2022]

First up today (actually writing this one fourth, but common sense dictates it being at the top), is a wonderful idea from a wonderful artist with a wonderful voice as the incomparable Etana releases a brand new EP with quite a few familiar pieces done with a new rinse. "Acoustic Gold Vol. 1" (-suggests that there will someday be a second volume. That would be nice) finds the singer performing more streamlined versions of some her well known tunes on her own Freemind Music imprint. When I saw this tracklist, my eyes gravitated towards one tune in particular, 'I Am Not Afraid' because not only is it my favourite out of the seven, I thought that it might even be able to shine MORE in this form as that voice [!] would take on a greater presence and, for once, I was not wrong. Projects like these are not for everyone and not even I would want to listen to them ALL the time, but presented like this, just a few at a time, I was just very impressed -- yet again -- by Etana and co. Also take a listen to 'Love Song', which is probably going to make quite a few people cry, once again.

The Yad On Riddim [Lustre Kings Productions -2022]

Achis Reggae favourites, the Zion I Kings, are back with their latest assuredly BIG release, the Yad On Riddim. Keeping it simple this time (nothing wrong with that but.... should they want to spread it around a bit more sometime in the future, I wouldn't have a problem with that), the Yad On features just three vocal tracks along with a dub version of the track courtesy of Digital Ancient from Lustre Kings Productions who take center stage this time around (I LOVE how they kind of rotate releases between the three labels). Despite its brevity, however, as you imagine the Yad On manages to make a significant impact. That surely has to do with the talent assembled as ZIK stalwarts Akae Beka and Lutan Fyah are featured and turn in predictably outstanding efforts. HOWEVER, to my opinion the Yad On's finest piece comes courtesy of Marcus Gad who impresses immensely on 'Recall the Fullness' ["Some say you can magnify the waters with the focus of your mind"], though Lutan Fyah may be catching him, as 'Talk Talk Talk' takes a bit of time to grow on you. Crucial as always - you really want to hear this. Trust me. 

'Dem Haffi Runaway' by Norris Man [Little Rock Sound -  2022]

A HUGE, IMMENSE and THUNDERING credit goes to one Little Rock Sound from out of New Caldeonia of all places (you Google New Caledonia and see where it is in the world) for this next selection (which I'm actually writing first on this list) because it is absolutely GORGEOUS! Following the release of his excellent "Deep Conversations" album, just earlier this year, apparently veteran chanter, Norris Man, was simply not done with you because he is back with a tune which not only would have reigned supreme on "Deep Conversations", but would have done so on MOST of his albums. 'Dem Haffi Runaway' is MAMMOTH!

"Dem haffi run away - too much wickedness

Jah put an end to their days

There is no other way

If a nah Jah you praise-

Then surely shall fade"

And although Norris Man does definitely shine lyrically here, it would not be nearly as potent were it not for that spectacular riddim carrying it so, again, we give thanks to Little Rock Sound on the production. BOOM!

'Jamaica Gone' by Bounty Killer [John John Records - 2022]

You listen to this song. Just take a listen:

SHOCKINGLY -- believe me, I know -- I neither feel the need to or feel like I should have to explain exactly why this song has been on my radars lately. We give thanks for a trio of wizards, Bounty Killer, John John and Mark Myrie (not actually sure which Mark Myrie... thinking Buju more likely than his son, but I could definitely be wrong) link up, in association with Johnny Wonder, to produce a masterpiece.

The Inna Dem Eye Riddim [Tad's Records - 2021]

And finally today, for our 'blast from the past' category, we don't go back too far as just last year, the great Chezidek dropped gorgeous Inna Dem Eye in full form via Tad's Records. I was actually thinking about reviewing this one, but I did write up Chezi's album featuring the riddim's signature tune and namesake, "Hello Africa" [Rated 5/5],.... though I still may get around to this one, someday. The Inna Dem Eye album is exquisite. Along with its creator who takes top honours here, also shining brightly are the likes of Little Hero (who also has a new album out now on Tad's, "The Journey Continue"), Daune Stephenson, Lutan Fyah, Natty King, Mikey General and others still. For what it was, the Inna Dem Eye probably produced one of the finest riddim albums of the last few years or so and you should definitely take a listen for yourself.

