Okay so, that was 2025. I hope you liked it but if you didn't, there's nothing we can do about it now. It's over... on to the next! We had some very impressive releases from some expected and some unexpected stars to help make the year fun and, presumably (and hopefully), this time next year, we'll be saying the same for 2026. So we're already looking ahead to what the future might have to offer and to do that we're going to use a feature from back in da day. Today we assemble a group of ten individuals who we're hoping to hear from in the new year. Most Wanted 2026!
{Note: Names appear in no particular order}
{Note 2: I intentionally excluded people who I know have albums scheduled or are heavily rumoured to be releasing albums}
Anthony B
It was just 2023 when the great Anthony B released his most recent set, "Bread & Butter", so while the world isn't exactly starving for a new one from him just yet... it would be pretty nice considering the roll he's been on in recent times. I'm sure I'll say this in regards to someone else (if not everyone else) but, with the right producer, based on what he's been up t o lately, I think Anthony B's next album -- whenever we get it -- could be a contender for best of that year. Even at such an advanced and well grizzled stage in his career, the Original Fire Man appears to be well within reach of his prime. ANTHONY B! SHOW EVERYONE WHAT I MEAN AND DO AN ALBUM IN 2026! PLEASE.
Queen Omega
We're just coming up on the third anniversary of "Freedom Legacy", Queen Omega's most recent studio release but prior to that, a truly ridiculous FIFTEEN YEARS had elapsed in between records from her, which was entirely unacceptable. Three years is just fine in my opinion and the star of our Album of The Year for 2023 would look just fine making her return in 2026. In the summer or so I actually heard an interview (on a radio station in Toronto, I THINK) where the Queen said she was at work on her next album and I, of course, glued into that fact. She didn't say with whom she was working or give any type of timeframe for its potential release whatsoever but, if she does make an appearance next year, she could definitely do a lot for 2026.
Damian Marley
"Stony Hill" will turn eight years old next summer and one of the legit, bona fide superstars of the genre, Damian Marley, figures to be DUE for a new set any one of these years now (and I can recall hearing a rumour that he was coming with something late 2024, I believe) and one would think that he is actively at work on the next project. I always enjoy stressing the fact that, despite the most obvious thing about him -- he's Bob's son ["Tell mi which CD do you think dem get? Di one closest to di Bob Marley boxset"] -- Jr. Gong is a wizard. Lyrically, the man is virtually peerless and what he is capable of is downright special. Hearing a brand new performance of his talents is always a gift. Hopefully he brings gifts next year and I think he will.
Ras Batch
Without looking anything up, I would probably say that Ras Batch releasing an album in the next twelve months would be THE biggest surprise if everyone on this list were to do the same. The last time we heard from him would have been on "Rootz & Kulcha" from early 2017 and if you know anything about Batch, he pretty much likes to do his albums by himself. Of course there're exceptions (one in particular) but he generally keeps production in-house via his own Sound V.I.ZIon imprint. That's fine but I think if he could, somehow, get into that never endingly active mix of Trinity Farm Music (like other VI artists, Ancient King, Abja, Danny I and even Akae Beka) it would see the rather reclusive Ras Batch to a greater level of frequency... and he can bring Ras Attitude with him! I don't think it happens but stranger things have.
Sara Lugo
Finally (technically. I'm writing this one last but she won't be listed last), you knew she was coming. How about a new Sara Lugo album for the new year?! Recently returning to the familiar ground of Oneness Records, the now VETERAN singer (Sara Lugo's probably getting towards (if not already) forty years old (that is RIDICULOUS!)) (further research reveals that she just turned 38!) could definitely freshen up 2026 via dropping album #4. It's been a minute (and four and a half years) since "Flowaz" ["Bring me flowers!"], so she's also due (...for an album) any year now and 2026 seems as good as any. I'm actually going to predict that this one does happen in the new year. Maybe it comes from Oneness, maybe not, but I suspect Funky Comfort will reign in 2026!
Luciano
I could definitely be wrong and I probably am but, off the top of my head, I THINK that the most recent studio album that we got from the great Messenjah, Luciano, was 2020's Oneness produced GIANT, "The Answer". He's had re-releases, remasters, greatest hits and compilations since then but, as far as I can tell, not an actual new album since it (he had one called "Return Of The Chronicles" which was an odd R&Bish re-working of some of his biggest hits that was really hard to listen to). That's fucked up... it just is. Even if I'm forgetting one, hopefully one of the greatest voices this music has ever produced and one of its longest serving soldiers comes back to us in a characteristically BEAUTIFUL way in 2026.
Mark Wonder
There was an EP back in '23 called "Reflections Of The Dragon Slayer" but I think that the last full album from the GOLDEN Mark Wonder remains 2020's "Remz Of The Dragon Slayer" (the man has been slaying dragons for a really long time). That album came from a very familiar source, Oneness Records and, not too long ago, Wonder appeared on their High Peak Riddim. I'm thinking that 2026 could be a very good time to get the old band back together again and see what could happen. What could happen has history as, way back in 2012 Wonder & Oneness teamed up on the aptly named "Working Wonders" which is, EASILY, one of THE best albums I have heard in my entire life. I think that it's time for a sequel ["WHO ELSE COULD IT BE?!"]. Will it actually happen??? I wouldn't bet on it.
