Bunji Garlin is Still A Road Man

....even after alllll these years.  

Signatures Vol. VI: Bunji Garlin

It's Bunji Garlin. Soca Defender. Lyrical Genius. No intro. Let's go! 

{Next: Queen Omega & Cocoa Tea}

1. 'Differentology'

We ready. As is the norm on these features, we begin with what is likely Bunji Garlin's most recognizable tune to date, the now, ridiculously, over a dozen years old, 'Differentology'. This tune was all-conquering in its day and though I don't even think that I would rank it amongst the top five or so (maybe I would) of songs that you'll find on this list, it has a certain BRUTALLY infectious vibe to it which makes the attraction it garnered not the biggest surprise in the world. Produced by Keron Thompson, the song would also head what is, arguably [PROBABLY], Garlin's most well known album to date named after it and has aged particularly well, still being one of the genre's most popular records altogether.

2. 'Snake Oil'

In charge. Good luck to you getting the first entrant on this list, 'Snake Oil', out of your head anytime soon.... I've been working, unsuccessfully, for the better part of a couple of decades or so. 'Snake Oil' was seriously infectious and it's gone on to hold on to this delightful position within his catalogue. For those who've known it for any kind of time, it is revered not as this ALL TIME CLASSIC, but a sharpened and COOL song which, because of its kind of pulsing pace, is one of a kind from Garlin and an EXQUISITELY put together track.

3. 'Brave'

Fraid nuthin. Sometimes YOU must be the spark. That was the idea behind the explosive fifteen year old smash that was 'Brave'. It had a [VERY] specific core to Carnival and Soca but this one has big long legs. You could apply the sentiment behind 'Brave' to almost anything. It was about having courage and not being afraid to take a risk and not being afraid of failure and it was wrapped up in this high-powered package which remains some of Garlin's most impactful work ever in my opinion.

4. 'The Islands' featuring Patrice Roberts

EVERYDAY! I wish you all the luck in the world shaking this mess out of your head anytime soon (it's not going to happen for you. It just isn't). Prior to creating absolute carnage alongside Machel Montano and family (the single best tune of which was 'Rolling' and I dare you to disagree with me!) and striking gold with the CLASSIC 'Sugar Boy', Patrice Roberts would begin her push to prominence with this CANDY-like Mastamind produced tune alongside her Soca Daimyo cousin, Bunji Garlin (never used that word before, it was time to pull it out). 

5. 'Fiery'

BURNING, BURNING, BURNING! Back in 2008, Garlin would have a lot of fans 'in their feels ' (do people still say that?), when he dropped his big tune of the season, 'Fiery', in honour of fallen Calypsonian, Maestro. I have always had something of a "love hate" relationship with this tune because, although it was sensational (and it still is) what tends to stand out most vividly about it is Garlin would use it to BLATANTLY STEAL Soca Monarch from his own wife who would deliver one of the greatest performances anyone has ever laid eyes on with 'Get On', and still be denied by 'Fiery'! Yes. It still pisses me off on some level, but that doesn't take away from what 'Fiery' was. It was genius and, HOPEFULLY, somewhere Maestro was listening and he was appreciative.

6. 'No Super Hero'

High demand.

"Well I'm no super hero

I'm not demon

Di gyal dem have wi in high demand

Mi doh know if you agree man

Mi gyal named Fay-Ann Lyons 

So I am she man"

It was the ultra fun Soca Strings Riddim sitting behind Garlin's lyrically enthused 'No Super Hero' which headed his album by the name of "Global" from back in 2007. The tune, like several you'll find here, is a PRIME example of some supremely high level wordplay in the midst of absolute chaos. 'No Super Hero' was underrated genius and it was the type of song that you only come across in Soca. 

7. 'Yuh Mad Or Wah'

LAVA! Though, to be perfectly honest, its quality probably doesn't earn it its spot on its list, the PRESENCE and IMPACT of 'Yuh Mad Or Wah' DEFINITELY puts it on such a collection coming from me. The tune was a shot at the curator of lava ground, I Wayne, who had once referred to Soca as "devil music". To the surprise of absolutely no one, Bunji Garlin stood up for the genre and did it in a way which was both kind of brutal also very sensible. He spoke about all of the people that, FRANKLY, Soca music feeds. How it puts money into the pockets of people who might otherwise just not have it or not have it in a peaceful way and the large role it plays in Trinidad. Like I said, 'Yuh Mad Or Wah', from a strictly musical point of view, is no where near Garlin at his best, but when Soca required someone to stand up for it against a... very odd foe, it was Garlin who took up the mantle and dealt with it, as you'd expect him to.

8. 'Carnival Tabanca'

I have it. A rather hypnotic backing, courtesy of Sheriff, played a perfect dancemate with Garlin on 'Carnival Tabanca', which would prove to be a sizable hit for all involved. All the trucks have been packed up and the road has been cleared. Carnival is gone. What you're left with is a feeling similar to losing a good friend and although this friend will be back next year (whether or not you're still here remains to be seen), you still miss them. 'Carnival Tabanca', in a delightfully CHILLED way, perfectly covered that sentiment and, perhaps, has aged as well as any other tune you will find here. 

9. 'Famalay' featuring Machel Montano & Skinny Fabulous

Jumping up together. Along with being a legit hit which would not only net Bunji Garlin his first Road March victory ever AND see Skinny Fabulous secure a very rare Road March for a non Trini artist (and he'd only previously won once in his homeland, St. Vincent), 'Famalay' was still, in a very enthused genre such as Power Soca music, a MIGHTY kick in the ass. On top of that, it had substance of unity to go along with its jump and wave and has already gone down as some of the best work either three have ever done in all of their storied careers.

10. 'Follow Me'

Know me when you see me! 'Follow Me' is in the discussion for being my single favourite song by Garlin ever. It's one of the best songs that he's ever made and, though it isn't respected on that level and never has been, from the very first time I laid ears on this thing, I was hooked! There is something powerfully and aggressively GRIMEY about 'Follow Me'. It is Power Soca of a most intoxicating blend and one of THE greatest of its kind that I have ever heard. 

11. 'Carnival Contract'

Hard like nail. 

"ME AND CARNIVAL HAVE A CONTRACT

EVERY YEAR WE GO HARD LIKE NAIL

I ON THE ROAD WITH TRUCK BIGGA THAN HUMP-BACK WHALE"

The ridiculous KNOCK of the Banx & Ranx produced riddim named after it was a MASSIVE part of my interest in 'Carnival Contract', but still only half. Atop it, Bunji Garlin GLOWED (why isn't "glew" a word???) with an idea that he was CONTRACTUALLY OBLIGATED to Carnival, each and every year. WHAT! In 2024, Garlin would fulfill that obligation via one of the most hard to shake songs that he has ever done. 'Carnival Contract' was simply somewhere else. It was absolutely dazzling, it still is and, although Michael Teja would have other ideas imprinted on his DNA (biggup Michael Teja), for me 'Carnival Contract' was the runaway winner for the 2024 season.

12. 'King's Arrival'

I am viking. Quite possibly THE SINGLE COOLEST song that Bunji Garlin has ever done, the woefully under-remembered 'King's Arrival' from J-Vibe was both a lyrical and musical masterpiece on a very THICK vibe. It pillaged and plundered and looted its way into my favourites and did so in a way that, though I wholly doubt you'd see it present on many other lists like such, 'King's Arrival' was one of the very first tunes I had in mind when I began putting this thing together. It was spotless.