'Conquer' by Nature Ellis [Warrior Sound - 2021]

And a little bonus today because I really wanted to mention this one and I might forget it next time (as I did last time). While I have never been the biggest fan of vocalist, Nature Ellis (amazing voice, but something about his music doesn't seem to register with me, generally speaking), I well look forward to giving credit where it is due and a year ago (almost to the date) along with Warrior Sound, the MoBay native produced what is the single best tune that I've heard from him (unless I am really overlooking something - and I may be), 'Conquer'. This thing is just sublime and I found myself listening to it during a random playlist and it caught my attention and that may've been a month+ ago; as you can see, it's still around for me. Songs like this from artists who you don't listen to too much make yoiu think that it may be time to go back and see if it was YOU that was missing in their previous work that didn't really reach you and I have been listening to his work a bit more and I will let you know if Nature Ellis grabs me in this way again, but if he never does, damn this song is fantastic.

'Let Love Lead' by Reemah [Feel Line Records]

And, because they dropped the video after we'd already told you about the tune, definitely have to runback and mention the latest from the brilliant Reemah and Catalyst Mitchell of Feel Line Records, 'Let Love Lead'. Hopefully, we're looking at something special from Reemah in 2023, but until then, enjoy this LOVELY track and I'll see you later. 

Bounty Killer & Baby Cham Destroy Absolutely Everything Everywhere.... there is nothing left

Now this.... this is just masterful.  

50 Years A King

"Warlord nuh business.

EVERYBODY DEAD!"

The single-most influential figure the Dancehall has ever produced: FIFTY years today - supreme respect goes to the warlord, big bad Bounty Killer. 

New from Kalash: Tombolo

"Tombolo" by Kalash [Mwaka Moon Music/Take Two]

Okay so, many a moon ago (like a dozen years or so) (almost exactly, actually), we introduced you to an up and coming fire-breathing artist by the name of Kalash from out of Martinique. He had well caught attentions with early offerings such as 'Pran Pié' with Lieutenant and, even before that, the truly ridiculous 'Bust It Up' alongside Crocadile from out of St. Lucia. Kalash pretty much stayed in our rotation throughout the years, we reviewed his self-titled debut album and mentioned several things the booming voiced DJ was involved in over time. Since then, and during our hiatus, he's remained well active releasing several albums, he's actually become a VERY big name and he's back with his latest, "Tombolo". Kalash's music has seemed to shift more and more towards the Hip-Hop side than I can recall from his earlier work (although I could be wrong about that. Still, listening to his debut, there's more Dancehall in it that he has had in his later work), but he has given Dancehall and Reggae heads a few bites in more recent times, such as the excellent 'Calle La Boca' from his most recent release, 2019's "Diamond Rock", 'Bad Like Me' with Admiral T and others (if you get into his albums, Kalash will give you at least one killer Dancehall or Reggae tune. Check 'System' from "Mwaka Moon", for example). Because of that, when I saw that "Tombolo" was forthcoming and I got a look at the tracklist, I immediately had selected the tune I most wanted to here, 'Everybody Falla', which featured Kalash alongside Dancehall royalty, Bounty Killer. Having now heard the full tune, it did not disappoint. 

And it isn't their first tune together (and from what I can piece together, apparently Kalash grew up a big fan of the Killer's, like so many others), but 'Everybody Falla' is very nice AUTHENTIC DANCEHALL music. Also making appearances are Mavado (on 'My Life', which is also pretty good), Skillibeng, Rvssian and Achis Reggae favourite, Guyane Zouk singer Fanny J. And though not Dancehall (... I don't even know what to call it), check the album's delightful title track as well.

So, if you're looking for something a bit more colourful and varied, definitely check out the latest from an old favourite of ours, Kalash.... just thought I'd let you know. I'm going back bed.

