First up this week is something that comes as a bit of a disappointment as Eesah recently dropped his brand new (and well anticipated by me) album, "Success", for Evidence Music. Though I'd heard some of the clips of the music and had an idea of what to expect, I guess it didn't hit me, fully, as to what I was listening to until I had the entire thing in my hands. "Success" isn't at all BAD necessarily and it does showcase the ample talents of its star but it's about half Reggae/half R&Bish and, again, I guess I shouldn't have been surprised but... damn I was hoping for a big Reggae album to close 2025 out on. There is still material here worth listening to, even on the non-Reggae end ('Rise My People' is actually pretty decent) but it isn't the album I was looking forward to hearing - at least half of it isn't.
'Pull D Pin' by Machel Montano, Skinny Fabulous and Lil Natty & Thunda [Monk Music - 2025]
Of course, we're nearing the most magical time of the year and music from some of the biggest stars of Soca has already began to steadily come out of Trinidad (and other places) and amongst the very best tunes that I've heard thus far has been this MASSIVE combination shot featuring frequent collaborator Skinny Fabulous with Lil Natty & Thunda alongside the great Machel Montano. When I got what was going on here, I was actually a little surprised that no one (that I know of) had taken this angle on a Soca song before because it works to perfection as, once again, Montano links with Skinny Fabulous; this time bringing in big-voiced Lil Natty (hardly ever talk about Lil Natty & Thunda (a duo) but Natty's voice is fantastic for what he does with it) and Thunda from Grenada to drop a grenade all over Carnival.
'We Doh Play' by Destra [Krazi Music]
Also getting the season started on a good note is the incomparable Queen of Bacchanal, Destra, who tells all the absolute obvious with 'We Doh Play' (as if we haven't known that about her from looooooooooong time). Love the horns on this one and how it sort of bubbles below total chaos for the most part but, in a glimpse or two, it crosses that threshold and makes the dust raise. Hopefully we get an album this season from Destra; as she's already dropped a couple of nice tunes and it's looking like another stellar Carnival from the greatest to ever do it for me.
'Pass Di Chalice' by Cali P [Cali P (song has three different labels on it)]
Seems a minute since last we heard from loooooooongtime favourite, Cali P (hasn't been too long at all. He had an album just last year) but he's back with a SWEET ganja tune, 'Pass di Chalice' for Mouthwatering Records (I THINK). Cali P's been trying a few different things in recent years in terms of his style but this one settles on ultra-familiar, downright sugary terrain. More of this from Cali P in the new year wouldn't be too bad a'tall.
"No gimmi nuttin else, a di chronic a fi wi choice
Tell mi what's di cost, cah mi ready fi pay di price"
The Volume Riddim [Greensleeves Records - 2000]
I'll wait until next week (probably) to tell you exactly how a random quarter-century old riddim has made its way back on my players but right now I'm just going to suggest that you join me and go diving in the vault of Greensleeves riddim albums because you too may stumble upon a GEM like I did in this Ward 21 produced piece, the Volume. As was the norm at the time, the Volume was absolutely LOADED with big names as, appearing alongside the Ward themselves (they had two tracks, one, 'One More Start A War', was a combination featuring Ele & Wayne Marshall. Ele also had another solo tune, 'Fake Man', while Marshall had two other combinations, with Harry Toddler and Baby G, respectively)) were the likes of Bounty Killer, Mad Cobra, TOK, Kiprich, the oft-brilliant Madd Anju, Mr. Vegas, Lexxus and Beenie Man who, arguably, reigned supreme as he absolutely SLAUGHTERED the Volume with the stellar 'Moses Cry'.
Check up. The massive nerd in me does and likely will always feel some sort of connection to a select group of the artists that we cover around here. These things are not terribly easy to write (and as I get older, they become more and more difficult. In my 'prime' --whenever that was-- I could churn out one of these in a day or two NO PROBLEM) so, in some of these cases, I have literally spent HUNDREDS OF HOURS listening (and listening and listening) and writing and researching, so I've become attached to a few individuals who I've... never ever met in person and likely never will. Forgive me. I'm a fan. I'm invested to the degree that the twists and turns that their careers may take can be HALTING moments for me (if the 'right' artist has a new tune or a new album release, I will stop almost anything I'm doing to take a listen) as well as one of the most pleasing experiences in being a fan of music. I could throw you names that you're likely well familiar with but, instead, I'll go straight to the core this time as today we're talking about a loooooooongtime favourite of ours, Cali P. I'll also spare you (most of) the story of the matter but I will say that the Gwada born (biggup Teddy Riner) chanter's debut, "Lyrical Faya" (great album) released wayyyy back in 2008 and we're nearing a couple of decades that I have been at least emotionally invested in his career. What I heard back then was a very skilled and potential-latent and while that isn't something, AT ALL, that is very rare in terms of what I listen to (we are fortunate), the rarity in his case comes in the fact that Cali P has gone on to fulfill on every bit of that budding ability demonstrated on "Lyrical Faya", while missing virtually not a beat along the way. THAT is rare, as I can think of dozens of artists who I hold in at least equal esteem, for whom I cannot say the same (Sizzla is still my favourite and Sizzla, particularly as of late but even in his overactive prime, has released work non-representative of his otherworldly gifts). Cali P's career has also taken certain steps forward. When you look at some of the names and labels with which he's been able to work, he has definitely shown himself to have attained a certain level of respect amongst his peers. Along with that, we've encountered Cali P a few times throughout the years and he's always been very nice to us; at one point he literally sent a message asking us to do a write-up for an EP release he had at the time, 2014's "Healing Of The Nation" and he's also left a message or two on these pages throughout the years, praising our works. Cali P's music has made a fan out of me and Cali P, HIMSELF, has made a fan out of me as well.