13. 'Hard Fete'

On a hill. I have been listening to this song, pretty much nonstop, for over two years. That is the biggest compliment that I can possibly pay to 'Hard Fete' which would net Garlin his first (and to date, only) solo Road March title in 2023. Though the competition is fierce, I would probably call it my absolute favourite tune that he has done, ever. 'Hard Fete' is an intoxicant.  It is a drug. It is an addictive substance and all that good stuff. With a HARSHNESS and.... downright ABUSIVE vibe to it, 'Hard Fete' does not care about your feelings. You can hate it. You can love it. That is unimportant to 'Hard Fete'. It will treat you rudely and you will not do a damn thing about it. 

14. 'Clear De Road'

IT BLOCKED. Finally, we end things on the road, drenched in sweat and rain, courtesy of the chaotic 'Clear De Road'. I had this tune and another ('Hold A Burn') in my mind and, intentionally, wanted to force myself to choose between the two. I landed on 'Clear De Road' because there is something entirely UNCOMFORTABLE about it and I mean that in a good way. You cannot sit still while listening to this tune. It is, fittingly, disturbing and aggravating and it would have made for a PERFECT Road March tune had Mrs. Garlin not met his father-in-law that same season. 

What I'm Listening To: 2024... Almost Dun!

"The Jamaican Situation" by Protoje [In.Digg.Nation]

First up this week is a loooooong overdue visit to the stomping grounds of our old friend, Protoje, who is back with a brand new EP project, "The Jamaican Situation". Protoje has been rolling out singles from since very early on in the year and they've now been brought together for a the very fun full set. It's always interesting listening to how Protoje works because it's ALWAYS a very natural thing. Maybe you love every single tune, maybe you don't, but you always get the feeling from the man that he has found EXACTLY what he was supposed to be doing with his life (they sound NOTHING alike, but it's similar to what I think of Damian Marley). Standouts here such as '30 Million', 'Where We Come From' (with Jahshii and IzyBeats) and the MASSIVE '80's Wild' showcase that talent at a typically high degree. And I owe Protoje a review! Hopefully can get that out before the end of the year.

'Carry It' by Bunji Garlin [Bad Beagle]

There've already been a number of really solid Soca tunes kicking up for the 2025 season and probably my early favourite, unsurprisingly, comes from the steadily FLAMING Bunji Garlin with 'Carry It'. The man has been on an absolute roll in recent seasons (which is saying a lot in his case, because he's been great for decades at this point) (Garlin's cousin, Patrice Roberts, is also doing very good so far) and it is continuing with a track looking back and at the 'good ole days' of Carnival as, arguably, Soca's Bodyguard continues to defend and UPLIFT the music and the culture like no other. TEARS! DAMN! 

The Dutty Showtime Riddim [Dutty Rock Productions/Madhouse Records]

The great Sean Paul and co. from Dutty Rock Productions are back at it with their latest creation, the Dutty Showtime Riddim. An ode to a more vintage era sound, the Dutty Showtime is a fresh take on the late 90's STATUE of a riddim from the great Dave Kelly, the Showtime Riddim (best known for.... Baby Cham's 'Gallang Yah Gal', 'Eagle and Di Hawk' by Bounty Killer, Spragga Benz with 'Wi Nuh Like', and a few others as well), which is now reborn and placed in the capable hands of modern artists. Paul, himself, takes a pair of attempts on his track, the second of which being a VERY strong combination alongside Ward 21 (Sean Paul/Ward 21 on the same tune is NUTS!) with other standouts including Buju Banton, Tarrus Riley and Chi Ching Ching, whose 'Loud' is a sleeper hit of a song in my opinion. Still, all of those talented lights are competing for the second best track on the riddim as Busy Signal ABSOLUTELY BURNS IT TO ASH [!] with his effort, 'All Dem Try'. 

'Match' by Jah9 [VP Records]

It's been entirely too damn long since last we crossed paths with the brilliant in every conceivable and inconceivable way Jah9 and she has well caught my attention with her latest single release, 'Match'. We're going to call this tune... ROMANTIC? Maybe SENSUAL?? Call it what you will (it's also kinda dirty, but in an expectedly very subtle and mature way.... like I wan to... It doesn't sound like a bad time the way she puts it) (Let's just say it like that), but 'Match' is more typically CLEVER wording and structuring by one of Reggae's reigning sagest of wizards. 

"Phantom War" by Lutan Fyah [Greensleeves Records - 2006]

I'll show you exactly why "Phantom War" is our 'vintage' drop these days probably in the next week or so (it's actually already finished, just wanted to do this one first) -- although you may be able to figure it out -- but out of all the older material from Lutan Fyah that I've been listening to, it's where I normally lay my roots. Going on twenty years old, I still consider it to be his single greatest album and, these days, you could even make the argument that it's done nothing but get stronger. Literally SOAKED with big tunes; from 'Wipe Those Tears' to 'Rasta Still Deh Bout', from 'Bits & Pieces' to the title track and from 'Blood Stain' ["BLOOD STAIN DEH PON YAH SHOULDERS"] to 'Screaming For The Poor': "Phantom War" was Lutan Fyah at his gritty, hard-working best.

"You can bet on it! 

No man no freak

Wi no geek

THEN WICKED AHGO GET IT WHEN WI RISE IT!"

Unreal: A review of Ayl'ian by Bunji Garlin

YOU. I've either been really fortunate or maybe I'm just old as hell, but one of the things that I find myself most enjoying in writing these things for as long as I have is that I have gotten to not only witness as a fan, but document in several cases just how someone's career has progressed over the years. To see how I've personally gone from seeing a new artist as a prospect, then to a contender and to a full-on champion is incredibly fascinating and it's been the case for a number of incredibly interesting individuals, both directly and indirectly. I'm thinking of someone such as the amazing Pressure Busspipe who I originally came to know as a chanter who was a part of an up and coming collective of artists known as The Star Lion Family from out of St. Thomas (same group also gave us NiyoRah). In 2005 (....damn.... so old) Pressure would set out with his ridiculous debut album, "The Pressure Is On", which was not only one of the best debut albums I've ever heard, but one of the best albums altogether, period, that I've ever laid my ears on as well. STILL, with that being said, I don't know that I could have predicted (as a matter of fact, I KNOW THAT I COULD NOT HAVE), the level of stardom he would go on to achieve as, previously, there seemed to be a certain height attainable by artists from out of the Virgin Islands and Pressure did some refurbishing and redecorating and had a ceiling in that house raised. These days, Pressure is a veteran, a star and someone who has easily had one of THE most remarkable of careers in the landscape of modern Reggae music. I'd also look someone such as Lutan Fyah who I remember having my eye on from very early in his career and while 'superstardom' is something he has not reached, he has definitely become a personal favourite of mine, exhibiting one of the sharpest of minds within the genre in my opinion. Going a step further, today we're going to look at someone (speaking of sharp minds and the ability to display it) who probably has not had a point in his career where he did not command a serious level of respect, given his supreme level of natural talent, but is someone who, in retrospect, I wouldn't have thought I'd be here talking about in the way that I am about to in the days when I was listening learning about Pressure and friends. That would definitely be due to my not having the connection with the type of music he makes back then but he and quite a few others have not only earned my highest of respect but have CONSTANTLY brought me so much joy and are responsible for my appreciation of... simply one of the greatest types of music on the planet.

