Signatures Vol. XIV: Bushman

Today I want to take a look at another person who, like a few of the names we've covered thus far, has very much gone through his career with the tags of being underrated and underappreciated; but I'm not entirely sure that it's the case. Of course, you could say that others (like similarly vibed Luciano, in particular) have gone onto enjoy a level of success that he has not and will not but for people who truly know the music of Bushman, I don't think he's suffering in the category of ratings and appreciation. Over the course of the past three decades +, the BEAUTIFUL voice of the St. Thomas (Jamaica) born singer has delighted fans around the world and, hopefully, he will continue to do so for the next three decades. Today we take a look at someone who, whether you've realized it or not, has firmly cemented his place amongst some of the greatest of his era. Signatures: Bushman

#1. 'Sanctuary'

I praise HIM everyday! 'Sanctuary', most likely, is my absolute favourite Bushman song ever. There's one more tune in the question but if I had to pick between the two, here's my choice. I can almost remember hearing this thing for the first time as it sits atop the "Signs" set and, literally, being BLOWN THE FUCK AWAY. What am I listening to?! What is this??? Let's start at the riddim, first of all. That entire album was billed as being a "live" album; not LIVE in the sense of it was recorded in a concert/live performance but in the sense that there was an actual band playing a riddim behind an actual singer at all times. It wasn't a track playing behind someone in a booth with headphones on. There were players of instruments (including Sly & Robbie and Chinna Smith) backing singers (like Pam Hall) an engineer (Fatta Pottinger) and all of that good stuff so from a purely sonic perspective, 'Sanctuary' was divine. Oh! The riddim! The actual music here had such a powerful vibes to it. It was emotional but not overdone and it was chilled but not frosty. 

"I'm singing songs of redemption

Repatriation

THE BLACK MONARCHY MUST STAND

You're sitting down in babylon

It is a strange land

Ethiopia awaits with open hands

WHILE IN MY SANCTUARY

I PRAISE JAH EVERYDAY!"

What Bushman would do with it is to put on a praise for The Almighty for the ages. What really stands out in his case for me is how much of himself he puts into 'Sanctuary'. It's one of the best usages of his awesome vocals that I've heard and it almost seems that the Bushman... loses himself in this one. Particularly as it progresses, he finds his 'happy place' and is THRILLED at the prospects of giving thanks to His Majesty. Like I said, most likely this is the best song I've ever heard from Bushman and it's also one of the best that I've ever heard, PERIOD. BOOM!

#2. 'Mr. Gunis'

Gun chemist. The time Bushman spent singing for the legendary King Jammy's would open him up to a variety of different sounds and you'd have an establishing ROOTS singer taking on some of the heaviest Dancehall tracks of the time. The scathing 'Mr. Gunis' was an example of this as the Bushman sat his foot all over the Ward's Da Joint Riddim. This tune, like a later one I'm going to tell you about at least partially stands out because of how COMPLETE it is. The song is kind of a social commentary but also an anti-violence piece where Bushman tells the story of someone chose the wrong path in life. He tells why such a choice might be attractive to people and how much respect and fear this man may get but then he tears it down. He deals with the negative effects on the individual and others and does it in a way that you only generally hear on much heavier traditional Roots records. 'Mr. Gunis' was DARK and it was HEAVY and, again, still fit so damn perfectly in the Dancehall. 

#3. 'Fire Pon A Deadas'

Haffi live clean. Turbulence once had a decent sized hit on his hands with a tune called 'Run Away' (that man LOVED singing that song in live performance and the audience loved hearing him do it). It was about animals, literally, running away from people who were coming to eat them. It was a serious topic, basically, but it was also put together in an almost funny way. I bring 'Run Away' up because I've always gotten a similar, though less enthused for obvious reasons, feeling about Bushman's 'Fire Pon A Deadas'. Just listen to it casually and you get what he's saying and it's all good. You can enjoy it and have a nice time, finding a nice level of respect for what goes on in here. Yet, when you really dig into 'Fire Pon A Deadas'.... something kinda funny happens. 

"I & I ah bun all bone-sucker

Wi go against 'tucky and dung a King Burger"

Bushman shines, lyrically, on the track if you gave him the opportunity to and though it is as simple as it could be, the sonics here were SUPER SWEET. We also remember 'Fire Pon A Deadas' as being somewhat of a response to another Bushman tune that I'll tell you about right now. 

#4. 'Fire Bun A Weak Heart'

Coulda never get me down. One of the Bushman's biggest hits (arguably his single biggest, actually) remains the nearly three decades old 'Fire Bun A Weak Heart' for King Jammy's. CONFIDENCE is what I take from 'Fire Bun A Weak Heart'. He goes through several different instances and situations but only seems to do so to say, ".... but I don't have time for all of that shit"; and he does this with what has to be one of the finest written tracks that Bushman has ever turned in. 

"You and yuh crew can go to hell

Cause after wi no under yuh colonial spell

And all those false doctrine that you compel

HEY!

And all those books you stole away 

All those kids you ld astray

Wait on yuh judgment day"

He is more than solid on this one, with the remaining sentiment (at least for me) being the idea that though all of these things do exist, you don't have to pay them any mind. They can be inconsequential if you make them... and they are WEAK. 

#5. 'Call The Hearse'

No easy. Bushman's well respected anti-violence piece, 'Call The Hearse', has always been a favourite of mine and a lock for this list. Some of that credit goes to Steely & Clevie who lent the singer their funky Skettel Riddim and to them he returned, arguably, the track's single biggest moment and a somewhat unlikely nice-sized hit for its time. The tune has also aged quite well and remains one of Bushman's more popular efforts. Something else that I've always appreciated about 'Call The Hearse' is just how DARK it is. It's ghoulish at times:

"Somebody call the hearse 

Cause a body's getting stink

It needs to leave the turf

Make it quick because it's getting rather worse"

But despite this quality, it remains fairly open and ACCESSIBLE as well; it's still pleasing to hear. Bushman also personalizes it and places himself in the same context of being a potential gunman and walking that route in life but saying that he also put the gun down (or never decided to actually pick it up), which could sit in the heads of others faced with a similar choice to make. 'Call The Hearse' is essential Bushman. One of the very few pieces here that I think is without question. 

#6. 'Send Dem Come' featuring I Lue

Slew dem. Chances are fairly decent that if you are a fan of the semi-reclusive I Lue, you are such because of the work he's done alongside Bushman over the years. While they've done a number of tunes together, my personal favourite has always been 'Send Dem Come', their cut of the Bada Bada Riddim for King Jammy's (via vintage Ward 21) (damn, it used to be so much fun back then). 'Send Dem Come' is a fairly AGGRESSIVE praising tune.