2011
Musically speaking, Cali P's music has covered quite a few different bases but he usually comes back to 'center'. If I were to make a blanketed statement by saying that Cali P makes Roots Reggae music, it wouldn't be wrong but it wouldn't be all-encompassing either. While it has been the genre he most frequently touches, I could point to an entire album of work, the Riga produced "Unstoppable", which is.... something else (despite being crowned by the MAMMOTH 'Jah Rule The World' ["MY PEOPLE REJOICE AND SHOUT IT OUT LOUD! JAH RULE THE WORLD!"] [WHAT!] [BOOM!]. It was a bit of Dancehall, a bit of Electronic and maybe even a dash of Hip-Hop. Call it what you will, but "Unstoppable" was also VERY GOOD (song on that album called 'Sweet Greens' - probably one of the most overlooked ganja tunes that I've ever heard. It was outstanding). That set, on the biggest scale, showed a much earlier level of versatility which, unsurprisingly, was also high quality. More recently, the artist's latest creation, "Vizion" from 2021 (no way in hell that album is that old), also featured a more varied sound with, again, big results. So, at this point I neither know nor really even care what type of vibes Cali P comes up with because he's earned my trust that, whatever he does, will be quality.
So when we get a press release saying something along the lines of Cali P's newest album is "his most personal to date", I'm curious and you have my attention (...even if it didn't say that, you'd still have it. "NEW CALI P ALBUM" is more than enough) (DUH!) and that was what the material that came in support of "Infinity" read. Cali P had been well active in the months leading towards the release of "Infinity" and what ended up happening was a more micro version of what happened with the aforementioned "Vizion". The predecessor was an album compiled of a couple of previously set EPs so, had we paid attention, listeners had already experienced a very large chunk (if not all of it) of what was to come through the full album. Similarly, the chanter tipped his hand on much of what was to become 'Infinity" (right down to the cover), through the singles that he had released largely throughout earlier 2024. So, when we saw the official tracklist (and, again, the cover) we kind of had an idea of what to expect. <THAT was another bite of a more diverse type of vibe and one which, thankfully, also includes more than enough of a 'terrestrial' appeal for old heads like You and I. The album comes via Senmbelek Music which, I BELIEVE, is Cali P's own label and the always active Evidence and features the handiwork of a number of different maestros including Teka (who helmed "Vizion), the great Suku of Ward 21 (the presence of whom almost always guarantees legit, 100% Dancehall music), Derrick Sound and even Cali P, himself. I was hoping (and I figured) that the link with Teka would produce more music at some point and I would go as far as to suggest that the two might still work together throughout the rest of their careers and I have no problem with that. The early shots of what would turn out to be "Infinity" were what I am going to call 'vibrantly mellow'. It was a little R&Bish, a little Zoukish, little Dancehall with maybe a dash of Hip-Hop sprinkled in as well as a couple of nuggets of Roots music as well. I prefer Roots Reggae music, of course, but I'm open to such things and I did end up enjoying "Infinity" for a couple of different reasons though I do admit that I would ultimately find a level of delightful confusion within it all by its end. Let's discusssssssssssss!