Busy Signal
This one is very specific and I don't really think that it has a legit shot of happening but let me ask you something: How damn cool would it be if Busy Signal's next album came via the Zion I Kings?? Doesn't that sound pretty good?! Obviously, the thought arose as the well versatile Busy actually did cross paths with massive Reggae collective for a single, 'The Days', back in October. Now, if they could get together again.... this time for a full album, the results, just as the quality of the single would suggest, could be MASSIVE.
Jah Defender
Such a list from me these days HAS to include the currently flaming chanter from out of Trinidad, Jah Defender. Along with being quite active these days, he lays a giant claim to dropping THE single best tune that I heard in all of 2025 altogether 'Haile Selassie I', so of course I'm interesting in getting my hands on a full release in 2026. Magnifying matters is the fact that he's been doing a lot of work with one single outfit, House Of Riddim. I can DEFINITELY see HOR reaching with a full Jah Defender project in the new year and you know what? I think it WILL happen and if it does, at least on paper, this one will have Album of The Year potential in my opinion.
Reemah
I know that I said that these were listed in no order in particular but I specifically saved Reemah for last because she's probably my #1 in terms of how much I want it to happen. It has been a downright heinous soon-to-be eight years since her last set, "Breaking News", and... frankly I'm getting tired of waiting. This is some bullshit! Had I done this list last year or the year before, my prospects would have probably been higher. Today? Nope. I have none. I don't think this is happening. I do hope that I'm wrong but I'm not seeing one of the true, bona fide GENIUSES that we have today doing a new album in the new year. I'm just not.... but DAMN, I HOPE I'M WRONG!
'Who Are We' by Turbulence [Unemployment Records - 2025]
Gotta start off with something that's definitely put a a smile on my face over the last week or so and biggup Filomuzik and Unemployment Records from out of Italy for getting the best from one of Reggae's most enigmatic figures that I've heard recently. Turbulence MOST CERTAINLY has not been one of the most consistent of artists in Reggae music but I still maintain that he sits on a gold mine of talent which places him in very thin company. Alongside the aforementioned producer and label from Southern Italy, Turbulence turns up with 'Who Are We' which is, CLEARLY, the best song I have heard from him in 2025 and... probably the best in quite a few years (off the top of my head, I would probably say from since 2021 but it could very well be even longer than that).
"Who are we, who are we-
Without His Majesty?
Who am I, who am I-
Without The Most High?
Who are we, who are we-
Without His Majesty?
Who am I, who am I-
Without Rastafari?
I'm nothing but a drowning victim waiting to be saved
Jah hand me lifeguard inna this tidal wave
Lost and confused inna this deep, dark cave
Jah hand me lantern just to light my way HOME
Rastafari say: Who do I think I am to disobey?
According to your works, that is how you get your pay
Mi ask them this without delay"
'Who Are We' is a scorchingly clever praise, backed by a GORGEOUS riddim (and notice how it changes and electrifies as the song goes along) making it not only, as I said, Turbulence's best this year but likely one of the best from anyone. BOOM.
'The Days' by Busy Signal [Zion High Productions 2025]
I'm always looking forward to seeing just who one of my (if not my absolute) favourite production units, the vaunted Zion I Kings, will work with next and I have to say I was quite shocked when I saw that next in the offering was the ridiculously gifted Busy Signal and I was also damn excited. I'll temper my HOPES (You know what I want) and just deal with what's at hand. While the link maybe surprising, the results most certainly are not. The ZIK's record is what it is, they've been amongst the most consistently high quality outfits in all of Reggae music since their inception (INDIVIDUALLY AND TOGETHER) and, in case you haven't paid attention, Busy Signal is one of the most versatile stars the genre has ever produced. The man can literally rhyme about ANYTHING and shine whilst doing it. Their effort together, 'The Days', is a damn gem. It's a work of art... but you knew that already.
'Shout It Out' by Fikir Amlak [Saj Moor Dub - 2025]
Biggup our old friend, Saj Moor, who we told you about the last time we did one of these and is already back and this time, arguably, even stronger as the producer links up with the always active Fikir Amlak for 'Shout It Out'. I'll qualify this a bit: I haven't listened to Amlak's music a great deal over the years. Though I find myself crossing paths with his work every so often, I've never really focused much on him for one reason or another, but I have heard some of what he's done (he had a song a few years back that I REALLY liked called 'Royal Son'). So maybe you'll take that into consideration when I tell you that I'm quite confident in saying that 'Shout It Out' is the single best Fikir Amlak tune that I've heard thus far and maybe it becomes the impetus to get me to really tune him in (I'm pretty sure he has a new album now and even if he doesn't (or even if he does) the next one isn't too far away.... it NEVER is) Despite its title, 'Shout It Out' comes with this very cool and kind of building vibes to it (the riddim on this one is gold bar. Literally). It never fully ascends in terms of intensity but it remains with this gorgeous, almost mystical sound which Amlak puts to excellent usage in praise of The Almighty, while channeling the immortal Marcus Garvey.