I was trying to organize this review in the way of it being some type of 'lifetime achievement award' for Bunji Garlin. Not that he's anywhere near the end (literally or musically), but I find myself, these days, SO attracted to his work that "new music from Bunji Garlin" is likely to get me as excited as it is from just about anyone. Specifically, I can owe that to the fact that, at least in terms of amount of times I've heard them, in 2023 and this year the fire breather from Trinidad has had the two songs which I have listened to more than any others. I fully replaced one from my repeating workout playlist (that one song, on repeat, was the entire playlist. THE WHOLE THING) only with the other! So, by that reasoning, I could well say that Garlin is my current favourite musician regardless of genre and has been for about a year and a half. I do 'go back' with Garlin's music (one of my most prized possessions is a physical copy of his debut album, "The Chronicles") and I've had the privilege of seeing the man (THIEF SOCA MONARCH FROM HIS WIFE) perform on a few occasions and it can be downright overwhelming in person and just listening when Garlin is at his destructive best and he has been PRECISELY that over the past couple of seasons (and before that as well, but he is FLAMING at the moment). In 2023, Garlin would set out with 'Hard Fete' which would easily prove to be one of his biggest hits to date and would go to net him his second ever Road March title and his first as a solo artist. I listened to 'Hard Fete' CONSTANTLY... I wish I could go in detail as to why but.... shit, here it is. You listen to it... but be careful, friends. It wil consume you. 

While he wouldn't go home with Road March #3 in 2024 (biggup Mical Teja), he would provide the season (which was very good, actually) with its clear BEST tune to my opinion and push quite a few very big tunes, producing yet another big year. If you are unfamiliar with Garlin's music (shame on you!), I'll make it quick: He kind of infuses Soca with a bit of Dancehall, but not really. I've come to think that is somewhat of a disrespectful way to describe him but what he does is 100% Soca music - it is just highly lyrical and just as inventive and revolutionary. What Bunji Garlin is capable of doing with words is literally STUNNING if you appreciate such a thing and the fact that he is capable of doing it melodically and infectiously -- within the scope of the world's most addicted musical genre in my opinion -- is a giant bonus. I would expect, years from now, you'd hear more and more people coming up with similar styles and saying that they grew up listening to a whole heap of Bunji Garlin. RIGHT NOW, one could even make the case that Garlin has been influential in the development of stars such as Skinny Fabulous, Dash and others. So, we've already well seen Garlin make a substantial further-reaching impact on the genre - outside of his own, direct, musical contact. So, when you have a great artist who is in great form what do they do to maybe bring everything together and offer somewhat of a celebration and momento of the era? They make an album. Though Soca isn't always the most album-heavy of genres, Garlin, himself, has been relatively reliable, releasing over a dozen since his 1999 aforementioned debut. In recent times, most of Garlin's sets have come via VP Records. His 2024 effort, on the other hand, comes through a label in Bad Beagle which is either his own or of his management (and both can be true) as it seemingly only exists to handle the business of Bunji Garlin and one other individual who I will tell you about after in my next review. "Ayl'ian" brings together Garlin's 2024 campaign and puts it all in a very nice package (literally. That is nice coverart) and spices in a couple of surprises as well. I do have to confess that I was somewhat disappointed that 'Hard Fete' was not included but the reason why it wasn't is clear and the tune isn't difficult to find on an album, having been included in the 2023 edition of VP's "Soca Gold" (which we will, hopefully, see again next year as there was no "Soca Gold 2024"). The explained and accepted exclusion of that MASSIVE tune is probably the only disappointment going on here as Bunji Garlin drops what has to be one of the highest quality albums of his entire career. Let's discuss!

"Ayl'ian", like much of Bunji Garlin's work only gets better and better with the more attention you give to it. It's fascinating that, given the kind of 'over-the-top' nature of his artform, the perpetual STAR of Garlin's show can go overlooked EASILY. If you can see through the jump and wave madness and the hype and the flames, what lies beneath is USUALLY (literally ALMOST ALWAYS) kinda/sorta spectacular. What he does relatively casually is only rivaled by some of the most elite of his peers and in their best of form and if you have really gotten into his music, "Ayl'ian" will serve as a PERFECT introduction for you. The first thing you will hear on that introduction is.... and Intro and one which is DAMN clever and, probably, one of the better moments here. A narrator here gives a fun recount of how Bunji Garlin came to be Bunji Garlin from his roots, having 'landed' in Wallerfield, Trinidad. I've always appreciated not only Garlin's skill but his recognition of that talent. The man knows just how good he is and he doesn't hesitate in pushing it because he is, CLEARLY, confident in his ability  to demonstrate that piercing skill. Intros are trypically very quick and nondescript, this is not one of those intros - it is all kinds of interesting. Fittingly, the very first time we actually hear from Garlin on "Ayl'ian" comes in the form of the celestially vibed Badjohn Republic licked burner, 'Today'. I remember hearing this one fairly early on in the season and thinking that I REALLY liked it but I expected him to go a bit higher (and he would), but I don't think that's a fair way to sum it up these days: EXCELLENT is much more appropriate. 'Today' isn't just jump and wave track (although that is definitely what it is), it's a song about finding a level of EUPHORIA somewhere in there and doing absolutely anything you can to keep that feeling and if you needed something to kind of beat you up a little bit (you know what I mean), 'Today' is more than up for it! The next tune came for Spice Mas 2023, the downright filthy 'Entering Greenzland'.

"Dem days, Tallpree used to link wi with a Suzuki that ain't have no top

Leave Grand Anse and gone up Gouyave and when wi start, it ain't have no stop

BOY I GET CUT YESTERDAY, THIS MORNING WAKE, I AIN'T HAVE NO CUT

LIKE THE JAB ON JOUVERT MORNING HEAL MI LIKE IT IS NANOBOT

My behaviour tomorrow is putting mi in the evening news

Worse, when I pon di vessel, deh for di bikini cruise

A girl give mi a look

I wonder if she giving mi clues

THIS IS A TIMEBOMB I MUST DIFFUSE"

Seated atop the Slam Bang Riddim of Xpert Productions, though it comes and goes quickly, 'Entering Greenzland' is masterful. It will not (it hasn't) be recognized as such, but it's probably one of Garlin's finest lyrical performances in recent times and a glaring example of what I meant when I spoke about how capable he is of doing thing spectacularly with very little effort. It was DJ Avalanche provided the ground for 'Jump Up' which is basically what you think it is (you can tell that from the title).... but not really. There is a definite hitch with 'Jump Up'. Garlin thinks the floor is too crowded. He wants it vacated permanently, so he wants you to jump up:

"Like you get paid early and you get pay-raise

Then you go play lottery and win it the same day

And then yah IG crush message you the same way

When you waan fi link up, she looking the same way"

Not your typical jump-up, 'Jump Up' is goin to supply you with something extra as you might expect from the "Ayl'ian". Also I should mention that the riddim here, the Do You (which backed an even bigger song that I'll tell you about next time), though kind of pounding, never threatens to overwhelm or annoy. Ever the defender of Soca music (biggup I Wayne), Bunji Garlin continues his work with 'Daiz You' where he proposes that, although you're entitled to your own opinion (THAT'S YOU!), perhaps there's a different reason why you aren't a fan ["I feel like you don't like Soca cah you never get no gal to whine on"]. And I should also mention here 'Tell Yuh Mudda Now' as it carries the attitude from the track it follows, as Garlin suggests to you a more appropriate outlet if you're frustrated by what you hear from him... as he does not want to hear it. 