Rescinded???: A review of Elev8 by Bling Dawg

Hills. The vast majority of the reviews that I write tend to fall in one of two categories. The first and most obvious and most prevalent are albums of artists/labels/riddims that I either have a history of enjoying or, at the very least, have some quality at that particular moment that makes me confident that I will like it in some way. Be it something as cemented as the last review that I wrote, for a Pressure Busspipe drop called "Rebel With A Cause" - which was a situation involving a favourite artist of mine on a favourite label of mine (I Grade Records) in a collaboration which had already been proven to be fruitful (there was  no way in hell I was not going to LOVE that album); or even just a track that I heard that seems to portend that I might have ears for the fuller experience - there's something positive that is going to draw my attention in the first place. Even within that scope, however (and fortunately because it is fun to review albums that I do not like sometimes), I do run into material that doesn't turn out very well for me, so there absolutely are no and can be no guarantees. Today I thought we'd do things a little differently as we're going to take a look at someone whose music I have found myself not 'not enjoying' at times and flatout 'disliking' at other throughout the years. Even if you love music, even of a specific genre, if you listen  to enough of it, HOPEFULLY you'll run into it done in a way or by someone that just doesn't resonate with you for one reason or another (if you're someone who likes each and every tune of whatever genre, you are a ridiculous person) and I have encountered a few people who are like that for me over time. Maybe one of the most apparent instances of this would be Alborosie. I couldn't even begin to explain it and I have no problem with the man achieving the damn high levels that he has reached and even going higher (though I do give Alborosie his respect for a track called 'I Wanna Go Home' - probably one of the finest I've ever heard in my entire life). There's also someone like Gyptian who has enjoyed spells as being one of THE most recognizable names in all of Reggae music (and he's not even forty years of age, I would think he may even have another run left in him actually) during his career but, outside of the occasional tune here and there, I just don't get it. The Morgans would be a similar situation as I've never found the greatest of comfort in listening to what is probably Reggae's 'second family'; and from its first, neither Ziggy nor Julian Marley have consistently made music which has done much for me (...neither has Ky-mani, really, though he has what I consider to be a borderline modern classic album in his vault by the name of "Many More Roads"). There're a few more that I've ran into who have established at least respectable careers, but who have done so on the strength of vibes which don't seem to travel in my direction. 

Like who??? A healthy dosage of these artists can be found in the Dancehall by some chance. Apparently, I don't have the stomach for mediocre Dancehall artists and I have come by an unfortunate amount of them in my (many, MANY) days (on the other hand, I can easily digest mediocre Roots artists, but when the genres are performed at their absolute best, there is nothing like the THRILL of an extremely gifted Dancehall star) (it is a one of a kind feeling for me even still as an old ass man). So I've never been the biggest fans of names such as Buccaneer, Predator, Danny English, ALOZADE and a whole heap of others who have, again, achieved some level of stardom and respect and, for their fans have provided years of excitement (and there's nothing wrong with that, at all). Interestingly, another name who would find himself firmly planted near the head of such a list would be a veteran by the name of Bling Dawg. So what was it about Bling Dawg??? Quick to point out his alias, Ricky Rudie, I hate to say it but I think Bling Dawg just annoyed me (and I didn't even like his name. At the time he came to prominence, the word "bling" had been fully worn out and flat out bullet-riddled. I was tired of hearing it). So much so was it the case that I'd hit a point where I didn't really even pay attention to his music. He was extremely popular at points and you'd see Bling Dawg's name attached to some of the biggest riddims from some of the genre's greatest maestros. Don Corleon, Lenky, Daseca, Scatta, Burch, Steely & Clevie and a whole heap of others voiced Bling Dawg and he did register with quite a few hits in his day and was probably one of the most consistent artists the Dancehall had altogether at one point, but to be completely honest, without looking it up I couldn't name you a single Bling Dawg tune that has stuck with me to any degree, for better or worse (meaning, I cannot tell you one that I love or one that I hate) (Shit: Even after looking it up, I still can't say that I'm familiar with any of these songs, though so many of the compilation album covers are old favourites). [note: For some reason, I distinctly remember the first time heard of him, people saying that Bling Dawg was making a comeback of sorts. This would have been in the early 2000's, I do NOT recall hearing of him prior to that at all]