The Tear Iron Riddim [Muscle Records - 2025]
Grrrr! Little late season madness courtesy of Muscle Records, check out the superb Tear Iron Riddim. I've been meaning to give this one its own mid-week feature post but it took me so damn long that it made more sense here. There're only five tracks on this riddim and I'm not crazy about all of them ('Jab Bull' by Island Prince is actually kind of annoying and I cannot remember the last time I called a song "annoying") but the absolute class of this thing is buried between a pair of tunes which are absolutely delicious. Greens blowtorch, Lavaman scorches everything everywhere with his 'Take Dat Down', while the queen reigns supreme as Fay-Ann Lyons provides the iron with its greatest threat, 'Show Me The Road'.
"A Piece Of The Blender: The Singles" by Everton Blender [Heartbeat Records - 1996]
I'm working on a review of an Everton Blender album so, of course, I'm going back and enjoying some of his older work so this EXCELLENT nearly thirty year old compilation is our blast from the past today, "A Piece Of The Blender". I've always appreciated how well this one was put together because it features songs such as 'World Corruption', 'Bob Marley' and 'Blend Dem' that would definitely get your attention and get your foot in the door; and when you settle in, also waiting for you were killers such as 'The Man', 'When You Wrong', 'Coming Harder' and others. I mention in the review how important I think it is for us to make sure that we pay the deserved respect to and CELEBRATE elders like the no seventy year old Blender while they're still around to be able to enjoy it. When you dig into much of his catalogue it isn't difficult because the man has given us some certified GEMS throughout his time.
2. 'One More Time' [Don Corleone Remix] by Jah Cure
3. 'Don't Say You Love Me' by Aza Lineage
4. 'Soulmate' by Lutan Fyah
5. 'Open Heart' by Jah9
6. 'Nah Sell Out' featuring Kabaka Pyramid by Alborosie
7. 'Cyaah Done' featuring Iwaata & Country Hype by Konshens
8. 'MUGGER' by Intence
9. 'Happy Living' by Jahshii
10. 'Only Room For Two' by Gyptian
11. 'Gyal Dem Time' featuring TeeJay by Shaggy
12. 'It's Guaranteed' Remix featuring Bounty Killer & Busy Signal by Christopher Martin
Okay so, while we aren't too sure who's showing up these days and, if they are, when exactly they'll be arriving, I am damn pleased to say that we definitely are getting a shot of one of the most reliable compilation series in... in ever, as the latest installment of one of Reggae's most reliable sets, "Strictly The Best 63", is set to reach in just a few weeks' time. VP Records delivers as always in a time where "STB" remains quite consistent, having missed only one year in recent times, by my count [2021], despite one of the label's other large annual releases, "Reggae Gold" (which just may be the genre's most identifiable collection), being a bit more of a mystery in terms of scheduling these days. I took a quick look at the tracklist of "STB63" and a couple of things that I saw caught my attention and did so in a good way.
The first thing that I noticed was that they kept it simple. You get a dozen tracks and in those tunes (and the second thing that grabbed me) you get a very healthy mixture of artists and styles. Compilations and albums in general can be too damn long at at times and I was very happy that they chose to keep "STB63" on the more 'cozy' side of things. As for the sounds you will hear here, how about this: You get people such as the incomparable Jah9, Lutan Fyah, Alborosie, sitting Reggae Grammy holder, Kabaka Pyramid and Jah Cure, then we make room for the likes of Romain Virgo, Christopher Martin, Gyptian and Aza Lineage and not to be excluded, we'll also cover the Dancehall with Bounty Killer, Shaggy, Konshens, Busy Signal and Intence (or whatever they call that stuff Intence makes) ('Mugger' is not Dancehall. I don't care anyone says) (not saying it's bad, IT IS TERRIBLE, but it isn't Dancehall). So the vibes on this one are HEALTHY to say the least. "STB63" also boasts of four exclusive tracks, including efforts from the Fyah (a new Lutan Fyah tune??? Works for me!) and Aza Lineage as well as several selections which have never previously been available on disc (if you're old as hell, like me, and're still interested in prehistoric physical media) (just make a contraction out of anything. What the hell is "and're"??) (Andre who???). So, it seems as if they've taken great care with assembling this year's edition of the esteemed series.
How well does it work? Well, you can join me in figuring that all out when "Strictly The Best 64" releases on the 15th of December from VP Records.... but I can tell you it's probably going to be pretty good.
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.
"Special Lady" by Junior Kelly [Muzick Vibes Records - 2023]
It has definitely been awhile from since we've last talked about Junior Kelly, at least in regards to any project he had around, so I was well pleased to not only see that he was back with a new EP, but also that it.... was actually pretty decent. "Special Lady" comes courtesy of Muzick Vibes Records from out of Argentina and features some very solid material which is what the chanter should be making. At his best, Junior Kelly is a mark of consistency in Reggae, but he... has his moods. In particular check 'Them Nah Know' and 'Stand Up' alongside Blessed and just generally give "Special Lady" a try. You might find a big tune or two.