"Send dem come

Mi seh one-by-one

Selassie I ahgo slew dem wid di sceptre inna him hand"

It never gets to the point of offense (as if painting The Almighty as.... a hunter, for example) but 'Send Dem Come' was a warning that if you're not living right and you're doing dirty deeds, there will come a point when you will face a foe against Whom -- no matter how bad you are -- your chance of victory simply does not exist.

#7. 'Yadd Away Home'

That's where I belong. Along with 'Sanctuary', STUNNING repatriation anthem 'Yadd Away' is one of the two finest pieces I have ever heard from the Bushman. The tune, which topped his opus "Higher Ground", is wholly flawless. It is without a hint of blemish as it goes about its way in such a cool manner. There is a definite emotion behind it and it comes through but, around it, is such a SWEET laidback and serene type of vibes. This tune sounds like Bushman is laying around his yard and just singing what's on his mind but, at the same time, it's well produced and refined. 'Yadd Away Home' is a tremendous display of a talent so delightfully natural that it cannot be ignored! When the world gets too crazy for you and you need moments to yourself, know that you always have a refuge and a place of piece but physically and mentally. 

#8. 'Robbery Aggravation'

Only one solution.

"Robbery with aggravation

Shooting with intent

The ghetto youths are not comfortable cause the dollars don't worth a cent

Inflation in the economy is making my people paranoid

AND THERE'S ONLY ONE SOLUTION: TO BE GOVERNED BY RASTAFARI"

By far one of the most COMPREHENSIVE and COMPLETE social commentaries that I have ever come across, 'Robbery Aggravation' was one of MANY highlights from an album of highlights, "Higher Ground". The song finds the singer breaking down concerns of the masses to a fine, powder-like substance and then grinding it down even further for the sake of delivering one mighty moment.

"The people are tired of working from nine to five and still find it hard to find food

And the only survival is parchment paper with dead bones lying around

And police and soldiers, from the queen they  take orders, to shoot the people down

BABYLON SYSTEM IS JUST ONE BIG CIRCUS THAT'S SEARCHING FOR SOME CLOWNS"

Furthermore, this thing is PRISTINE! It sounds damn glorious and you end up with a song which is highly proficient while simultaneously being one of the sweetest vibes on this list altogether.

#9. 'Creatures of The Night'

Parasites. Like 'Sanctuary, the downright GLORIOUS 'Creatures of The Night' was a product of the exquisite "Signs" album, and it has also remained with me from the very first time I heard it and if you pressed play on the video, you know precisely why that is. 'Creatures of The Night' is EASILY one of the best songs that Bushman has ever done and if it were to have come from the catalogues of Natty King, even Luciano or anyone else people claim he sounds like, it would still be the case (biggup Prince Theo). This song was ENTERTAINING modern Roots music. There was a beautiful and significant message, the sound behind it was lovely and Bushman, himself, even adopted a very interesting delivery which found him almost deejaying at times and doing so masterfully. What resulted was as fine of a display of his capabilities that I have ever heard. 

"Every morning as mi rise, mi haffi greet flesh

Man a vegetarian and a wi no eat flesh

HAIL SELASSIE I BECAUSE HIM A DI SWEETEST"

#10. 'Arms of A Woman'

You are on my mind. When the most unfortunately late Calibud got his hands on the riddim for Gregory Isaacs' Tune In, it became the Slow Down The Pace Riddim and both he and the vocalists (most of them, anyway) did a fine job in honouring the classic. The new track would spawn a couple of nice sized hits in the way of 'Mr. Nine' & 'Keep Your Joy' from Buju Banton & Jah Mason, respectively. You also got solid sets from the likes of Junior Kelly, Capleton, George Nooks, Glen Washington and others. FORTUNATELY, Calibud also placed a call to Bushman as he would go on to bless the riddim with the SUGARY SWEET lover's set, 'Arms of A Woman'. Here's all (most of) you need to know: 'Arms of A Woman' is one of the best love songs I've ever heard. I'm not a connoisseur on the subgenre but, just like you, I've probably heard literally thousands of love songs and here is, EASILY, a top ten entrant of them all. Furthermore, I should also say that 'Arms of A Woman' has been "on my mind" from the first time that I heard it - which would be over twenty years at this point. I was much younger back then and such songs didn't really catch my attention. Here was a GLARING exception.

#11. 'Herb Field'

Where I wanna be. I had to make sure I included this loooooooong forgotten gem from nearly thirty years ago, the Mac Dada produced (truly HORRID name but they did some really good work in their time. BEAUTIFUL tune called 'Mountain Song' by Norris Man being amongst the standouts) 'Herb Field'. You look at the title and you can come away thinking one thing about this song and you wouldn't be incorrect in presuming that 'HERB FIELD' is kind of an herb song. It is. HOWEVER, in general, Bushman deals with establishing a more natural and peaceful existence and seeking refuge there from the crazy world around him. You'll find another, far more popular, similarly themed track in these ranks and it's always seemed to be something that the singer has focused on prominently throughout his career. He mined gold when he set out with 'Herb Field'... even if no one remembers it.

{Note: There're two versions of this song that I know of. I THINK this is the older one and it is my favourite}

#12. 'Hear Wah Mi Ah Seh'

It haffi seh. Finally is the most recent entry on this list as, a few years ago, the Bushman teamed up with another great of production, Don Corleon to give us the BRILLIANT 'Hear Wah Mi Ah Seh'. The tune, which I enjoyed from the first time I heard it, has grown CONSIDERABLY on me over the past few years to the point where it not only makes this list but I'd probably put it in the top half of songs on it as well. The tune found a very opinionated Bushman with somethings on his mind that he had to get off and work out and, fortunately, he chose us all to be his audience... whether you like it or not (....and you do. You do like it).

"I bun social media

Pure follower and a very few leader

Likkle juvenile, dem ah box dung teacher

And the granny posting her personal life everyday"

"It's a disgrace-

The Black race ah bleach dem face

And di juvenile dem nah keep dem pants pon dem waist"

"Seh weh mi ah seh because mi haffi seh weh mi ah seh 

But nuff no waan fi hear wah mi ah seh"

And that comes on top of a damn CRYSTAL of a riddim. Swinging, euphoric and just GOLDEN is Don's track... making you wish that these two had teamed up earlier than they did (like when Corleon was burning everything in sight with Reggae riddim after riddim... Seasons, Drop Leaf, Heavenly). To some degree, I suppose, you could use the route of this one to sum up the entire list (or Bushman's entire career, even) as he has spent his time getting certain things off of his chest and, when at his best, the results have been unforgettable.