I would immediately like to make the point that if you're attempting to expose someone to the work of Cali P, then a very good starting point would definitely be "Infinity". Along with carrying music of a number of different genres which probably would appeal to someone not of a rigidly Reggae persuasion, but what is here is also fairly easily digestible in terms of the direction of the songs and much of "Infinity" is very easy to listen to. For example, try out the album's opener and song that it is named after. 'Infinity' is, BASICALLY, an R&B tune, musically, but the attraction to this one is much deeper than finding an appropriate genre to categorize it within. 'Infinity' is likely one of the best done intros that I've ever heard. It starts off musical (and does so pretty strong) before ascending into the artist going into what appears to be an unplanned monologue. Parts of it (especially at the beginning) seem to be more planned than others but this track pinnacles during its parts where Cali P comes off as more organic and spontaneous:
"We never come to please people
Always ask yourself the question, do you please The Most High"
Those things stay with you, not only for the ten tunes which're to follow, but beyond. Cali P taps Akiyo for the first of several combination for "Infinity". I know Akiyo as being a group -- although "collective" might be a better term for how I understand them to be situated -- from out of Gwada so, certainly, he's well familiar with their work. Akiyo lends their talents to the GORGEOUS 'Numbers'. There is a very modern musical point here which I will leave for you (for probably the first time ever. Though I will say it isn't very superficial as it may seem should you just listen to it superficially and ONLY associate the title with money) to work out in favour of dealing with the VIBE of 'Numbers'. This one is futuristic but traditional at the same time - if such a thing is possible. Somewhere in the midst of a sound which may come from Mars or Saturn is an oft-revisited but random chant which is divine. There's something very Modern Dubbish on the Randy Valentine produced tune which plants its flag as an early winner for "Infinity". The well traveled and quite popular 'Energy' brings us back to terra firma, with a helping hand from German Reggae superstar, Gentleman. Gentleman SHINES on this song and he well lives up to its name while Cali P does as well, though he brings a more mellow vibes to matters during the chorus, making for a powerfully unique blending of sounds. What I took from 'Energy', primarily, was a couple of things, with the first being the idea of creating (and maintaining) a positive energy - whatever that may mean to you. Gentleman introduces several ways in which this is done with one of the more fascinating being HARD WORK. You can LITERALLY produce a positive energy in grinding and doing what you have to do to improve yourself and others. The other thing which stayed with me from 'Energy' was more basic with the music, itself, being that energy and the song somewhat becomes a celebration of the music and all that it is capable of. There aren't many finer moments on this album than 'Energy' (only one, for certain) and I wasn't surprised given the firepower of talent assembled here. If you're familiar with his work and take a brief skim through this album, you'd likely come to the conclusion that the track which features the work of Suku is hypnotic 'Secret Hater' and you would be correct in that. The riddim on that song, whatever it is, is BRUTAL and Cali P makes the most of it by shredding those who hide behind two faces.
'Caan ramp wid di bad friend dem from The Netherlands
A dem will send you go a neverland
Gwadada and di mad Nigerians-
GRIND YOU, LIKE A CINNAMON
Badness gone international, Jamaican dem cold like man from Paksitan
Dem will hunt you, wid Remington
DEM HAVE A B ULLET WEH FLY OUT YUH SKELETON
Shot buss, man don't send no telegram
Scammmer police - haffi watch what you tell a man"
Grrrrr! For what it is, it's fun, but 'Ready - Bend' is also NINETY-EIGHT seconds long... it comes and goes so quickly that it never gets a chance to settle down but, like I said, it is a good time. I mentioned that the press release from "Infinity" claimed it to be the most personal piece of work of Cali P's career to date and I would assume that the presence of 'Sunside' is a large part of the reason why that is the case. This one almost comes off as an unusual -- and often vicious -- tribute to some of Cali P's favourite places (not terribly unlike what I just transcribed from 'Secret Hater', actually) and places that he's visited. It speaks to many of the hardships faced in the areas but there's also a clear reverence paid to the places and, specifically, their people and their hardworking and adaptable nature ["It's either we get up and get it or left it and die"]. The song is kind of melancholy throughout and.... yeah, it's fair to call it bleak but there is A BIT of light on 'Sunside' outside of its title.