The Slow Motion Riddim [Madhouse Records - 2023]
Partially due to their infrequency and largely due to.... him being a complete and utter genius, there will always be a very rare air reserved for the work of Dave Kelly and his Madhouse Records label. The very reclusive ace is arguably THE finest creator the Dancehall has ever produced (off the top of my head, he has my vote right now based on strictly how BEAUTIFUL his tracks are) and he's blessed 2023 with his work on his latest creation, the Slow Motion Riddim. As you might suspect, the kind of slower detailed track makes for a very snug fit for most of its artists, but it is, surprisingly, TOK who takes top honours with their very clever 'Sexy Time'. Blakkmann also registers as does Busy Signal and a trio featuring Bounty Killer, Dexta Daps and, of course, Baby Cham.
"Island Hopping" by General Degree [Size 8 Records]
Of course I will always have room for General Degree and that extends to his latest creation, a four-tracked EP release by the name of "Island Hopping" on his very own Size 8 imprint (like most of Degree's work). This set won't change lives at all anywhere, but it does serve its purpose of providing a bit of light amongst the very DARK landscape of what is considered Dancehall these days (and I got that from a review General Degree did for The Gleaner). While the title track here is fun, the main attraction is definitely the hilarious 'Di Bwoy Oral' which follows a career length line of very clever such tunes from the deejay ["She waaaaan di pianist"] (these days apparently she wants something else as well). Fun times are to be had as they always are with the General.
The Cali Roots Riddim 2023 [Collie Buddz + Ineffable Records]
1. 'Open the Door' by The Movement
2. 'A Thousand Times' by Busy Signal
3. 'Leon On Me' by Fiji
4. 'High' by Khalia
5. 'Do It Right' by Gondwana
6. 'Never Give Up' by J Boog & The Green
7. 'Light It Up' by Mihali
8. 'Press Remix' by SOJA
9. 'Shine My Light' by Irie Souljah
10. 'Waste My Time' by Little Stranger
11. 'Life Is A Cycle' by SARA LUGO
12. 'Life' by Hector Roots Lewis
13. 'No Boundaries' by Iya Terra & Dub Inc
14. 'Romeo & Juliette' by Shwayze
15. 'Jah Spotlight' by Luciano
16. 'Marry Me' by Anthony B
17. 'The Butterfly Remains' by Mike Love
18. 'Upside Down' by DISPATCH
19. 'Music Is The Remedy' by Eli-Mac & Inna Vision
20. 'Living In A Brighter Day' by The Expendables
21. 'Hold On' by Cydeways
22. 'Love Your Love' by Claire Wright
23. Cali Roots Riddim - Instrumental
Okay so, something that I simply HAD to tell you about because we've had our eyes firmly on it for maybe a month now is the brand new and GORGEOUS riddim from Collie Buddz & Ineffable Records, the latest installment of the Cali Roots Riddim (which seems to be somewhat of a running series). When I initially saw the lineup of vocalists on this riddim it stung me and long time readers of ours will know exactly why that was the case (so will new ones if they noticed what we did with the tracklist up there) and it still remained the matter of hearing the actual riddim itself (you can have literal deities singing the songs if they track is trash then no one wants to hear that). Fortunately, now that the Cali Roots has made its way forth, the work that Collie Buddz and J-Vibe have done is not only befitting some of the genre's most gifted wordsmiths, on its own, it is simply beautiful! It has a very nice cool vibes to it which, again, when you put it behind the right vocalist, really shines even brighter. Fortunately, Collie Buddz and company were also sure to include a clean version of the Cali Roots so we can all see that, even sans a single word, this thing is golden!
Now, even a cursory glance of the names appearing on this set will do interesting things for you. Names such as Luciano, Anthony B (who had an EXCELLENT tune on a previous version of the Cali Roots that you may remember, 'Chill Out' ['I just wanna dance and listen some rub-a-dub"] which is featured on his latest album, the BIG "Bread & Butter") and Busy Signal will definitely pop out for fans of all experience levels and one or two more, such as J Boog and Grammy winners, SOJA will also be familiar to quite a few ears as well. HOWEVER, readers of ours will immediately recognize the fact that my eyes were fixated on one name in particular amongst the rest.
....Yep..... it's SARA FRIGGIN LUGO! The looooong as hell time Achis Reggae favourite (if we had a Hall Of Fame, she would be in it) (....that's actually a pretty good idea) absolutely blesses the the Cali Roots with what turns out to be its finest moment altogether with 'Life Is A Cycle'.
"Watch the tone you speak in
Is it positivity you are seeking?