What I'm Listening To: No Sleep Til Ash Wednesday

"One Degree Hotter" by Machel Montano [Monk Music - 2025]

First up today (as I write this on, literally, THE morning of Carnival Monday), is Trini Soca superstar, Machel Montano, who returns with a brand new album for 2025, "One Degree Hotter" (very clever title because Montano received his degree last year). Anytime Montano reaches with... pretty much anything there is going to be a big response and, at least as far as albums go, I've been very happy to see the early attention being paid to "One Degree Hotter" has been very heavy. As usual, the project contains virtually Montano's entire season with maybe a song or two that either you haven't heard at all or that didn't get much run this year. All of his biggest efforts are here such as 'Home Is Where The Heart Is' with Bunji Garlin and Mical Teja, 'Bet Meh', 'Pepper Vine' alongside Drupatee & Lady Lava and Jus Now & DJ Private Ryan which netted Chutney Soca Monarch 2025 just last night (and is EXCELLENT), personal favourites 'Wave It' and 'Fallen Fetters' with Skinny Fabulous and Road March contender (and I may just wait a couple of days to post this, and come back to change this to RM Winner), 'Pardy' (YEP! He won). We got big names making Soca albums last year like Garlin, Fay-Ann Lyons and Kes but 2025 figures to be a slow year with, EASILY, "One Degree Hotter" being the biggest shot thus far. 

"Reggae Frequency" by Tiwony [7 Seals/Evidence Music - 2025]

A couple of years ago, longtime favourite of ours, Gwada fire breather, Tiwony, returned with what seemed like his first new album in an eternity, "Frequency" and now, seemingly to make up for lost time, the man is back with its nearly immediate followup, "Reggae Frequency". As the title would suggest, the new album focuses more on straight Roots Reggae music where its predecessor was more varied and you definitely appreciate the effort to make such a LARGE project, spanning a couple of years. The second half is FUN, featuring helping hands from the likes of Chezidek, King Kalabash, Bobby Hustle and others with standouts including the likes of the remix of 'Long Road' (with Chezi), 'The Plug' (with Bobby Hustle and Yung Tripp), 'Chrysantémes', the mad closer, 'Dread [Reggae Frequency]b and 'Lévé' with BadSam and Jahlia.

'Future' by Sizzla & Bushman [Lockecity Music/Kalonji Music Production - 2025]

Apparently, we're not too long away from the next album release from Reggae legend, Sizzla Kalonji. Over the past few years or so, that hasn't been a very attractive thing to say as Kalonji has put out his fair share of substandard sets but if ever there were a reason to be intrigued by the forthcoming "Scrolls Of Kalonji" (besides the title being REALLY COOL), there's this first single and, on paper, MASSIVE combination 'Future'. The tune actually has the nerve to pair Sizzla with big voiced veteran singer, Bushman which, I THINK, is a first for them and comes courtesy of Lockecity. Just that, alone, well had my attention well before I laid ears on the tune and, as it turned out, the results were pretty strong as well as the two team up to push a vibe uplifting the young people of the world. If this is any indication (and DAMN, I HOPE IT IS), "Scrolls Of Kalonji" just may have a good chance to reverse recent course which would be great because I could really go for a GOOD SIzzla Kalonji album in 2025. 

The Middle East Riddim [Greatest Friends/Evidence Music - 2025]

Biggup Greatest Friends Records from out of France (a label I'm most familiar with for their work with Queen Omega over the years) for their latest release, a cut of the Middle East Riddim, featuring a VERY interesting trio of singers. Last year, GFR would drop "Holding On", a solid set from King Lorenzo (who, suddenly, seems to be VERY popular these days and good for him!), which carried a tune by the name of 'Let Them Try' ["It's a rock road when you ah exalt Jah name. Heavy load, but wi nah go shame"], his tune on the Middle East. Joining Lorenzo are the mighty Chezidek and the woefully under-recorded Zareb (just wish we heard more from him), with 'It's No Crime' and 'Can't Fight Me', respectively. All three are at least very solid pieces of work, with Chezidek taking top honours in my opinion with a SWEET herbalist anthem. 

"Meditation" by The Nazarenes [I Grade Records - 2012]

You can definitely owe this one to "Strength & Resilience", the latest GOLDEN album release from Lutan Fyah, I Grade Records and the Zion I Kings. In doing some backgrounding (yep, that's a verb now too) for that review, I started going back through the relationship of artist and label and got back to this somewhat forgotten GEM of an album, the baker's dozen year old, "Meditation" by Eritrean bros. The Nazarenes. Lutan Fyah would feature on 'It's Too Late' (Akae Beka also makes an appearance), during an album which is just best described these days as SOLID. There wasn't a creaking plank to be found anywhere amongst the fourteen with the biggest winners being the likes of 'Mamy Blues'... I say there wasn't a weak tune on the album and then I start naming songs. Nope! The entire album was, basically, a highlight and I'm of the thinking that YOU may've missed this one. Be that the case, go and do something about that right now because I'm done writing for the day. 

The Vault Reviews: Conquering Lion by Bushman

Glimpses. I suppose you could say the same thing about listening to music, watching movies or even sports - that we, as fans, are all basically waiting for one thing. What we want is to hear that spectacular song or album, see that amazing scene or see that special play in the game which will stay with us forever. Of course that doesn't mean that what happens up until and/or after those moments is without value (on the whole, it may be even more important) (there is an extreme worth in consistency) but, whether or not you realize it, you're waiting for something to absolutely KNOCK you. This is even more accurate when dealing with someone or something who/which has demonstrated themselves capable of providing you with such excitement. Music has a way of 'dealing' with these situations on any level as well; as the term 'one-hit wonder' is most often associated with it. If you can get me there but you can never quite take me back (....or anywhere near there that matter), there's already a very populated designation waiting for you. If you really think about it, chances are decent that some of your favourite artists are the ones who have given you more of those giant moments than almost anyone else. And I also think we tend to gravitate towards younger up and comers because not only do we generally enjoy what we hear coming from them, but we think that they will go on to prove themselves to be at least somewhat consistently amazing down the line. But (and this is especially true in a genre such as Reggae where singles come through on a seemingly never-ending basis and an album is not always somewhere on the horizon) there're also these incredibly long timespans where there hasn't been something that puts you in awe from a particular individual and, though it may be tough (and it often is), you stick with them and you 'know' (HOPE, not "know") that they will be great again. I'm a Sizzla fan and, to my opinion, his highs are higher than anyone else's. At his absolute best, that man is without peer. It helps that I've been listening to his music for so long with such great attention to detail because I've heard so much output from him that has been somewhere on the range of 'experimental' at best because I'm still convinced that "Black Woman & Child" is coming through that door again - even if it never does (IT WILL!).