The middle portion of "Ayl'ian" features some very colourful efforts and one massive hammer in its ranks and manages to keep the levels established by the large beginning (before the ending which... destroys absolutely everything, everywhere in and out of sight). Check the cool 'Pass Around', which also comes through Badjohn. You take this song and just listen through it very casually and you walk away thinking that it's solid, nothing special at all and you'll be just happy with it as it is there, but if you dig in a little deeper you come away thinking that rarely has anyone made simply hanging around and having a good time in a bar sound so detailed and INTERESTING. Travis World shares in the sprawling wealth to be found on 'Looking Over'. The vibe on this one is interesting, mightily. There's some Soca in there, surely, but I'm also feeling maybe a dash of DISCO??? Maybe that's just me, but it is entirely infectious and should come as a ZAP to people just sitting around listening through "Ayl'ian". 'Monsters' has a nice blending of sounds behind it, this time bringing in a little Zouk, making for one GOLDEN Groovy set. Mind who you're spending your time with ["I know di ends. Wi know di straight and di bend. They shopping di old wid di trend. All actors who fake, who pretend. Smile in yuh face and mek yuh feel like friend. Boost up yuh head and mek yuh feel like dem. Rob you everything now you ah feel like end. Longtime mi navigate di field round dem"] is the thought behind this one and, just like on 'Looking Over' you'll have a difficult time ridding your mind of its echoes long after the tune has ended (great chorus). The terrestrial beginnings of 'Trajectory' serve to make way for what it subsequently develops into as well as for another big winner, 'Sleepless Weekend'. There is work to be done across the brilliant Toy Box Riddim through NMG Music (where Patrice Roberts reigned supreme with 'Nobody') and there's simply no time for sleeping this weekend! And then, also buried here is 'No'. You might remember, from seasons ago (song probably 10-15 years old by now), 'Licks'? 'No' is 'Licks' chilled (but not really) and reincarnated.

"Yo bro!

If she tell you no, that mean the answer is no

It doh mean 'I eh sure', 'I eh really on that' or 'I don't think so'

It doh mean 'come back tomorrow'

It's just let it go, let it go

Bredrin pack yuh things and man, go

Not

Next

Nay

Never

Nope

Nothing

Nein

Nadda

Negative

Even negatory, I don't know why you acting so predatory

If she tell yuh do not cross di territory

And tell you NO in every category

It is important and it is imperative, also mandatory -

THAT YOU KNOW THE WORD THAT IS NO"

Sickening it is that such a piece is so applicable and necessary today (or any day at all for that matter) but something once again has gotten on Bunji Garlin's last nerve and it's driven him, once again, to refresh and reprise this scathing message of what should be completely common fucking sense: LEAVE OTHER PEOPLE'S SHIT ALONE!

The final third of "Ayl'ian" is absolute FIRE in every single way and it contains what is EASILY one of the finest selections of Garlin's entire storied career. The album's final moment, 'At This Time', is probably the lightest of them all but even it is sorta outstanding in a spreading type of way (it may take a few spins to grow on you is what I'm saying) (You'll get the rest of these immediately). Coming in with a somewhat oldschool sound, 'At This Time' features downright DOMINANT  ["When you see mi come in, walk parallel. Go round mi like dem plastic horse on dem carousel.Want to bad talk mi name, you're free to do that as well. But you will not get mi committing any act of hell"] wordplay with Garlin saying that if your intentions are not positive, you can move right along. Check the hypnotic 1980's fueled (thanks to the Tape Deck Riddim) 'Classic Like' where the artist makes us all feel old as hell in a BEAUTIFULLY nostalgic type of way. 'Classic Like' didn't get its proper run in my opinion, it is MAMMOTH and ranks very highly altogether on 'Ayl'ian' and any child of that era will find themselves smiling wide with some of the references Garlin makes (the man literally brings up VHS & Beta). Things get ice cold for a minute with the grimy 'Links' before the heat returns. 'Links' is exactly what the title would suggest if you don't overthink it. It's about the power of coming together and the good times that can be had when amongst good people, regardless of where they may be from. There's also a quiet aggressiveness here which is unexpected (it isn't celebratory AT ALL) but 'Links' is still a very good time and not to be missed and that kind of unusual vibe is at least partially why.

Paired in succession are the blistering 'Forward' and '110 Overcharge'. The former is special and it's been a favourite of mine from this season -- from anyone -- since the very first time that I heard it. The start of '110 Overcharge' is BRUTAL! It is hellish and aggressive, destructive brilliance. It is a musical kick (punch and knee) everywhere you need it across DJ Avalanche's pounding Real Stink Riddim. Even within the midst of... all that mess Garlin is in devastating form ["Gal wine with they ass bend. Wi colder than Aspen. Who have di energy? Wi looking to draft dem!"]. The same could be said for 'Forward' which features very little in the way of a drop-off to '110 Overcharge' (probably have never listened to 'Forward' in this much detail, it is EXCEPTIONAL!). Both tunes are very hype, Power Soca and represent the best of their kind not only on "Ayl-ian" but anywhere in Garlin's recent catalogue to my ears. If you are looking for a good tune for the cap on a workout playlist, you'll happily camp out right between these two. And finally is a little song called 'Carnival Contract'.

'Carnival Contract' is probably one of the best 100-120 or so songs that I have ever heard. Period. It's amazing and it goes without saying that it IS the strongest selection on this album and would be on just about any of Garlin's albums. The Banx & Ranx riddim of the same name backs a GEM which is as hypnotic (I have probably lost a few DAYS euphorically lost somewhere on 'Carnival Contract', and you can keep them! I don't want that time back!) (It's yours!). Song is about VIBES! It was created in some secret facility somewhere in Trinidad  by scientists who have identified a nerve in the human brain only permeable by this PRECISE set of sound.

Overall, I'm going to fend off the burgeoning temptation I have to go back through the greatest of Bunji Garlin's albums, but I'm going to tell you that, at least from the top of my head, "Ayl-ian" is just as good as any of them ("Ispaniard" was golden) (so were "Flame Storm" and "Next Direction"). It is a FANTASTIC release and, as I said, it's even better than I thought it would be, in thinking of these tunes, individually. You wrap them up together and put a bow on them and what you end up with is pretty near SPECIAL. "Ayl-ian" ranks near the finest collections of a bona fide musical LEGEND in Bunji Garlin, representing, collectively and individually, some of the absolute finest work the man has ever done. HUGE! 

Rated: 4.8/5

Bad Beagle

2024

It Stink! It is FILTHY!

Happy new year to all of our wonderful readers (all ye of hideous taste who so faithfully come around these parts)! I do promise to return you to your regularly scheduled Reggae programming very soon (also going to attempt to be more active this year), but permit me (or don't. I don't care. Do what you want) one more ridiculous detour - this one in the form of the brand new Real Stink Riddim from DJ Avalanche. 

So far, we just have a pair of tunes from the first couple of Soca. The Silver Surfer lays the track to ruins with her very clever 'Nevermind' which is more typical 'stylish' Power Soca from Aza Sefu. Lyons, as always, is having a stellar season thus far and I'm expecting her to go higher at some point. It will be difficult, but she is FAR more than capable.