But things don't always have to stay the same, do they? Nope. They don't. A number of the Dancehall acts from the early 2000's never got around to doing full albums. Individuals that I've mentioned already like Alozade and Predator (even though he signed a deal with Greensleeves Records) at the pinnacle of his 'Head Nuh Good' popularity, the project never actually materialized) and several others (Zumjay, Hollow Point, Danny English and the likes) (Desperado, Calico, Jagwa) (I actually ended up liking some of Desperado's music) did not either and Bling Dawg was one of them. Given his particularly persistent level of acclaim (and the company he kept) (more on that later) it is somewhat surprising in retrospect, but the Bling Dawg album --which I do recall being discussed and seems like a natural step for the once mighty Greensleeves -- did not come around (biggup Collie Buddz).... but it has now. Almost ridiculously, bright and early in 2022 the debut album of loooongtime Dancehall star, Bling Dawg, "Elev8", has now reached and it is not at all what I would have imagined. The release comes via of the artist's own Dawg House Productions (and he takes executive producer credits), as well Creative Titans Music, who has been doing a lot of biig dealings as of late and figure to do more later this year (HOPEFULLY we get our paws on "King Of Kingston" in 2022). Unbeknownst to me, Bling Dawg had spent the majority of the past few years inactive in terms of making new music, but ultra-active as far as his personal life. So he enters this latest portion of his life and career having discovered Rastafari and lost a great deal of weight (biggup Bliing Dawg!) as well. So as I read up on him, thinking it would be fun to write for this album, I was very pleased by what I found out and figured that this was as good of an opportunity as any if I were ever to really dig into the work of Bling Dawg.... and I was right (for once). We have seen career path changes previously in Reggae music with probably the most noted instance being that of Buju Banton a really long time ago. Had Buju continued along the path he was going, his skill and appeal may've seen him as one of the Dancehall's greatest champions of all time (and you could make the case that it still has), but he has followed a more spiritual path and, despite what may have been for him, you can well say that he made an excellent choice in following his heart. Capleton also underwent a similar transition and you can well see that it has also worked out for him, to say the least (we've also seen shifts from the likes of Spragga Benz, Frisco Kid and I think Chuck Fenda very early on in his career as well). Bling Dawg is older than Buju and Capleton were at the time and while I do not foresee a similar future for him in terms of his stardom, the early buzz surrounding "Elev8" has been damn impressive to the point where I, personally, had gone from thinking about how interesting it may be to analyze to thinking that it just might turn out to be a pretty good album! Though I didn't have a great opinion of him, it is quite clear that his peers and, as I said, the producers, all had a very high level of respect for the DJ and his abilities. So were there ever a chance for me to finally catch on, "Elev8" seems to be it.

So was it??? Kinda. Though by the time I got around to listening to it, my thoughts of what "Elev8" might be in terms of its quality was much better than it would have been at any point prior, I still wasn't sure exactly what to expect in its sound and its course. What does end up happening on the very DENSE set (seventeen tunes with an intro and outro and over an hour in length) is a fairly straight-forward Roots release which provides even this most cautious of observers with more than a few exciting moments. Following an intro (which, literally, sounds like music you'd expect to hear playing behind the opening credits of a drama/fantasy type of film) (biggup my Wife. Those were her thoughts and I agree) we get to the opening selection of Bling Dawg's debut album, "Elev8", the star-studded 'Yo!'. The tune not only features singer Christopher Martin, but is also helmed by Reggae super star Damian Marley and, if I recall correctly, was the very first official single off the project. 'Yo!' was kind of magical and it has no equal on the album that I can find. While it comes through as very general, with so many different topics being touched both directly and indirectly, everything it does touch, it does impacts deeply. I can remember hearing this one for the very first time and thinking that it sounded absolutely nothing at all like the Bling Dawg that I can remember hearing - I didn't know he could do something like this and I was tremendously impressed one song in. Bob's youngest son also steers a later selection in 'Married To Music'. This one samples the handiwork of the legendary Barrington Levy and (probably to me and me alone) sounds somewhat Gappy Ranks-ish - and I don't mean that in a bad way (biggup Gappy). Next we go spiritual on the wings of 'God Is Amazing', another impressive effort. This one is very strong and I actually read an interview where Bling Dawg named it as his own personal favourite on "Elev8". It doesn't quite soar above the opener for me, but it isn't totally surprising that he chose it. The star, for me, is the sonic appeal on this one. It sounds SO nice and when you add the nice and uplifting message, you have some powerful material on hand. The similarly guided and delightful 'Father God Guide Me' follows 'God Is Amazing' and it may be an even stronger track. I've actually found evidence that this song may be as old as a dozen years old, but I don't care at all. The RIDDIM on this song is SO BEAUTIFUL! IT IS SO NICE! Production credits is given to Dog House and Starplayer Music and a big credit it is, because this thing GLOWS behind Bling Dawg who uses the opportunity to give another big shout to The Almighty. Sticking with that  theme, later there is a song called 'Prayer We Use', to which the always interesting Popcaan lends his talents. Though this one doesn't hit me in the same way as 'God Is Amazing' or 'Father God Guide Me', I wouldn't at all be surprised if I'm in the minority in that (especially since virtually everything Popcaan touches seems to do major damage these days) and the Bling Dawg produced drop may have a similar future in store for it as well.  Also winning near the head of "Elev8" is the golden oldschool licked 'Step Son'.