 And it doesn't only apply to your own 'highests'. There're certain artists who've shown themselves to be ultra consistent and they may never register as something higher than that for you, respectively. Others still, however, have attained a very healthy body of work in terms of being quite reliable for the most part, but they have DEFINITELY exhibited themselves, under the right conditions, to be SO MUCH more than just 'reliable'. Today we're taking a look at someone who is exactly that for me and has been for years, the seemingly indomitable Bushman. I think that, by now, the longtime veteran singer from out of St. Thomas has gotten his respect. While not amongst the very biggest names in Roots Reggae, he has enjoyed now well over two decades of a certain status and has received it based on his work. He's been all over the world, probably several times, and is DEFINITELY revered by fans of the genre. And even if you aren't a Bushman fan, you know his name and you know what his music is about to some degree. For me it goes just a bit deeper than that. While I couldn't list him as being one of my historical favourites, Bushman has WHOLLY dazzled me at times throughout the years. He's been SENSATIONAL and not in terms of just being this kind of ultra-dependable pick-up truck of an artist (more on that in a second). He's also been a very, VERY fast race car a few times. 

On the album side, he's been first to the finish-line on a couple of occasions. His JARRING 2001, King Jammy's produced offering, "Higher Ground", is one of the finest albums I've ever heard from anyone ["I YAD AWAY HOOOOOOOOOME!"]. It has been deemed a Modern Classic on these pages and it didn't have to wait very long at all, being entry number five. It was BEAUTIFUL the day it released and it still is twenty years on. The stage for that album was set two years prior when the Bushman released his sophomore album, "Total Commitment", also for the legendary maestro. A few years later was "Signs" which, although I cannot call it a classic, on the whole (because it does have two or three songs on it which I do not enjoy), I may very well hold it in as high esteem as I do any non-classic. That album contained some of the very best songs that I have heard from Bushman, including the MAMMOTH 'Sanctuary' ["I PRAISE HIM EVERYDAYYYYYYYYY!"] and 'Creatures of The Night' ["vampires, hypocrites and parasites. Haile Selassie give I strength to fight"] ["Old virus unuh! Old locust unuh! Haile Selassie teach mi seh mi nah fi trust unuh"]. And outside of that frame, I can name you songs that he's done throughout the years that have been peak level pieces for me such as 'Arms of A Woman' which is simply one of the greatest love songs that I have ever heard (.... off the top of my head, it may lay a claim to being THE greatest), an older and kind of obscure piece by the name of 'Zion Await' (TEARS!) and just a couple of years ago there was 'Hear Wah Mi Ah Seh', a bar of gold produced by Don Corleon. I can think of moments like that, but I can also get into albums that he's done which, for one reason another, just didn't resonate very much with me. I always think of what is probably his highest profile project to date, "Bushman Sings The Bush Doctor", which was 2011 tribute to the legendary Peter Tosh who Bushman looked so much up to and is a lifelong fan of (as are we all). Though interesting in so many ways, I always wished that he had RELEASED a bit more there and pushed more of himself into the recordings instead of doing them more as straight covers. Going even further back, I will probably never forget reading an interview of the artist where he spoke of doing a deal to do an album for an esteemed UK imprint by the name of Stingray and just not being very much into it. That set of circumstances would produce both 2000's "A Better Place" and its re-release three years later, then renamed "My Meditation". He wasn't very much into doing the recordings and, in spots, it showed. It wasn't Bushman's finest hour. So, although I definitely hold him in such a high regard and he has THRILLED me over the years (and almost surely will do so again), Bushman's work (at least on the album side) can be an adventure. 

2008

"Adventure" is a very nice way of describing his most recent release as well, "Conquering Lion". When I had decided that it would be fun to write a review for this album for the vault, I went back and did some research on its beginnings as I always do and I stumbled upon a very interesting blog from some guy named Achis (or 'Archie') (I cannot tell you how many emails we've gotten over the years with people calling me Archie). This guy (who talks entirely too fucking much) actually mentioned the Bushman working on an album called "Conquering Lion", way back in August of 2013. He had already dropped a single for it and, presumably, in was coming soon. We just had to wait a little while. In March of 2018, more than four and a half years on, "Conquering Lion" would materialize. The album was Bushman's first studio effort following 2008's "Get It In Your Mind" (in 2009, there was also a digital-only live release, "Live In Paris", which means that this became his first album, at all, in nine years!) and it shared something special with its older sibling. "Get It In Your Mind" was the first of Bushman's catalogue to come via his own Burning Bushes Music imprint (Zojak Worldwide handles the distribution on this also digital-only drop). It would take a decade, ultimately, but the follow-up would eventually stand up. Although it certainly wasn't his best work, "Get It In Your Mind" wasn't a bad album at all (it still isn't) but it didn't make a significant impact on me and I had to listen through it to remember the vibes from it ('Rasta Nuh Dead' probably being my current favourite song there) and, along with sharing origins with its predecessor, "Conquering Lion" may just share some of that status as well. Let's see. 