And then there's this shit. Lyons' mister, Bunji Garlin, picks up and rebuilds everything that he can after his wife destroyed it and then proceeds to absolutely eviscerate the Real Stink Riddim with '110 Overcharge'. This is carnage of a genius kind (biggup Gentleman). Following the missile that was 'Carnival Contract', the Garlin continues his reign of terror for Carnival 2024..... and none of us are safe.

It's. The Most. Wonderful Time. Of The Year!

In case you haven't noticed (you poor, poor soul), it is late in the year and that MAGICAL time where Soca music begins to bubble and blossom as some of the genre's biggest stars begin unloading their arsenals for the forthcoming Carnival season. What happens, in good years is, despite the fact that most artists will wait a few weeks or so to release their absolute biggest tracks, we still get some very good early shots and this year, things are looking bright! I thought I'd take a minute and tell you about a few of my personal early favourites from Carnival 2024 which, if what we've heard thus far is any indication, is looking GOLDEN. Let's go.

'Anxiety' by Patrice Roberts

First up is a tune that I've told you about previously but, in a MOST UNFORTUNATE way, it's taken on an entire new life and also it does remain the single most beautiful piece of work that I've heard thus far. 'Anxiety' is the latest gem from Soca supernova, Patrice Roberts. WONDERFULLY it deals with subjects such as mental health and the overall strength of Soca music and what it does for the masses. If you do not recall or have not heard, last week we lost Ricardo Drue, who transitioned unexpectedly. Drue and Roberts were engaged and, because of that, and just due to the fact that it is absolutely fantastic, 'Anxiety' has become even more powerful and such a noteworthy song not only for Roberts and Drue, but for the entire genre going into 2024. Obviously you don't want to have such circumstances 'fueling' any release of any kind, but even prior to this, 'Anxiety' had the wheels to carry such a heavy weight. It is absolutely fantastic. 

'Devotion' by Destra

I'll name you others (including almost everyone in this same post), but make no mistake about it: My favourite Soca artist is and has always been the divine Destra and she has come out for Carnival 2024 blazing on the power of the typically brilliantly chaotic 'Devotion'. This tune is downright exhausting! IT WILL WEAR YO ASS OUT! This action movie of a song easily ranks amongst Destra's finest from any season in recent memory and I cannot wait to see what else she has in store for the season (check another nice set she had not too long ago by the name of 'Rosie'. Very nice song). 

'Big Stage' by Skinny Fabulous & Olatunji

No post such as this one could be incomplete without the inclusion of Vincy blowtorch, Skinny Fabulous who has three or four new tunes about already and the best of them, to my opinion is 'Big Stage' which finds 'Godzilla' linking with Olatunji in a big way. This one actually took a bit of time to grow on me. There's sort of a unique progression to 'Big Stage', if you allow yourself to get into it. They're talking about being kids and experiencing the vibes and being bitten by that bug and how, as not only adults but adults who actually make the music, that experience has changed. The tangible result of that in terms of sound is a BEAUTIFULLY moody selection which ramps up and down in intensity throughout making for, perhaps subtly, one of the most distinctive tracks I've heard in a minute. 

'TGIM' by Lil Natty & Thunda

Speaking of distinctive tracks, take a listen to 'TGIM' by surging Grenadian duo Lil Natty & Thunda. The pair have given me a number of personal favourites in recent times such as 'Top Striker', 'Get In Your Section' and 'The Ambush' just last year (or this year, technically) and they're adding to the lot in 2024 with this offering. You've heard of people celebrating Friday as it ushers in the weekend where, presumably, you might not have to work and can go out and enjoy yourself. Natty & Thunda, on the other hand, are lifting it up for Monday, because who cares! 

"THANK GOD IT'S MONDAY!

AND IT'S CARNIVAL SOMEWHERE!" 

Remember everyone: Be thankful for every moment you have because IT IS CARNIVAL SOMEWHERE!

'Richter Scale' by Fay-Ann Lyons

You knew she was coming. Aza Sefu's early efforts have been outstanding as you would expect (because they always are) and my favourite by the slimmest of margins (with respect to 'Miss Bitch') is PROBABLY 'Richter Scale'. Despite its ridiculous energy, 'Richter Scale' is fairly straight forward in its... absolute madness and it also has a more visual quality to it. You get a picture of Lyons performing 'Richter Scale' in your head and the lack of common sense it will inspire. 

"When wi pull up - well everything start break"

Everything will break and it will be fun!

'Miss Bitch' by Fay-Ann Lyons

Okay, so I kept listening to it and.... maybe 'Richter Scale' isn't better of the two. So, in order to offer you your own opportunity to make a decision, here's FAL's other great tune from the season thus far, 'Miss Bitch'. Unlike 'Richter Scale', this drop is a bit more spiraling and it goes in several different directions. What stand out, however, is the overall sound and lyrics. Backed by the golden Do You Riddim courtesy of DJ Avalanche, Lyons is sure to remind all to THINK BEFORE YOU SPEAK to her. 

"I doh care how you feel about

I doh care what you think about

Just doh let it come out yuh mouth"

'Carnival Day' by Voice & Patrice Roberts

I wasn't going to mention this one but, to be fair, by all registerable levels and qualities that I use to measure how good a song is, 'Carnival Day' has it to spare. EASILY one of the finest tracks that I've heard thus far, Voice and the aforementioned Roberts come together to produce what HAS to be considered an early favourite for Road March.

'Carnival Contract' by Bunji Garlin

And then there's the boom.

"MI AND CARNIVAL HAVE A CONTRACT: EVERY YEAR WI GO HARD LIKE NAIL

I ON DE ROAD WID TRUCK BIGGER THAN HUMPBACK WHALE"

I do want to say that while I do expect something madder from reigning TnT Road March king, Bunji Garlin (and you could well say that THE tune that will receive the biggest push might be 'Forward', but I think he goes even further than that), I am just as confident in saying that whatever it turns out to be will lack the overall RIDICULOUSLY EFFORTLESS LYRICAL ASSAULT that comes in the form of 'Carnival Contract'. 

"I tell my wife, I love your vibe and you should come along

She send invites to all wi likes, now wi bout forty strong"

Also, produced by one (two, actually) Banx & Ranx, there is something about the beginning bounce of 'Carnival Contract' which every so faintly reminds me of a tune called 'Get On' by Garlin's wife, the aforementioned Sefu; literally one of the greatest songs of all time. In a class like that, it has to be top notch as Bunji Garlin, once again, SCORCHES.