If all youi do is argue for no reason, better prepare for winter season
Life could be so beautiful, easier when you're grateful
From now on, focus on the blessings
Watch what happens when you rethink this message"
BOOM! 'Life Is A Cycle' is absolutely gorgeous! What a lovely tune and one which is fully emblematic of the quality levels of.... simply one of the greatest we have ever seen (she's probably like... thirty and I'm already saying that about her, but fully well earned around these parts, definitely). Fortunately, Lugo isn't the only star shining on the riddim as 'Life Is A Cycle' is joined by big efforts from the previously mentioned Busy Signal (who absolutely TOYS with the track on his 'A Thousand Times'), J Boog & The Green and Anthony B, although, SHOCKINGLY, Luciano misses the mark with 'Jah Spotlight' which sounds oddly off-key and just odd at times in my opinion. Iya Terra alongside Dub Inc also turn up nicely with their 'No Boundaries' and the Cali Roots Riddim 2023 also includes several nice surprises from the likes of sweet singing Hector Roots Lewis, Mike Lewis with the curious 'The Butterfly Remains': A tune I was well looking forward to hearing and one which most certainly did not disappoint. Still, I have to say the largest revelation from the riddim comes from the all kinds of impressive Khalia who torches everything in sight with her GOLDEN love song 'High'.
With big respect to Busy, it's probably the second best song here altogether and definitely keep an eye on Khalia going forward (and going backward) as well. Although the man of the moment, Collie Buddz himself, doesn't actually take on his own riddim, as I said he does give us a delicious clean version of the Cali Roots, which we always love to hear.
The Cali Roots Riddim 2023 edition is currently available now courtesy of Collie Buddz and Ineffable Records.
Replay? I'd give myself a little credit in terms of being a dedicated fan but, truly, if I'd never started writing about Reggae music, chances are fairly high that I would never have encountered some of the tremendous talents that I have. I know this is likely the case for several reasons, not the smallest being the number of times someone who I know pays a good attention to things telling us how we'd made them aware of a particular artist who, hopefully, they'll go on to become long time fans of. If that has happened a few times or so during the life of these pages, I'd be happy on that, alone, but... of course also getting to listen to all of this wonderful music has been pretty fun as well. Because of just how spread out Reggae has shockingly become (to go from a regional (and, really, a national-) artform to a global one in the time it has is remarkable) and the fact that it isn't necessarily 'mainstream' on most levels, it can be damn difficult to not only stay current with what is going on locally, but in terms of the entire planet?? Well, that can be pretty impossible. Doing this, however, has forced me to do a ton of research throughout the years and I've been fortunate to have come across so many names who're more than deserving of the greater attention of fans of the genre and, like I said, then make the attempt to pass them on to you wonderful people. Although I do love the more 'usual suspects' and have happily written about their work for decade and will gladly continue to do so, a little bit of fresh blood on the scene is not only vital for the health of the music (because people are fragile and we die after awhile. We need someone else to continue the work!) but it also keeps things from... being boring as hell sometimes! So when I've stumbled upon genuine talents on routes which have been outside of the norm, I've REALLY enjoyed it and have gone on, in some cases, to remain a passionate fan, myself. EASILY one of the greatest examples of this would be an individual who takes us back a STUNNING thirteen years (no way has it been that long!) to an overstuffed album by the name of "The Burnin Melody". The best way for me to put that album into context is by saying that in a year which included outstanding releases from the likes of Sizzla Kalonji, Tarrus Riley, Queen Ifrica, Buju Banton, Lutan Fyah, Nereus Joseph ["Real Rebels Can't Die", named a Modern Classic] and others, it grabbed me enough late in the year to go onto be named our outright Best Album of 2009! Think about that for just a second: I hadn't heard of its star, until maybe a few weeks ahead of the album's release date and it would go onto become my favourite album from that year, again, given the competition at the time; and given his history and his current settings at the time, had I not been tuned in at the time, it isn't out of the realm of possibility that I wouldn't have ran into the work of its star, one WICKED Lion D, at all.
2009
If I recall and understand it correctly, one of the most remarkable aspects of Lion D' s unusual rise to prominence is how he picked up Reggae music. He was born in the UK to parents of African and Italian origins, raised in Italy and, at some point during his early adulthood, he just kind of STARTED MAKING REGGAE MUSIC (because why not)! I'm sure you cannot possibly get more simple of a breakdown of Lion D's bio (again, assuming that I'm accurate), but I can distinctly recall what it was that I heard, way back then, that drew me towards him and, looking back, it makes sense all these [very, very short] years later. Lion D was raw. He wasn't very refined. He didn't sound like he had been groomed by some of the finest producers in the world or had spent a lifetime growing up being taught the classics by a parent or anything like that. He sounded like someone who come into it late. HOWEVER, with that being said, for what he may've lacked in foundation or musical background, Lion D not only 'made up for it', he OVERWHELMED the lack of it with a talent -- a natural gift -- very rarely seen. Compound that with a clear passion for his music and what we had back then was a blowtorch of an artist putting his abilities on full and vibrant display through the nearly EIGHTY minutes worth of music on "The Burnin Melody". For what it was, it was one of the best albums I've ever heard and, listening to it now, it's also managed to age quite well.