I tried to structure this review in the way that I did not only because I thought it an interesting write, but the thing that strikes me most in regards to this particular album was that, when you listen through it, what you get are FLASHES of some really powerful material (more so than "Get It In Your Mind", it's better). There're some truly strong songs and vibes in this one, but it never seems to hit a height and remain there as Bushman does when at the pinnacle of his power. Still, Bushman at a B-, B level is remains compelling and rather easily capable of putting together a solid set. The title track and opener, for example, is about as "solid" as you can get. WONDERFULLY preambled by a speech from legendary actor, Charlie Chaplin ["We think too much and hear too little. More than machinery, we need humanity. More than cleverness, we need kindness and gentleness. Without these qualities life would be violent and all would be lost"], 'Conquering Lion' is just an excellent praising track. It may or may not have stuck with you over the past three and half years or so, but you don't listen to a song like this without IMMEDIATELY hearing a certain power behind it - a clear highlight. The old school social commentary and single, 'How You Living', was up next and it found the Bushman just checking in with people across the world, essentially asking, "You good?". Of course, for many the answer is "hell no, I'm not" and he uses the moment to specifically address the importance of doing as best as you possibly can in raising your children. I didn't suppose this one would largely go in that direction (you see that title and expect something a bit broader) (biggup Barrington Levy), but it does work on some level by its end. And although it is somewhat out of place on the album, sequentially speaking, 'Burning Love', a very straight forward love song was next on Notis' lovely Crossroads Riddim. Given his history on the topic (the previously mentioned 'Arms of A Woman'), I virtually HAVE to pay attention when Bushman sings about love (I am contractually obligated and you see what I mean about giving someone special moments. I know what he can do with the subject, so from then on, I'm waiting for him to do it again). While this one doesn't threaten to reach those lofty heights (damn near nothing does, that song was amazing), it is another adequate piece. Later on we get the catchier 'Always On My Mind', which is the slight better of the pair to my opinion ["Woman you nuh crawny. You nuh haffi bleach yuh skin. You nuh haffi go a animal shop like a pharmacy rat"], but you can't go too wrong with either. The track here, the Movin Feva' Riddim, is certainly an interesting choice by Bushman, you wouldn't typically expect him to go on such a riddim, but it works very well for him in the end (and check the "Total Commitment" album if you want to hear him doing some damage in the Dancehall). Both 'Always On My Mind' and 'Burning Love' are just nice songs and I do enjoy how the vibes between them are changed so you don't get the same song twice, essentially (and maybe it's worth mentioning that they are the two shortest songs here by twenty-one and thirty-six seconds, respectively). 

I cannot say for full certainty, but I believe that 'We Mean It' which originally reached back in 2012, is the first combination between Bushman and the legendary Capleton. Hypothetically speaking, such a link is downright delicious and they did not disappoint on this blazing tune.

"Who mek di youths caan get enough?

Who mek di system so corrupt?

Who mek so much shot ah buss?

Who mek di people so disgust?

Babylon ah play, si seh dem ah war and fuss

Who create di changes of di time?

Who create the visions of your mind?

They create di borders and di lines

Only Jah can save this time"

"Mi nah love how babylon weh dem ah gwan

Yow, dem try corrupt Jah earth, dem fulla scorn

Yow, dem ah wonder how wi surviving through this storm

BUT TELL DEM WI WOULDA STILL EVEN SURVIVE FROM DIS TSUNAM"

The song actually found Bushman returning to familiar grounds as it comes through over the Tamarind Juice Riddim, courtesy of none other than Stingray (clearly he was in a much better mood that day). Capleton is... Capleton, you know what to expect from him and they team up for, the the surprise of no one at all, deliver one of the biggets moments on "Conquering Lion" (and biggup Stingray, they're still around and healthy and I might even tell you what they've been up to in a review in the not too distant future). And I should also mention, in regards to 'We Mean It', that, curiously, I have a hard time finding Capleton credited on almost any of the digital outlets (checked Apple, Amazon, Spotify, Pandora). It would have seemed to me to be a rather large point of interest. Just an observation. I suppose it does speak to the quality of "Conquering Lion" that neither 'We Mean It' nor the title track are its top rankers in my opinion. That distinction, at least for me, comes in the form of 'King Rastafari'. I have heard maybe thousands of songs like this (two more on this album alone with its opener and closer) but for some reason this one sticks out quite a bit.

"Make up your mind

Rastafari you fi hail inna this time

Make up your mind

Rastafari you fi hail inna this time

Nuff a dem ah hail Rastafari, dem no mean it from dem heart

Neva walk di walk, but eva talk di talk 

How dem ah speak Jah?

And neva seek Jah?

Haile Selassie ah di teacha!

I & I come fi bun out imposta

Hail Rasta"

I don't know for sure, so I will keep it to myself, but I would think that 'King Rastafari' was a response to something specific which occurred which did not sit too well with Bushman and, be that the case (and even if it wasn't, it's still a great tune) it is a MIGHTY one as the artist pushes Rasta as "a way of life and not a religion". Something you Do not just BELIEVE. Were 'King Rastafari' not my choice then it would surely be 'Somewhere'. This is not the only piece by that name that he has made. Most interestingly, there was another (more than twenty years old by now) which appeared on disc two of Sizzla's "Liberate Yourself" from 2000 for Kariang. That song was excellent and so was this newer version (which was also the album's early single I'd alluded to in discussing it nine years ago) which comes through fueled by a lovely African chanting style that is downright intoxicating at times (a big credit goes to the backing singers for this one), particularly during its latter stages. It isn't going to change your life or do anything like such, but damn what a nice song 'Somewhere' was - twice. And also on the high side of "Conquering Lion" was the very simple, yet outstanding, 'Music'.

"Why won't you play me some music?

Why won't you play me some music?

Why won't you play me some music?

A real Reggae music

I'm talkin bout sponji Reggae music 

Mi seh selectah stop di talking and play

Caan hear what di music ah seh

No wanna lose di vibes

No wanna go home

Like you playing for yuhself alone

My princess wanna move, wanna dance then groove cuz-

So just stop chat

No pull up that

JUST PLAY THE MUSIC!"

It's just a very nice vibes in celebration of what has brought us all together here today, that sweet, SWEET sounds. You'll also find very firm ground within the remaining selections on "Conquering Lion" with 'Hell Ah Go Pop' and 'Evil Con Evil' being standouts. The former is... it's kind of a SAD vibes. Such pieces definitely have their place (because we get sad sometimes), but I listen to 'Hell Ah Go Pop' and I'm waiting for just a little sunshine which never arrives (although that riddim, crawling though it may be, is damn strong). Things do get quite bright on 'Evil Con Evil', partially due to the Riibirth Riddim courtesy of LA Records which backs it. Bushman, himself, does shine as well here ["MI NAH WAAN NO FRIEND GIMME FAMILY. FRIEND LIVE TOO CLOSE TO ENEMY. AND DEM WILL GANG UP AND CLAN UP. YUH HAFFI STRONG UP AND MAN UP FI SI WHAT DI HYPOCRITES PLAN UP"] as he warns us all to be careful of the company that we keep because failure to choose to be around good people can produce disastrous results. I should also stress how well written 'Evil Con Evil' is, there're portions of it which verge on full genius. And speaking of near brilliance, check the cut just ahead of 'Evil Con Evil', the very clever 'Jungle Proverbs'. You see a title like that and your mind (at least mine does) immediately begins to wonder what it's about and basically what it is - is the Bushman stringing together several proverbs and old sayings ["It's a jungle out there"] ["You never miss the water 'til the well runs dry"]. I don't think that he so much even makes an attempt to provide some type of umbrella-ing theme to the tune and, instead, the point is to show how these well-traveled adages still carry weight and are still applicable today. Also the vibe of 'Jungle Proverbs' is interesting. It'ss basically a Bluesy kind of song. It isn't Reggae at all actually. Making it a track which well stands alone on this set (although it isn't entirely unexpected from Bushman, over the years he's shown a love of several genres, including Country as well). Just prior to 'Hell Ah Go Pop' is the heavy 'Cynicism'. Taken as a pair back-to-back, 'Cynicism' and 'Hell Ah Go Pop' make for one somber eight and a half minute stretch but, again, sometimes doing things like this helps to convey a message which is even more dire than the music can express (and they're followed by the very bright 'Somewhere', so things don't stay such way). The composition finds Bushman just taking a look around the world and seeing so much negativity and terrible things occurring constantly. He is saddened and confused and he well gives every bit of that to the listener, whether you want it or not. And there's something else very compelling about this one, but I will save that for just a second. Lastly, "Conquering Lion" sends us out the same way it welcomed us in, with a big praising tune, 'Jah Alone' (coincidentally, opener and closer are the two longest songs present, both being over five minutes long, although 'Conquering Lion' does have the speech ahead of it, which makes it nearly six) (not that you give a shit about that, but I'm a nerd). 'Jah Alone' is very straight-forward and you can probably imagine almost exactly how it sounds even before listening to it (although it is just slightly chant heavier than usual); and it is stunning. It is so NICE to listen to... but as I write that part even, you can probably imagine that as well! Bushman finishes the album singing from his soul to The Almighty.