Days Gone: A review of Simma by Beenie Man

Divergence. Time waits for no one and were I ever of the thought that I was in any way special and an exception, each and every day it becomes more and more apparent - my anciency. Sure, it takes a bit longer to get out of bed in the morning (the internal conversation I have with myself is hilarious at times as I attempt to convince myself to do something as simple as STANDING UP) but you expected that to happen; what does come as a larger surprise, however, is that your taste on certain things 'change'. Well, they don't actually change it's more like everything else changes around them and they kind of stay the same so, at least in some cases, what you remember as being 'right' or 'standard' (whatever the hell that means), becomes dated or "old school" (....which is simply a more genteel way of saying... dated). Obviously one of the most consistent ways in which you are forced to encounter this old drift that you go through is in various forms of entertainment such as.... oh I don't know.... let's just say music for today! I've been writing about music for a very long time and I've been around long enough to have experienced more than one generational shift. There were and still are sounds that I pick up on and when I hear them I will give them a certain designation so that my reader will know that what they should expect to hear is an echo from an older generation of making music. It's always been like that and if I'm still writing in another twenty years, It will STILL be like that. HOWEVER, in my unawareness and naivete I don't know that I ever envisioned what was coming for me as particular PRIME sounds that I once just cavalierly wrote about and perhaps took for granted have gone missing to a large degree. Like wha... DANCEHALL! My beloved infectious BOUNCE (Roots Reggae has that charming one-drop. Dancehall has (HAD) that two-drop and you know exactly what I'm talking about) that was and remains CANDY to my damn ears has seemingly been banished to a land very, very far away and if anyone can find it, please let me know. I'd like to go and live there before the end of my days. I could give you certain examples (literally EVERYTHING) but I don't want to and it's more fun today to give you a very perplexing 'anti-example' because what we take a look at today is something from someone who has reached a level in [actual] Dancehall music which has been virtually untouched by all but a supremely gifted select few. Had you told me that the year would be 2023 and the great Sizzla Kalonji -- still my favourite artist of all time -- would be at his norm in steadily releasing albums still but they would be largely devoid of actual Reggae music, I wouldn't have cared because I wouldn't have believed you. Had you told me that the same year would see a release from the Dancehall's longtime reigning monarch which would be extraordinarily light on [actual] Dancehall music, I may've believed you and it probably wouldn't have bothered me that much because I would have expected its followup to be forthcoming soon.

Well folks, that ain't the case. It's been SEVEN years since the legendary Beenie Man dropped a full new studio album (2016's okay "Unstoppable") and I think it had been another seven years prior to that one. I don't feel like doing the math, but we're at a point where the artist has done just two or three albums or so across the better part of the last two decades. So the moments when he does, at least for me, are VERY big deals and I'll go into it more in just a second. Furthermore, of course Beenie's name will always be connected to that of one Bounty Killer and I don't even want to begin to get into the depressing history of Bounty's new album releases, so when either of these two PILLARING artists of the genre give us the opportunity to celebrate them, that is exactly what we should do and do so in full bloom..... but damn I wish they made it a bit more familiar.

Beenie Man now brings forth his own long announced and eagerly anticipated latest creation, "Simma". If you're like me, the very first time you heard just the album's name it got you very excited because it reminded you of an older era (it reminded you of 'Who Am I') and the thought popped in your head that it may be a set with a focal point looking 'back' to that time, musically. Any hopes of that were destroyed when I heard it mentioned that "Simma" would be coming with a more 'worldly' or 'international' vibe (or however they described it) but I was still sitting there thinking HOW THE HELL CAN YOU NAME AN ALBUM SIMMA AND HAVE IT NOT BE A DANCEHALL ALBUM! I know that's ridiculous and maybe it's just me, but that was my thought process. "Simma" comes through Beenie's own MD Music Group, a first but not an unexpected one. Previously, his non major work came courtesy (in some way) via VP Records. Even "Undisputed" was a project distributed through VPAL but, at least as far as I can tell, the label has had nothing to do with this one (although I'd actually be a little surprised if I'm NOT wrong about that one, eventually) and it's all been left to Moses Davis and company. If you recall, there was also a 357 Records, which did "Undisputed" which was also Beenie's but has, at least presumably, made way for MDMG. Of course, Beenie is afforded some of the finest maestros in the game and production on the new record comes from some of the genre's greatest creators including the likes of Tony Kelly, Suku, Walshie Fire and others, including even Jeremy Harding. Along with that, something we'll detail out in just a second is the TRULY RIDICULOUS number of featured vocalists "Simma" features. By my surely incorrect count, five of its tracks feature Beenie and only Beenie, alone; that leaves FIFTEEN which find some form of accompanying artist joining Beenie Man on the tune. It's not something that I love and it is a practice which, for some reason, I most closely associate with Hip-Hop but, as I said, apparently  they didn't have me's in mind when putting "Simma" together. Also not unexpected and GREAT to see has been the anticipation for this one ahead of its release date. I don't know who started it and I don't care enough to look it up, but you're doing a disservice to "Simma" and Beenie Man's enduring popularity if you do not mention the 'Simma Challenge' which found people walking up to and calling others and simply saying "Sim simma" to see if they could finish the timeless lyric -- "who got di keys to my bimma" -- and, as far as I can tell, the success rate was extremely high with only, predictably, much younger people failing the challenge (nothing wrong with that). That was lovely to see and I also saw that news of the challenge had reached Beenie Man and he was very excited about it and hoped to see it continue and it has. It's been very nice to see this album receive this level of attention ahead of its due date because it also speaks to the level of lasting fame and the reputation of the critically acclaimed Davis. That reputation has been earned, however, and all of the work which has gone into building it is done - it speaks nothing to the quality of what comes after it and this is the portion of the review where I come up with some cool way to say I'm about to talk about the actual music and here is me spending the next ninety minutes or so talking about the twenty songs which comprise "Simma".

I intentionally kept alluding to something from very early on here next to something that I stated clearly. On one hand, as I said, the sound of "Simma" is extremely varied and 'worldly'. It's not what I was looking forward to and, for me, that's unfortunate. HOWEVER, with that being said, just listening through the record - Beenie Man is in a pretty good form. He has not lost a step at all lyrically or in his delivery despite recently hitting half a century in age. I should also mention that, at twenty tracks and seventy minutes in length, obviously "Simma" is entirely too damn long regardless of how good it is, but I can honestly say that "boring" is not something I associate with it despite the album's obesity. The first CHUNK of Beenie Man's brand new album, "Simma", is our title track which has to be one of the most disappointing from my point of view, although the actual song is pretty good and one of the finest on the record named for it. I thought, at the very least, 'Simma' would be this magical old school Dancehall and it wasn't, of course. What it is, instead is a very smooth, kind of R&Bish/Poppish type of vibe and it isn't a bad tune at all. I may even go in fact to say that it is one of the finest songs on the album altogether, but you know where my head was on this one. I may've had similar hopes on the second tune, 'King', briefly, but when I saw who was on board on that one, such feelings quickly disintegrated. The very first combination here features contributions from English trio, Ms. Banks (who I do know), Backroad Gee and Teeway (neither of whom I'm familiar with). This is a VERY heavy and aggressive Hip-Hop tune and, for the most part, I don't like it at all. HOWEVER, as I alluded to, what you will find throughout "Simma" are demonstrations of Beenie Man being at the height of his powers and the first blast of that comes roaring through on 'King'. 

"I am the man with the plan

Hit song long time before Wu Tang Clan

Long before Red Man & Method Man

Inside di studio mi ah set di gameplan 

Smoke weed like Cheech & Chong

Lyrics inna mi brain and book inna mi hand

Days pon toppa days mi ah write hit song

So di whole world give mi a brand dat 

[I'M DI KING!]