And thankfully Lion D didn't decide to call it a career and retire there. A couple of years on from "The Burnin Melody", he came back with a very well done mixtape (coming from someone who never really liked mixtapes) (seeing them less and less in recent years), "Reap What You Sow" and, in 2013, the full followup, "Bring Back The Vibes" would come through ["Weh dem fah? A weh dem ah do yah?!"]. Just in case you were wondering (and maybe you were), "Bring Back The Vibes" would well demonstrate that the promise shown on "The Burnin Melody" was CLEARLY no fluke. That album, in some respects (and looking back now), had elements which were even stronger. Keeping on his every-other-year pace, Lion D would also return in 2015 with the stellar "Heartical Soul" and, again, prove himself to be amongst the genre's most 'curiously' gifted practitioners. 'Heartical Soul" (which I should definitely go back and review.... so I probably should save what I'm thinking here) was better than "Bring Back The Vibes". It was exceptional and featured some of the finest work Lion D's entire career to date, in my opinion. In late 2019, Lion D returned with the solid EP, "Born In Captivity" which, very much, sounded like they were getting things in order. They were working on a few different things to see what stuck and what did not. Now, although he may've missed his schedule (shit happens), Lion D returns with a brand new album that I was thinking was in the offering, "All In This Together". Like its three predecessors (as well as "Born In Captivity"), the new release comes courtesy of Italian imprint, Bizzarri Records. Out of all the European stops which have seemingly caught a severe case of Reggaemylitis, Italy is well included but probably doesn't get the international recognition as other areas. With that being said, for our purposes, Bizzarri has always represented quite well and the union they've formed with their most consistent vocalist has been mightily fruitful, as we've examined. Lion D didn't spend the seven years between "Heartical Soul" and "All In This Together" just sitting around and collecting dust and, recently (with the last eighteen months or so I want to say), I've not only noticed more new material coming from him but, specifically, more new material from Lion D with Bizzarri Records. That got me excited for what may be on its way and I came to the conclusion that an album was on the way and had it confirmed a few weeks or so ago in the form of a press release and I was DAMN HAPPY! We took our hiatus and I missed out on writing so much but covering someone who we've followed from so early in such a top level, like Lion D, is something that fascinates me endlessly. On top of that.... yeah, it's a new album from Lion D! History says it will be at least some form of excellent, so my expectations are through the proverbial roof. Furthermore, if he's the artist that I think he is, I'm somewhat also expecting something different in "All In This Together"; not necessarily in terms of his style -- he is what he is -- we have seen full-on disasters occur when people suddenly try to become too far away from the strengths, but I go into the new album thinking that Lion D has the opportunity to give fans something they've not really experienced from him to date. He ends up fulfilling on both fronts as the artist quickly demonstrates on the new album that not only is he still exactly who we have known him to be in the past but, these days, he may be someone more as well.
Something that came to my attention while listening to "All In This Together", especially during its latter stages, is that it doesn't seem to have the same type of prevailing EDGE to it that marked much of Lion D's earlier work. What he may have typically used a crowbar to convey, on this set, the artist opts for a feather and the results, unsurprisingly, are of the same lofty stature. The previous release, "Heartical Soul" was actually slightly toned back from its predecessors, but this one takes it even a step further which is a nice mix. Of course you'll find no evidence of that at all on the splendid opener for "All In This Together", the most impressive 'Boomerang'. Given its title, I was damn interested in the direction of this one and Lion D THRILLS when 'Boomerang' really gets going.
"Life is a test, you know you must prove yourself
And you got to do your best
Know you weak and you soft and ah gwan like you tough
Everyday you claim seh you a di general
While you brag and show-off, nah stop treat people rough-
Bwoy you move like seh you a di clever one
Memba God is in charge
If you take people life, you might soon find yourself inna burial
And it no really matta how fast you run-
JUDGMENT COME AFTER YOU LIKE A PREDATOR!"
Lion D deals with the basic ebbs and flows that we all experience in life ["NUFF A WI GROWING OLDER, ONLY FEW GROWING WISE"], but he does it a sparkling way, wrapped up in this package where we must give a MASSIVE credit to hornsmen, Riccardo Gibertini and Zaghi for the musical contribution they make in the scintillating composition carrying this tune. I heard 'Boomerang' and was damn confident that, once again, I was in the presence of something potentially damn special from Lion D and Bizzarri. If I still wasn't quite sure, however, next they enlist the help of Swedish veterans Million Stylez and Danjah on the lovely 'awareness anthem' 'Stay Woke'. This tune actually popped up a couple of years ago now and it's just as weighty and significant as it was back then. As I alluded to, what I took from this one is the idea of simply KNOWING WHERE YOU ARE and knowing who you around around. It isn't a call for paranoia, but just a matter of identifying and retaining a most basic sense of self. I ended up taking this one in several directions as far as education and CONFIDENCE as well which, at least for me, are all parts of knowing who are and where you stand. Throughout his career, Lion D has been very fortunate to have worked alongside some very talented and well known artists. Prior to "All In This Together", he had voiced songs with the likes of Lutan Fyah (big new tune, 'Settle Down' with Luciano, out now. Check it out), Mr. Vegas, Gappy Ranks, Ken Boothe, King Kong and others. The new album not only sees that trend continue, but he probably tops EVERYTHING he's thus far. Along with Million Stylez and Danjah, there's a teeny, tiny little tune here by the name of 'Warning' featuring the legendary Capleton. If you want to get the message across and create a spark, what do you do? Well you call upon a looooooooooongtime pyro-master like The Prophet and, in doing so, produce a bona fide masterpiece such as 'Warning'.