Speaking of that singing. What you'll hear throughout "Conquering Lion" are fantastic vocals. Bushman, when he truly pushes his voice, can be downright overwhelming and, because of that, when he at least feels like singing, his music will have an inherent quality to it (and it makes what happen on "A Better Place"/"My Meditation" even more distressing). On some of these tunes he soars. I alluded to it on 'Cynicism', and the same is true for 'Jah Alone', 'King Rastafari' and others. The majority of this set features wonderful singing.

Overall, "Conquering Lion" wasn't the Bushman's finest moment and, as a whole it wasn't  terribly close either. That being said, however, it was still pretty damn good and, as I said, if you REALLY dig in here, what you're going to find are a number of flashes which are more than enough for someone like me (and maybe You) who has experienced bona fide GREATNESS on an album from the singer to cling on to and think that the next major project is on its way. I do wish that he would be more active on that side as well. If you consider that "Signs" released in 2004 and since then, he's had a live album, a cover album and just now a pair of 'standard' studio albums in the past seventeen years, I'm definitely wanting more from Bushman in the future. Until then, if you did happen to miss "Conquering Lion", it is well worth digging up three years on. On it, what you'll find is evidence that maybe there're "signs" that Bushman at his absolute strongest is on his way back.

Rated: 3.75/5

Burning Bushes Music & Zojak Worldwide

Digital

2008

Come Again!

Near the end of each and every year we do a list which demonstrates the low standards of people in general, because it is both horrible and very popular, by the name of 'Most Wanted'. That is a list which generally describes who we hope to hear from on an album in the coming twelve months (and just in case you're interested, of the ten mentioned on the list for 2013, only one, Kalash, has made an appearance and at least to my knowledge, none of the other nine have anything completely planned). People who could musically make the year a better one for me and today we kind of expand on that idea. Along with the Kabaka Pyramids and Damian Marleys of the world who're more obvious selections, there is another group who for one reason or another, I'd really LOVE to hear from some time in the not too distant future. To them we say COME AGAIN. Here are ten not so apparent names who could really make a giant impact with their next release.  

Queen Omega

With the single best two albums that I've heard this year coming from Jah9 and Etana, respectively, and solid pieces coming from both Jah Defender and Khari Kill, in terms of albums, 2013 has already been a very good one for both women in Reggae music as well as Reggae from out of Trinidad. HOWEVER, as the years go by we move further and further away from the last time the most talented of either going today in my opinion, the amazing Queen Omega, has been able to do an album of her own and that is ridiculous and I mean that in a very, VERY bad way. Furthermore, it's been even longer than the half-decade from her actual last release that we've really seen her celebrated on a grand scale. That hasn't happened from 2005's "Destiny", which was sublime. Those details shouldn't really belong to anyone with talent and certainly not one as supremely gifted as Queen Omega who continues to record and tour quite often, but this is someone who shouldn't such a long patch of being absent from album shelves in her career unless she's retired but…

"Mi have to bun di fyah and mi nah go retire

Full time now di wicked expire!" 

Maikal X

Maikal X's name is an interesting addition to a list like this because he has constantly been making new music to my knowledge and may or may not actually be working on an eventual album release at some point. However, he's been doing all of that as part of his once former (now current again) group, The Postmen. I haven’t followed them very much, but that's fine, he's a musician and musicians make music. However, Reggae fans do await the talented vocalists return to his more Reggae-centric solo career and if/when he does return, it'll be a fascinating comeback. Over the last year or two the label which brought his debut set, "Genesis" has actually lost its biggest name, Ziggi Recado and one would wonder if the imprint, which has an excellent history of making big music, would continue to do the work with Maikal X as well. Of course only time will tell that, but if X could fine the TIME to re-pursue his solo career in the next year or two, that would be nice and even nicer if he could do it with the label that brought out the 'best in' him. 

Yami Bolo

I recently came to the very unfortunate theory (and I hate that word - I HATE it) that it was very likely that the album whose praises I had been singing for so long now, "Rebelution", just may be the last studio release that the WICKED veteran vocalist, Yami Bolo, had ever done. That is an album which dates back to 2003, at least, and we're now in a place where he has not had a new one in over a decade or so (an interesting thing about that album also - it may've been the very first on its label, Zion High Productions). This is terrible and is particularly so as a fan of Bolo's who came to be so relatively recently, as I've gotten older, a new album from him, or even a new ACTIVE recording schedule would be more than welcomed. The Zion I Kings are currently turning their attention to another veteran in Lloyd Brown, reportedly, and if they could find the time to do so again with Bolo, the results would be a guaranteed huge project. 