Mi a di man

Longtime mi ready fi every woman

Gyal dem ah bawl for di wickedest slam

Dem waan di strong, no weaker man

Properly sexed and di money be done

Dem gal yah nah waan no Christian 

CLOSE YOUR EYES AND CLASP YOUR HANDS

YAH GIRLFRIEND GONE WID BEENIE MAN"

It comes off with force (virtually everything in the tune does), but effortlessly at the same time. He could have done this well on his way to sleep or the first thing in the morning and it is gorgeous. The next track up had me far more interested in the accompanying voices as 'Sharpshooter' brings in Nigerian artist Patoranking, the talented Giggs and the always compelling Busy Signal (who is one of my favourite artists these days and has been for the better part of the past decade or so, despite the fact that we do not talk about his work very much). 'Sharpshooter' is fun and it fits somewhere more firmly in the spectrum of Dancehall than its two predecessors. It also features some solid wordplay as you would imagine with such a lineup of lyricists. Rounding out the first batch of songs from "Simma" is a pair of impressive pieces (for different reasons) which feature our star all alone (and only two such tunes can be found in the album's final fifteen offerings). The first, 'Chop Suey', was rather strange the first few times I heard it (and it stil is, yep) because it almost sounds like two different songs going at once because the chorus changes so much. I do enjoy the odd vibes of this one though and as it goes on, particularly during its latter stages, Beenie absolutely shines. The second of these, 'Up Deh', hits for another reason. The sound here isn't anything special (I'd probably call it another one as Hip-Hop; although being more on the lighter side than 'King', easily) and even lyrically it isn't ranking amongst the best of "Simma", but I've convinced myself that 'Up Deh' featured very little in the way of preparation on the part of Beenie Man and he just vibed his way through it and even if the man, himself, told me differently, that's what I'm sticking with! In that regards, 'Up Deh' (for what it is) is nearly special. 

Of course you didn't think we'd get through this album (or seemingly any other one that I review) without an appearance from Stonebwoy and he joins the fun, along with a returning Backroad Gee for 'Zimm'. If I'm 'Sharpshooter' "fun" then I need to come up with a stronger adjective for 'Zimm' because I've had a lot of damn good times with this one and I'm sure I'm not the only one. 'Zimm' rests easily with the class of this project and it's probably one of the best tunes with Stonebwoy's work that I've heard to date (which is saying a lot considering how often we run into him) (incidentally, if you're interested, Stonebwoy set forth "5th Dimension", his own brand new album for 2023, back in April) (more on that in just a second). Longtime Beenie Man collaborator, American R&B songstress, Mya, makes her presence known on another tune with a title which got me excited when I first saw it, 'Docta'. The first time these two linked, several hundred years ago, was for a remix of Beenie's classic 'Girls Dem Sugar' which has gone onto be a classic in its own right. 'Docta' doesn't reach anywhere near those levels to my opinion but it was nice to hear these two vibe together again and I wouldn't be at all shocked if they ran it back at least one more time in the future. Dexta Daps (who, coincidentally, also appears on the aforementioned "5th Dimension" from Stonebwoy) lends a hand on the relatively dirty 'How Deep' (which is about exactly what you're thinking it might be about) ["When mi ask her 'how deep?' Bout nine inch long. She seh 'don't dweet'"] and.... what can I say? I don't hate this song. I like it a little largely on the strength of just how extremely BASIC it is. It isn't Dancehall at all in sound, but there's something very familiar about it that my ears grabbed on to; but I'm not going crazy with it. There are far better tunes on "Simma", but 'How Deep' has stuck with me, at least for the moment. One of the biggest guests, the oft-devastating Shenseea lights up 'Fitness Instructor', which also pulls back Ms. Banks. Pretty much everything I said about 'How Deep' applies to this one, although, from every registerable angle, 'Fitness Instructor' is considerably better. As I've said in the past, you may see and hear Shenseea and come away thinking one thing about her, but that woman is capable, at her best, of HUMILIATING the spoken word. She toys with it! It is to the degree that it comes through in almost everything i hear from her and, for her part, Ms. Banks also sits on a hill of talent which is more pronounced here than on 'King', in my opinion. When I ran through the tracklist of "Simma", my eyes gravitated toward 'Hel-eva Bumpa' moreso than in the direction of any other offering. Over the past few months my ABSOLUTE favourite two songs have been 'Hard Fete' and more recently 'Entering Greenzland' and what they share in common is that they are both works of the  incomparable Bunji Garlin who once again links with Beenie Man on this song. Previously, this pack of prolific poets paired on a couple of tunes to my knowledge with the high-water mark being the remix of Bunji's 'Plenty Gyal' ["DANCE MUST HAAAAAAAAAAVE, PLENTY GYALLLLL. IT'S NOT A MALEBOX! NOT AT ALLLLLLLLLL!"]. 'Hel-eva Bumpa' isn't on that level, but it is all sorts of entertaining and it reaches a place which befits the two MONSTROUS talents starring on it atop Suku's GRRRRR riddim.

Hoodcelebrityy lends Beenie a hand as he attempts to 'Let Go' and does so in a really strong way. This one lays claim to being one of the most Dancehall (definitely of a NEO variety, but that KNOCK is infectious courtesy of a master in Tony Kelly) of any on "Simma" IN SPURTS a quality which, alone, got my attention. It is also impressive on the lyrical side and has a bit of actual substance - all of which help see 'Let Go' ranking very highly here. 'Put It On Me' grabs up Relevant and the very gifted Jahfrican but it's kind of average for me and a set whose absence would not have hurt "Simma" on any level. It's nice to listen to, but there're more pleasant spins and it doesn't really bring anything different for me. Beenie goes solo for the first time in quite awhile on another mediocre (and possibly slightly below) piece, the Seanizzle helmed 'New Money'. Another rather strange sounding track, I'm thinking in a few months I may not remember much about 'New Money' at all and, again, you knew just by looking at it that "Simma" was carrying too much weight and both 'Put It On Me' and 'New Money' are examples of that. They aren't bad and if they were just singles released on riddims no one would pay them much attention (and they may actually do better than likely getting lost on an album), but appearing here they both feel like FILLER. The proverbial ship is righted ever so slightly with a good look from co-captain Cee Gee during 'Heavy On The Grades'. The riddim on the record doesn't do anything for me and it gets lost during matters here, but the back-and-forth between Beenie Man & Cee Gee is, at times, exquisite, which highlights it, easily. You almost wish they tried to do more as 'Heavy On The Grades' is the album's shortest track... I could listen to this again. When I saw that Shaggy (who was also on "5th Dimension") was also on board "Simma" I got an idea of an easy type of vibe between two legends and.... the sun even shines on a dog's ass occasionally, because I got one right. That is precisely what 'Good Like Gold' is. You can't rightly call such a song "filler" due to the level of name value such a piece brings, but 'Good Like Gold' isn't very good and it isn't some super combination that you may have been hoping for either.

The final quintet of tracks from "Simma" features a few more very large names aiding 'the docta' and it also features my single favourite tune altogether here. That distinction does not go to the decent giving of thanks that is 'Blessings'. It's almost comical (and dirty) what Beenie takes a moment to give praises for but to each their own ["Wi come yah so fi mek some money and f**k some p***y and dweet pon our own time. You love Fadda God and bun badmind - sing di punchline"]. I grew to enjoy 'Blessings' but it took some time and I'm thinking it will actual succeed in finding an audience, but we'll see about that. Fittingly following 'Blessings' is 'Prayer' which gives us both Charly Black and Louie Culture (always love to see the Ganga Lee on a new tune) which I LOVED. This one DEFINITELY did hve some old-school vibes circling around it and Beenie Man & Louie Culture were perfect for the moment and Black shines as well. 'Prayer' is stellar and a fine way to end things (nice contribution from the great Dean Fraser as well). 'Fun In The Sun' most certainly is not 'old-school' at all and it finds Beenie Man coming through with those who have NEXT (or NOW) in Popcaan and Dre Island. If you follow the course (this is my way of saying that i should have written them in order and I'm almost done so I don't finish going back and changing it) with this one leading onto 'Blessings' and then 'Prayer' you have a changeup trio at the very tail of "Simma" with all three bringing in some very necessary substance. 'Fun In The Sun' may just be the strongest lyrically of all three as it says to take advantage of what we have and stop bring negativity of all varieties into otherwise potentially beautiful situations. 