"Dem caan push mi dung a step and call mi no step son

Breathless fi mi goals, a so mi mek run

Every idle leader bout yuh fi step dung

CAUSE AIR-CONDITION NAH KNOW SWEAT RUN 

Fifty-two card inna di deck player poker

Four king, so mi fresh, mi walk pass di joker

Night-stand no inna nuttin wid sofa

IF LIFE DRIVE MI CRAZY THEN WHY NEED A CHAUFFEUR???"

I was almost sure that I'd heard 'Step Son' somewhere previously but, as far as I can tell, it's an original for "Elev8' and it is EASILY one of the album's best offerings.

As I said, in his time in the industry, while he may not have made a fan out of me (though we may have to talk about that later), he's earned a whole heap of respect and made a ton of friends and several of them, along with the aforementioned Popcaan and Christopher Martin join him throughout "Elev8". On paper the biggest one makes his presence known on the Bulby produced 'Buss A Road' as it features the "King Of Kingston", himself, Bounty Killer. There is a wonderful documentary that goes along with this album (which you will certainly find in here somewhere) (biggup Bredz every single time) where Bounty features prominently and, at one point, they show a photograph of the two together from "like nearly thirty years ago". Bling Dawg is double his size and Bounty looks like a kid. That just goes to show how long these two have been friends and CLEARLY the Killer had to be involved here. Such a background would also seem to forecast a big tune as both would recognize the moment and put forth a big effort and that is what happens with 'Buss A Road' as Bling Dawg and the Killer deliver a collaboration befitting of both their musical and personal chemistry. The outstanding Romain Virgo tags in on 'Pride'. This one was another single I believe and it was an obvious choice given just how easy of a listen that it is. Originally I had referred to 'Pride' as a "love song", but I don't think that it is quite that. Instead, I would say that it is more about having a high self-esteem and confident ["When mi miss yuh presence, baby girl a yuh mi call. Mi waan wi stick together like concrete to wall; like basket to ball, like winter to fall. Mi nah tek you no shopping, girl mi waan purchase di mall"]. And though it features no one besides Bling Dawg alone, I do feel compelled to mention 'There She Goes' right here because it is quite similar to 'Pride' and it immediately follows it as well. Though more of a stereotypical lover's selection than 'Pride', 'There She Goes' is almost the other side of that song as, there, we heard about someone carrying themselves in a proper, upstanding manner; while here we look at what happens when you do that. 'There She Goes' is largely about how others respond to that person as if you treat yourself well, others will pick up on it and it will make a very positive impression. Earlier, I had mentioned how I wasn't the biggest fan of Morgan Heritage either and the Morgans, coincidentally, join Bling Dawg on 'Feelings' here. This is just a NICE song. It's very enjoyable to listen to and it has the more typically BRIGHT sound that I generally attribute to the Morgan's music. I have no problem with it at all. On the opposite end of 'Feelings' would be 'Tables Turn', a track I was damn interested in hearing because it has the work of someone who most certainly is one of my favourites, Busy Signal. It took a bit of time for me to warm up to, surprisingly, probably due to its kind of overly-simple computer riddim (it sounds like something from an old Nintendo game) (which isn't a bad thing really, but it is..... damn odd). I've said it in the past that Busy Signal is truly one of a kind and when he's long gone, I'm thinking people will celebrate him for the inventive artist that he is (I'm not waiting (because I likely won't be here either), I'm throwing the praises at him right now) and he thrills on 'Tables Turn'.

"Rough inna di start, none a dem no tek wi serious

Now look at how those kids they wanna be us

Ready fi di fight because a Massa God ah lead us

HEAR THIS: MI SHELL DOWN DI WORLD LIKE A PEANUTS

Mi press delete pon dem negative speech

Some get complacent inna di place weh dem reach

Neva get weak and when di journey get steep-

Dog mi hold mi owna set and caan get impeached

Far man ah come from and no bridges neva burn

Look how di tables turn

Look how di tables turn

Look how di tables turn

Haters dem ah talk, but dat no stop wi, still ah earn

Look how di tables turn

Look how di tables turn

Look how di tables turn"

Now, with all of that being said, when I saw the lineup for "Elev8" one of the selections, above all others, caught my attention and it is the final combination, 'Seh Dem A Love Yuh' which pulls in the downright brilliant Tanya Stephens. The 'back and forth' between the two on this track is damn impressive as.... pretty much everything is for Stephens when you catch her in form. I'm hoping this shot is a signal that she may bless us with a musically productive 2022 because Reggae is a much better place when Tanya Stephens is around and a HUGE accolade goes to Bling Dawg for tapping the veteran for this release ["You show dem love, yet dem still hate you same way. Caan blame dem: Mi code it inna dem DNA"] on a vibe telling everyone to be careful who we spend our time with.