Fay-Ann Lyons

Soca star Fay-Ann Lyons is the first of a couple of names on this list who have yet to ever release an album. In Soca music that isn't… well yes it is. Even for a genre such as Soca which doesn't receive very much in the way of promotion consistently, for someone to have reached Lyons' level and not had at least one is very, very strange. The three time Trinidad Road March champion, and perennial contender (she actually won her very first a decade ago, which is remarkable to think of) has very little in the way of peers, but if you do examine what little she does have, the absolute top of the genre - and even just women: The likes of Alison Hinds, Destra Garcia and others have all done multiple albums (as has her husband) and the large possibility exists that she may never do one. If she doesn't, that's fine, it doesn't diminish her at all. But in 2013, not to have an album from a bonafide superstar in any genre of music, well within the digital age, is... unique to be mild. And to have a full and current project from the human child of Energy and Brilliance would be spectacular… oh and okay, maybe I just want it because you KNOW the pictures inside would be divine (biggup a completely nude Destra in the liners for her own debut album, "Red, White & Black"). 

Reemah

Reemah stands out mightily on this list because it is 2013 and… she just had a big album, which she is still promoting to my knowledge, about a year ago, "Check Your Words". She has a place here, however, because of just how big that album was and, potentially, what may happen to her if she doesn't return rather quickly. If you look at some of her peers, women from out of the Virgin Islands, as I've said in the past, even at the head of their class is a distinct level of inactivity. If it could happen to someone like Dezarie, then Reemah potentially could have the same fate, where her fans can go a year or two without even hearing a single new song. She's not only too talented for that, in my opinion, but she's also far too marketable to a more 'mainstream' brand of fan to just kind of do an album once every four of five years. 

Bushman

Technically the last time we got an album from Bushman was just a couple of years ago in "Bushman Sings The Bush Doctor”, which was a collection of the singer doing songs from the immortal Peter Tosh. His last regular studio album was "Get It In Your Mind" from 2008. That self-produced record was nowhere near being his best work, so his last GREAT studio album was actually "Signs" from nine years ago now. Again, that is too long. It was last year [I THINK] when the news reached that the Bushman was once again preparing to do an entirely new set and it even had a name which sounded great, "Conquering Lion", and a very colourful single called 'Somewhere'. I have a nice feeling about how all of this is playing out, but I'd feel even better about it if it did wrap up and ship out some time during the next four months remaining in 2013. 

Arkaingelle

Stirring Guyanese chanter, Arkaingelle, definitely made a big impression on me back in 2008 when he dropped his first and only album to date, "O'Pen". All of these years later, I probably underrate that album to a degree, because every time I think about it, what comes immediately to mind is the MAMMOTH track #6, 'Manifess Joy', which was rather easily one of the best songs I have ever heard in my entire life. From that time, while the Arkaingelle hasn't been overly active, he has managed to remain current, particularly with producer Blaak Lung, but also with a few others, including the aforementioned Zion I Kings and Zion High Productions. I should also say that someone told us earlier this year that a new album was in the works and should it arrive next year, it'll quietly carve out a place as one of the most anticipated for me as he'll hopefully be able to manifest previous heights once again. 

Revalation

I was wrong about Revalation. I was just wrong. To my opinion, the skills that he showed himself to possess throughout his excellent debut album, "Serious Matters" from back in 2008, combined with the fact that the St. Thomas native had already gotten the attention of one of the finest producers in the genre, Dean Pond, would see him become the proverbial 'next big thing' from out of the Virgin Islands (and I hope that it is not years from now and I'm saying the same thing about Reemah). This didn't happen at all and five years later, we're wondering if he'll ever even get around to doing another album (or if they'll do a digital release for the one he actually did do), and not whether or not he'll someday follow the route of Pressure Busspipe (whom he vocally resembles to a degree) (and who also had a debut album produced by Pond) (and who also appeared on "Serious Matters") to superstardom. The latter seems HIGHLY unlikely and nearly full impossible at this point, but damn if he could take care of the former sometime soon, his would be a more than welcomed return to album shelves. 

Skinny Fabulous

Though we're coming off what was, arguably, the single finest year of his career, I don't know that we've moved any closer to the release date of that once highly rumoured (maybe three years ago now) debut album from St. Vincy Soca supernova, Skinny Fabulous. 2013 would see 'Da General' take up his second consecutive and fifth in six years Soca Monarch crown as well as his very first (and probably not last) Road March. What would likely be a sort of compilation of greatest hits of an album would be a very nice ribbon on such an outstanding year, but you could have said the same thing last year and you'll probably be able to say the same thing next year as well. Skinny has a nearly unrivaled ability to consistently bring ultra-intense Soca music with an edge and, as a long time contributor to my workout playlists, I've probably lost quite a few pounds directly as a result to the euphoria his music can cause. Hopefully one of these years they'll get it right and push out an album with years and years worth of big tunes such as 'Da General', 'Head Bad', 'Monster', my personal favourite 'Scary' and many, many others. 

Nereus Joseph

And finally is someone who didn't really enter my mind until rather late in building this list (and I'm not going  to tell you who I took off of it to make room for him), the sensational sweet singing Nereus Joseph. The Lucian born vocalist has made a career which can be best described as literally being saturated in CLASS and he has enthused quite a bit of it in nearly everything and everyone who he has touched. Most recently the esteemed vocalist set the "Real Rebels Can't Die" album from four years ago now, a classic here, but he's also been doing well in production, including working on "Stronger" the most recent album from King Lorenzo late last year. Joseph has also worked diligently as a singer still (he actually sang on a song on "Stronger" also) and just a few short weeks ago released his latest single, the big big 'Tings In Life'. Hopefully 2014 sees more of this and he FINALLY returns with yet another big project of his own… and I actually think he will. 

Discography: Bushman

Next up in our running series of taking looks back at the album discographies of some of the biggest names in Reggae music, we go in the very familiar direction of someone who, although probably hasn’t secured a proper amount of credit for the work he's done in his career, certainly isn't someone, at least these days, who ranks as one of the more underrated singers around. Bushman is extremely respected as being a model of consistency and solidity and while his career, at times, has lacked an element of the spectacular, he has also managed to deliver the proverbial BOOM often enough to keep a bigger attention, simultaneously thrilling more hardcore heads by providing some of the most reliable and strongest Roots Reggae music of his era. Discography: Bushman.  

The Music of Bushman

"Nyah Man Chant" [VP Records - 1997]

Lyrical medicine man. The legendary Steely & Clevie were behind "Nyah Man Chant", the debut album of Bushman (who was previously known as Junior Melody) which would include tunes on which the outstanding singer would originally build his name. Along with the title track, this set also included 'Man A Lion', 'Cannabis', 'Grow Your Natty', 'Black Starliner' and, of course, 'Call The Hearse'. This album has very much gone onto receive a pretty large amount of attention and respect, but it isn't really even nearly as good as some of the material which would follow it (it's either the fifth or sixth best album you'll read about here today). Still, it manages to retain a very nice nostalgic appeal and one which very much continues to keep it alive today.  