"But if wi all work together wi can help each other

A nuh dem, alone, wi fi tell 'BLACK LIVES MATTER'

Wi no racist, mi no believe inna colour

A di hard work you perform mi admire

Every rich ghetto youth fi yo ghetto you be a pillar 

YESTERDAY YOU WAS A KILLER BUT TODAY YOU IS A PILLAR"

Sean Paul not only lends his vocals to 'Supa Star' but his Dutty Rock Productions also takes production credits for the tune that also calls upon the smooth voice of Anthony Red Rose. This one mines a classic riddim and respect goes to both Beenie and Red Rose but Sean Paul threatens to steal his own show completely here courtesy of his thrilling offering. When at his best, Sean Paul has this almost robotic type of delivery (which used to draw frequent comparisons to Super Cat back in da day)  that never misses a beat and I've always enjoyed and still, obviously, do to this day. I got the feeling that there was much chemistry between these three as well and while I don't think they did (seems unlikely), I would hope that all three got a chance to spend a little time around one another in recording 'Supa Star' (how crazy is it that Sean Paul is actually a little older than Beenie Man??). And I've saved the best for last to give myself time to change my mind because I thought that I might. I've never been the biggest fan of Morgan Heritage for some reason I either can't or just don't feel like explaining but at least for the three minutes and twenty-eight seconds of 'Dem Want More' they've made a fan out of me as has Tony Kelly (he didn't have to work very hard though. He never does) (Man's a genius). I'm tired of writing so what I will say is this: You listen to this song. 

I've spent this review whining and complaining about the absence of something which is found in abundance on 'Dem Want More' and I never thought it would have come with lift with from the Morgans and they're right... I do want more. What a sweet, SWEET sound!

Overall, "Simma" is just too damn long. It just is but besides that, though it isn't very much of what I was hoping to hear; in an effort to just judge it by what I hear, it most certainly isn't BAD by any means. It's fun! There are so many interesting musical moments found throughout this release and, again, just based on what it is here (and ignoring what I was hoping for) lovers of many different genres and styles will find something to appreciate and, potentially, LOVE from "Simma" and you just KNOW a Grammy nomination (and potential win) is forthcoming as well. We find a certified legend in Beenie Man still in a wonderful form and showing no evidence of slowing down. Still, in my ridiculous old-agedness I can't help but think that, regrettably, when I think back to this album years from now what is likely to stick with me isn't so much what it was, but infinitely moreso what it WAS NOT..... damn I miss Dancehall. 

Rated: 3.25/5

MD Music Group

2023

Soca 2023

Okay so, we gave you a brief taste last time, in saying Happy New Year, with what HAS to be my current favourite tune this season, 'Come Home' by Nailah Blackman & Skinny Fabulous, but there're a few other early tracks sinking their teeth into me at the moment. I'll likely come back later and do a big wrap up (maybe a top ten, don't think I've ever done that) but, for right now, here're.... let's say FIVE Soca songs getting Carinval Season 2023 off to a GORGEOUS start. 

'A.C.T.A [Across The Stage Again]' by Bunji Garlin [Smiddy Smith Music]

I've never actually seen the very popular show "Stranger Things", but when I saw that there was a riddim, made by Smiddy Smith, clearly based on it I was very curious as to just how derivative it was and, now listening to it (for the very first time right now), Smith actually did a very good job in my opinion in Soca-fying the sound. The best usage of the Stranger Things Riddim, unsurprisingly, comes via Bunji Garlin who puts it through its paces with 'Across The Stage Again' with what is sure to be a familiar them this season with things returning to a more 'in-person' forum after a few virtual years. Mrs. Bunji Garlin also does quite well with her tune, 'Stage Is Yuh Name', but we'll hear from her a little later with something even stronger.

'Party Time' by Fay-Ann Lyons [Bad Beagle]

Why not do it right now?? Garlin also does an excellent job on the Dramatic Riddim from Slip Into Greenz with his 'Lift', but I think his wife actually outdoes him in this case because her track, 'Party Time' is RIDICULOUS! She's had her eye on you since you walked in the place and she's not liking what she's seeing out of you 

"I put the F back inside di Fete and like you doh want to party

I bring di energy fi yuh sweat and like you doh want to party

Yuh energy just make mi upset and like you doh want to party

Is best you didn't come in this fete cuz like you doh want to party

It seems so incredible, never could understand

How you could bear to come in di fete and stand up like is a fan

YUH HEAD ONLY MOVING SIDE-TO-SIDE LIKE IT'S SCANNING DI BAND

SO NOW THAT YOU KNOW YOUR HEAD IS WORKING, WHAT HAPPENED TO YUH HAND?

Artist come after artist and they giving mad energy

10,000 PEOPLE INSIDE THIS FETE, TELL ME WHY I SEEING THREE

Hands in di air, alone, somebody tell me man could it be

THE 9,997 WAITING ON ME?!"

She isn't crying or whining. She is DEMANDING your participation.... and you will give it to her.... NOW!

'Pieces' by Patrice Roberts, Problem Child & Super Blue [Problematic Music]

As is her norm, already shining early this season is Patrice Roberts who is doing it, particularly, via combinations. Tunes alongside Alison Hinds and Kes have demonstrated an almost early-Patrice/Machel level of accuracy and she's also done well on the solo side. MAYBE her finest effort thus far, 'Pieces', comes alongside Vincy vet, Problem Child, and the legendary Super Blue (who is the father-in-law of her cousin - so what does that make them?). This one breaks [EVERYTHING] no new ground at all, but what it does is to amplify the fact that sometimes you just need to BREAK SOMETHING and sometimes, when you do it, it can have a very nice melody. Check this one for a great example (and notice everything going on in the background on this song. It is SO detailed).

'Welcome Home' by Machel Montano, Voice, Agent Sasco & Travis World [Monk Music]

Come on now.... You know I was CONTRACTUALLY OBLIGATED to include this tune. You knew it! Stop it.

'Mood' by Shaggy & Kes [VP Records]

And lastly (I think this is a pretty good way to end, even though i have two more to write... and I'm not sure what one of them will be right now), is a HUGE combination as Reggae star, Shaggy, links with one of Soca's most consistent lights, Kes. This tune is just COOL! It is COOL as hell and, with the names on board, you could probably have arrived at that conclusion on your own. I didn't have to tell you that. It's also damn infectious and I am currently listening to my Daughter singing along with it (her father's joining in too). You play this video and you'll come in as well. Apparently (though unsurprisingly), VP Records have taken an interest in this one (after a year with neither Soca Gold or Reggae Gold) and will OFFICIALLY release it on the 13th of January, but you need not wait until then to enjoy what is certain to be a highlight of this season - it already is. 

Also check: 'Remedy' by Destra, 'Long Live Soca' by Voice, 'Pump' by Skinny Fabulous and 'Drones' by Miss Alysha