Bling Dawg does have a few big cards left to play on "Elev8" and probably none of them are bigger than the GOLDEN 'Walk This Way'. Another production collaboration between Dog House and Starplayer, this tune is such a beautiful and powerful vibes and the artists uses them to make a very interesting composition. 'Walk This Way' is seems to be really streamlined in terms of its ideology and what I ultimately took from it (besides how nice it is, if I haven't mentioned that already) is the idea that everyone has a choice to make and he's right. You may not have a choice in terms of where you are and who/what is around you at all times, but we're all responsible for our own actions and what we choose to make of our lot in life. 'Walk This Way' is a definite highlight here and one of the best tunes Bling Dawg has ever made in my opinion. 'Gaze' isn't quite on those levels for me but it is very strong and it actually kinda/sorta expands on the thoughts expressed on 'Walk This Way'. 

"You've gots to give

You can't live and expect fi get

Dreams do come true

Apply yourself, move ahead of regret

No bodda live wid di notion bout Jah know di tings set a way 

When ah gaze you did ah gaze and expect benefits

Gaze you did ah gaze so you caan win"

Here, we have a kind of a kick in the ass courtesy of Bling Dawg. This anti-procrastination anthem is directed towards any and everyone who sits around waiting for something to happen -- for better or for worse -- instead of getting up and at least trying to better them. The social commentary 'Facts Of Life' is another at least solid offering with a sweet, sweet riddim backing it ["If you poor then you will face affliction. A no every man can sing a song like Gyptian"]. This one is a bit harder than some of the others as, here, we look at certain things in life simply being the way that they are. They may be changeable in the short term, but we will still have to deal with them in one way or another as people. I don't know what're the future plans in regards to "Elev8", but I could easily envision 'Facts Of Life' receiving some type of push because I think it would be well-received by the masses. The same maybe could be said about 'My Struggles'. Riding a cut of Buju's sublime Steppaz Riddim, Bling Dawg serves up one of the album's real highlights in discussing how difficult (impossible) it is to walk in another person's shoes. I am actually predicting 'My Struggles' to get some type of a bigger look and be that the case, it will do well ["Mi tell miself mi nah go shred like lettuce. Mi pray fi mi blessings and say thanks when mi get it"]. And finally (although there is an outro which is literally five seconds long) is 'Nah Follow Trend'. This one got me to thinking of a prevailing idea in regards to "Elev8" which I will elabourate on in just a second, but it is a nice selection particularly on the lyrical side ["Yard sale, everybody, dem, sell out"] where the artist deals with the wonderful amazingness of originality and individuality. I would have maybe even preferred if this one were on the lighter side actually to have some type of contrast in the sound (more on that too momentarily), but for what it is, 'Nah Follow Trend' is nearly a big tune. 

Overall, yes, "Elev8" is very much a matter of a well known and accomplished Dancehall artist making his debut album with what is a Roots release. HOWEVER, this is a very MODERN Roots set. Even the material the will give you vibes of yesteryear (like 'Step Son' and 'Married To Music') do so through a very new school filter. There is nothing wrong with that at all, but you shouldn't head into listening to "Elev8" expecting to hear Roots in its most traditional form, at least not in my opinion. Also, there're seventeen different songs here which is, obviously, kind of overstuffed (although, in his defense, people have probably been waiting for this album for twenty-something years so Bling Dawg clearly wanted to make the most of it). Because there're so many of them, I would have liked to see more deviation in the sound. There is a certain 'base' in terms of vibes on "Elev8" and nothing really seems to stray too far from it. It is an album desperately in need of a changeup (I cannot think of one as I sit here) (maybe 'Father God A Guide Me') (.....no that isn't it, I just REALLY love that riddim). Aside from that, and just in judging it based on the material that is here, "Elev8" is just fine. It is a much better than average release from someone who, maybe as recently as four or five years or so ago, I wouldn't have thought of delivering such results FOR ME. While "Elev8" probably doesn't suddenly make me want to go back to the Dancehall years of Bling Dawg to see what I maybe missed, it is easily enough -- going forward -- to point my attentions in a direction which I have spent so long intentionally overlooking. 

Rated: 4.15/5

Dawg House Productions/Creative Titans Music

Digital

2022