"Yow wi get straight to di point, wi nuh dilly-dally
And wi com fi spread di message outernationally
Now di Prophet and di Lion gi dem heartically
No fraid fi tell babylon seh dem system folly
Nuh waan nuh coke inna mi cup, inna mi coffee-cally
And mi tell babylon seh dem fi stop di folly
Well a fyah man ah bun, yuh get it Africa-lly
And mi seh mi bun out babylon practically!"
BOOM! I told you "All In This Together" was a bit more finesse than much of Lion D's previous work, but don't worry about that with 'Warning' and enjoy it for the scalding masterpiece that it is. The final selection on the album, 'Fight and Win', is another big combination, this one done with the always interesting and unpredictable Busy Signal. In clear contrast to 'Warning', this one is definitely on the softer side, but that's not a problem at all for these two. Though larely a fairly straight forward social commentary, 'Fight and Win' does offer up a few surprises, not the least of which being Busy's downright DAMAGING mid-tune verse ["Wi fighting di struggle like Marcus Garvey. Haffi read di books pon di Black Histroy. Praying fi a brighta day pon mi bended knee - cause one day wi haffi free"]. You've heard dozens of similarly vibed pieces, but I will 'warn' you to REALLY tune in here because you'll quickly not only miss some brilliance, but you'll also likely come away underrating this big drop. There's also the GORGEOUS 'General' with Jah Sun ["NO BONES! NO BLOOD INNA WI KITCHENNNNNNN!"]. This isn't the first time these two have linked musically -- having previously worked together on the well solid 'Resistance' from a few years back -- but I would argue that the HEAVY 'General' is an even stronger tune. Both Lion D and Jah Sun do indeed shine, but I'm going to have to pay a respect to Bizzarri for supplying that gorgeous riddim behind them. That thing is FLAMING and, if they have not already, I would DEFINITELY love to hear this one spread around to more vocalists. It is such a beautiful composition (check the beginning in particular. When you hear it, it makes it sound as if something of great importance is about to occur. That is accurate). The US based Bobby Hustle gets in on "All In This Together" via the another very nice offering, the pensive 'By the Cover'. Interestingly, the very first time (that I can tell) that these two vibed together, 'Roll With The Punches' struck in on a similar vibes (and you'll find that one credited to the Lion's alias David Lion) in terms of the sound. In this case, 'By the Cover' looks at the fact that human beings can be (and usually are) very complex creatures. Virtually NO ONE is exactly who they seem to be, even if you really know them quite well. I also like how its mentioned (especially by Hustle ["My experience is mines, alone"] how we tend to be products of our experiences and what we go through in life which is, OBVIOUSLY, unique to each and every individual. I don't know if it will receive that level of acclaim but, honestly, 'By the Cover' -- which goes all kinds of interesting, musically, as it progresses; particularly during that final minute or so -- is probably one of the best songs on this entire album. I will also mention 'Sheep Clothes' here which features the Livity Band (which also guests, officially, on both 'General' and 'Warning'). This song, an excellent one, sort of echoes the theme behind 'By the Cover' in many ways, with more of a focus on being sure to mind who is around you (and trying to be around you).
"Gotta watch who you keep close
Cause some a wolf inna sheep clothes
Badmind and envious woulda walk inna mi shoes
Mi sight it from afar
Gotta watch who you keep close
Cause some a wolf inna sheep clothes
Badmind and envious woulda walk inna mi shoes
Mi sight it from afar
Jah Jah guide mi from my enemies, but mi haffi pree di one weh act friend
Dem seh dem a family, but mi know dem just pretending
Some ah smile wid mi, act nice to wi face-
But underneath dem ah envy
BUT THROUGH DI MOST HIGH SENT MI-
DEM CANNOT BREAK NOR BEND MI
It is good to be kind and gentle
But be a fool who you allow inna yuh circle
Cah more time you ah trust people, nuff a dem let you down and hurt you"
Lion D completes his commentary with about a minute remaining in the song and he delightfully hands it off to the Livity Band to allow that SWEET riddim to play on. In every aspect, 'Sheep Clothes' is extremely well done and one of the best moments on "All In This Together".
The song just ahead of 'Sheep Clothes', 'Vision', is a potential sleeper' of a hit for me. It's very attractive sonically, registering in on a very nice and more laxed vibe and the Lion sinks his claws into it with another effort on personal awareness. 'Vision' also has a wider-reaching social aspect to it ["Saw dem through mi third eye vision. Why do you fight a next man faith and religion?"], seemingly suggesting that, should we all become more aware, continuously, it would help to bridge all sorts of gaps and bring people closer together. And speaking of songs more on the calm and composed side, also check 'Too Cold', the album's love[ish] song. Though not a favourite of mine on "All In This Together", this one is well solid and excels musically (with another fine display by Gibertini and Zaghi, as well as backing singers, The Living Harmonies, Empress Elissa and Blacky Grace who serve that role splendidly throughout); a fact crystallized during the second half of the tune where it, basically, ascends into a gorgeous Dub/instrumental. I'm also going to mention the excellent social commentary 'No Filter Needed' in this line as also comes through on a more dialed back frequency which is also quite nice {note: I try to group the tunes together in some type of way apart from just where they are on the album because I often find myself going through them and having one remind me of another, which is exactly what just happened with 'No Filter Needed' in respect to 'Too Cold'. Two tunes not related in terms of direction at all, but the sound is in the same arena at least}. This one is definitely amongst the very best you'll find here, particularly with it being one of the strongest lyrical displays you'll find on "All In This Together" ["Mankind full of too much grudge and prejudice. We're just one step from the edge of the precipice"]. Musically, this one reminds me of something that I cannot quite come up with -- there's this infectious, almost glowing BOUNCE to it that brings something to my mind, maybe something from Oneness Records -- but whatever you'd like to call it, it's also lovely on that front.