"Total Commitment" [Greensleeves - 1999]

No problems. no worries. Imagine a young singer being so fortunate to have the work which would eventually go to light up his first album by Steely & Clevie, then having another excellent stroke of encouragement by having his sophomore set done by King Jammy! That was the set of circumstances for the Bushman as "Total Commitment" was steered by the camp of the legendary King. This album was absolutely fantastic and it still is, thirteen years on from its release and it still features songs which are arguably some of the vocalist's finest as well. 'Worries & Problems', 'Fire Bun A Week Heart' and 'Mr. Gunis' highlight a tracklist which also feature winners such as 'Give Jah The Praise', 'Live Your Life Right', 'Babylon Dead' and the WICKED 'Sen Dem Come' alongside a flaming I Lue.  

"A Better Place" [Artists Only Records - 2000] 

No meditation. I can still, very vividly, recall reading an interview with the Bushman in which he mentioned that his manager at the time, earlier in his career, had gotten for him an opportunity to go to the UK to record with a pretty reputable label (even more so today actually) by the name of Stingray Records. He said that he just wasn't into the situation or the idea of it and it was something that showed in his work. That session, as it turns out (and most unfortunately), would go to produce TWO of his albums (only one of which you'll find here for obvious reasons), "My Meditation" from Jetstar and "A Better Place". When  you know what I know about this one (that the artist himself doesn't like what went into it), it certainly makes it a bit harder to appreciate, but I do have to say that neither of these projects were HORRIBLE. They aren't the worst albums you're going to hear (although 'Back Weh Vampire', may just be the artist's worst song ever) and in 'King Selassie I', 'Fill My Cup' and other songs, they actually had a few memorable moments.

"Live At The Toronto Opera House" [Kings of Kings - 2001]

He burn. Looking back, Bushman's first of two live ventures, the forgotten "Live At The Toronto Opera House", was very, very good. I don't find myself going back to this album more than once or twice a year and I really don't have a large problem with that, but for what it is, like I said, it's a very nice live album and one which would look so nice in the digital medium today. The album included many of Bushman's hits of the time and the crowd reaction was solid throughout - you can't really ask for significantly more than that from a live album and this one delivered in both arenas with room to spare.  

"Higher Ground" [Greensleeves - 2001] 

Highest ground. Once again produced by King Jammy, "Higher Ground" was . . . just something else. I've told you about a very good album previously in "Total Commitment" and there is another one on that level to come next - "Higher Ground" is CONSIDERABLY better than both of them - it's one of the finest albums I've heard altogether in fact (Modern Classic Vol. 5). I don't know that I can point to a single aspect of this one which makes it stand out from even a mighty lot, but somewhere in the midst of songs like 'Yaad Away Home', 'Robbery Aggravation', 'Fire Pon A Deadas', '100 Percent [The Highest]', the divine 'Make A Change' and others is an album which has no peer on this list and very few others.  

"Signs" [VP Records - 2004]

'Lighthouse'

The sanctuary. I remember one of the major (if not THE) selling point of an album which is likely the Bushman's second best offering to date, "Signs", being the fact that it was recorded, entirely, as a live album. Meaning that the vocalist was singing in front of an actual live band playing at the time and not over a riddim track. While that certainly made for a very nice auditory experience (and still does) the prevailing actuality of the album is that it . . . was an amazing album. Some of these songs have probably gone forgotten at this point, but this is an album which hi find so many people (not myself, I know remember it well) not really recalling just how strong it was! When you combine tunes such as 'Sanctuary', 'Creatures of The Night', 'Every Day', 'Light It Up', '77 Times 7', 'Pleasing People' and the BIG hit that was 'Lighthouse' on a single release, you have something very significant and more than eight years later, it has lost a bit of its steam. It never will. A must have.  

"Get It In Your Mind" [Burning Bushes Music - 2008]

My song. By no means was "Get It In Your Mind", which Bushman helmed himself on his own Burning Bushes imprint, a GREAT album. It doesn't register on the same level as three albums on this list and it's not remembered as having done so. HOWEVER, given the timeframe of its arrival, when Bushman had already made such a powerful contribution to the music, I do think that it has gone slightly overlooked in the four and a half years following its arrival. Also, as I've said in the past in regards to several different albums, "Get It In Your Mind" is that type of release that kind of makes you think that you're not really taking it all in and each time I come back here, I do so, at least partially expected to hear something HOW I never have before. These days it's the ever wicked 'Born Fi Di Ting', if ever it's the rest of the album, I don't know that I'd be entirely surprised.  

"Live In Paris" [Ajang Music Productions - 2009]

He burn again. I don't know a great deal of the "Live In Paris" release and surely that has to do something with the fact that it was never actually released on form and was a digital only set, but I can say that, although the Bushman's earlier live set was noticeably stronger, this one clearly wasn't without a power and attraction of its own. This album, while it lacks the fire of "Live At The Toronto Opera House", just seems like a more personal recording and there is some value in that. It is also, of course, more recent, so you see a newer batch of tunes mixed in with some of the earlier classics as well which is always nice. Not a mandatory listen, but a very nice addition to a collection nevertheless.  

"Bushman Sings The Bush Doctor" [VP Records - 2011]

The mirror. Not only had Bushman been a large fan of the legendary Peter Tosh for his life, but in many instances he had been compared to him as well. So much so was Tosh an inspiration that, last year, the Bushman finally put it all together in a much anticipated album release which was picked up by VP Records, "Bushman Sings The Bush Doctor", which featured him covering songs of the immortal Red X, something he had said he was going to be doing for a few years by that point. My problem with this album, which I still hold in a fairly high esteem, is that Bushman just didn't really PUSH it too much. Obviously these are songs which are not only tested by time and history, but they're also very well known and if you listen to Bushman sing - if you REALLY listen to him sing - you know that his vocals are, when at their best, some of the finest this genre has EVER seen and I hoped that he would have used them to PUSH some of the music. Instead, he seemed to approach them in a more of a 'reintroduction' type of manner which, for more hardened Reggae fans, isn't as useful when speaking of undeniably timeless and classic material such as Peter Tosh's catalog. Still, this was a good idea and a very large credit to Bushman that it materialized and has gone on to become, arguably, his most high profile set to date. 

Bushman

So. In there, in my opinion, you have three albums which are GREAT of some sort, including one which is a bonafide classic to my opinion. Bushman has produced much timeless music, many everlasting songs and if you've missed out any of them, definitely pick up something from the singer today.