Things may go even higher courtesy of the dynamic 'Born A Rebel', following 'No Filter Needed'. This one is actually quite clever to my ears (though I wouldn't be surprised if it doesn't ultimately get credit for being so) as what it does, essentially, is to tell us all why, exactly, we know who Lion D is. The piece is almost autobiographical in telling us how he came into the music.
"Just because I was born a rebel
Music mi use and put food pon mi table
Say again, I was born a rebel
Mi spread Jah love around and conquer evil
Say again, I was born a rebel
When mi walk past wicked heart, dem ah tremble
I was born a rebel
I was born a rebel
I smoke di herbs, I do it frequently
NOT ANYONE CAN VIBE PON MI FREQUENCY
I'D RATHER BE ALONE THAN IN BAD COMPANY-
CAUSE I DON'T WANT NO ONE TO STEAL MY ENERGY
I'M NOT A MONEY-MAN, LOVE IS MY CURRENCY
I PREFER PLANT A SEED AND WAIT PATIENTLY
If this world have no sense of decency-
I WON'T FOLLOW TREND
I MOVE DIFFERENTLY"
BOOM! What came to me from 'Born A Rebel' was that Lion D found himself in a position where he had things to say, something that he wanted to get off his chest and he chose the medium of music to let it go. As he goes forth (and he's already done to date, clearly), we're all better off because of that (the entire genre of Reggae music is better off because of that choice). 'Born A Rebel' is outstanding and one of his finest pieces of work to date in my opinion, period! Charged with [and succeeding at] keeping the vibes high is the sublime and easing (you listen to it, you'll know precisely what I mean by "easing") 'Strength of a Champion'. As kind of a complex praising selection, I must say that 'Strength of a Champion' does actually represent one of the very few missteps made on "All In This Together" as, by some sixteen seconds, it is the shortest tune present and it feels like it. They could have tacked another minute or so onto it (even if it were just instrumentals) and I would have felt better about it. Judging it by what it is, 'Strength of a Champion' is delightful as Lion D gives a big thanks to The Almighty for providing everything we need to strive in the world and, particularly, maintaining the course doing life's most challenging times ["Fi mi, life neva sweet like cherry. Nah stop fight til mi dead and buried"]. Finally, though I rarely do this (I don't know why I rarely do it, but I do), I have saved the best for last from the album. The single strongest tune here (not by a lot, though) is the all kinds of gorgeous 'Jah is my Keeper'. It isn't alone in this on "All In This Together", AT ALL, but the first thing that comes to mind here is that 'JAH IS MY KEEPER' MAKES ME FEEL REALLY, REALLY GOOD! Given the direction of the sound as well as its sound, I would presume that Lion D and Bizzarri had that idea in mind especially for this tune (and if you are trying to get just about any message across, your audience is likely to be far more receptive if you do something for their senses as well, obviously). It says something, at least in my opinion, to the fullness of the EXPERIENCE of 'Jah is my Keeper' that this song is six minutes and twelve seconds long! They REALLY seem to have been under the impression that they had something special here.... and they were correct. Very occasionally I hear a tune that kind puts me into the vibes that what I'm hearing is, essentially, a live display of the music: Meaning that if I were to physically be in the area while it was being played, what I heard and FELT would not be much different than listening to the record. That happens for me with 'Jah is my Keeper'. Lion D registers a MAMMOTH praising tune in providing his latest release with its signature moment.
Overall, if you have not figured it out yet (I command you to go back to the beginning and read all this shit again!), I really, REALLY like "All In This Together". I think I'll refrain from attempting to rank it within the Lion's catalogue -- because I don't feel like figuring it out -- but what I will tell you is that, at the very least, what he has done here is to provide a contender for the best album of another year. This thing is excellent! As I said, the new aspect that I hear more prevalent here in contrast to his previous work, is that "All In This Together" comes through just a bit softer more consistently. Having now analyzed it for the point of this review, I'm also going to say that, when it does go to the harsher side, it does so, PERHAPS, in a smoother way. As a whole, this album feels less rough around the proverbial edges than what I'm used to hearing from Lion D. Maybe that was by design or maybe the artist and Bizzarri Records just began making music and this is what came out of it. The set of circumstances behind its creation notwithstanding, "All In This Together" is spectacular. Whatever they were trying to do - it worked! While it lacks the surprise factor that he gave us thirteen years ago, Lion D effortlessly gives us heaps of something else to replace it: A level of consistency placing him in VERY select company.