You could make a solid case that, despite its strong start, the second part of "Infinity" is even stronger than the first as it features a couple of HUGE moments (three, REALLY), including the album's crown as well as some serious fun. Check 'Mi Ruff Road' and its interesting backing, drifting somewhere between Hip-Hop and what they call Dancehall these days. Typically, I'd condemn such things but there is something to the riddim on this one which I doesn't put me off and there's also a vocalist CLEARLY enjoying himself. Cali P literally sounds like he was eager to go on this track and the torrent of lyrics he gives is evidence to that case. Far stronger is 'My Temple' which brings in a Swiss rapper who was new to my ears and eyes by the name of Theylovepiet. Unless the two link again (and they just might someday), I'm probably unlikely to ever encounter the work of Theylovepiet ever again but he's left a solid impression on me, even for someone who isn't much of a Hip-Hop fan. The real attraction on 'My Temple' is its sonics. Where 'Mi Ruff Road' combines Hip-Hop and... on 'My Temple', I hear it blended with Afrobeat, I hear a more traditional form of Dancehall and I LIKES IT! It is all sorts of infectious and absolute CANDY to the ears. Speaking of being sweet, in a downright brilliant stroke of song placement on "Infinity", chasing 'Mi Ruff Road' and 'My Temple' is a tune which I didn't know that I needed until it popped up, 'Family'. Blessed with Derrick Sound's STUNNING Fight Again Riddim from 2024 (riddim had several big tunes from the likes of Chezidek, Tiwony, Eesah, Bugle and Lutan Fyah ["And when mi check di news, a just 'blahblahblah'"]), Cali P gives a massive credit to closed ones who have helped him along the way and continue to do so. In the midst of "Infinity"and all of its uniqueness and different sounds, unbeknownst to me I was longing for (biggup Jah Cure) something more terrestrial and that hunger was well sated here on this immaculately organized piece of music. Things go right back as they were on the song in 'Wine Up', which taps another Swiss artist, Mercee who, interestingly, delivers in Spanish (reading through her background, Mercee's roots are everywhere. Switzerland, Cuba and Italy). This is done on an almost Groovy Soca-ish track and, again, it's just a really fun vibes that's bringing together a variety of different sounds and styles.
And wrapping things up is the single finest moment "Infinity" has to offer in my opinion, the outlandish 'Jah Blessing'... TEARS! There is a certain level of gorgeous humility to this one and with a title like that, it is definitely something that you would hope for but it comes BLARING through in this instance.
"JAH BLESSINGS NEVER SHORT CAUSE WE HAVE ENOUGH"
It is a chunk of ideology that I have always appreciated as it says to BE HAPPY FOR WHAT YOU HAVE because you know that, regardless of what it may [or may not] be, there's someone, somewhere out there who wishes they were in your position. Apart from that, 'Jah Blessing' is STERLING. It sits as not only the entry on this album, but one of the finest of Cali P's entire career in my opinion.
"Infinity" is entirely too short. It is. That's my largest critique. Eleven Cali P tracks, thirty and a half minutes. You couldn't have paid me to complain (yes you could have) were it a bit longer.
Overall, for what is here, "Infinity" does impress. If you come looking for that straight forward Roots project, you will be disappointed (though, for you, I would direct you to a new tune from Cali P, 'Chant A Prayer') to a degree but I would also caution you to just let it, because you might run into something [called 'Family'] that will surprise you. As I said, I've been doing these for quite awhile with Cali P and, I imagine, we still have quite a ways to go. Judging by what is on "Inifinity", who knows what is to come and how it might sound, but I will HAPPILY be there to find out..... hell, even if it was awful, he's not getting rid of me that easily! Varied and solid.
"The Akae Beka Scrolls" [Trinity Farm Music/Go A Chant Productions]
First up is a piece that I've been LOVING for most of September as Trinity Farm Music & Go A Chant Productions link up to bring forth "The Akae Beka Scrolls". This release follows February's outstanding "Living Testament" from Akae Beka and comes with a very unique story as far as I follow it. The legendary Vaughn Benjamin completed the work on "Living Testament" and returned to the studio intending to do more work and what resulted was a Dub album which he directed and produced and became "The Akae Beka Scrolls". Despite how often I find myself saying it, I'm starting to rethink the notion that I'm not much of a Dubhead because, as I get older, I'm really enjoying the subgenre quite a bit more. Playing here, along with Benjamin, himself, are familiar names such as Kenyatta Itola, Ishence, Ras Pulse and others. There is some really strong material on "The Akae Beka Scrolls" including the downright monstrous opener 'Psalm 19', which clocks in at nearly eight minutes in length. Also check 'Psalm 72', 'Psalm 37' and the wicked closer 'Psalm 119' (probably a poor choice of words there, but so be it).
"Secret Hater" by Cali P [Senmbelek/Evidence Music]
A fun thing happened with this one: 'Secret Hater' is the latest fun release coming from looooongtime AchisReggae favourite, Cali P and I saw that he had a new tune out and I was eager to hear it and it lived up to the lofty standards set by the chanter through all these years ["Caan ramp wid di friend dem from di Netherlands. A dem will send you go a Neverland. Gwadada and di mad Nigerians - GRIND YOU LIKE CINNAMON"] (I've, literally, been writing about Cali P's music for over FIFTEEN YEARS) - of course, the presence of Suku in production doesn't hurt either. As it turns out, 'Secret Hater' is also the title track from Cali P's latest three-track EP. The set also includes 'Mi Ruff Road'. New to my ears, 'Mi Ruff Road' is a somewhat Hip-Hoppish set (never my favourite) and HIGHLY lyrical. The wordplay on this one, subtly, is damn impressive! The third track is the downright GLORIOUS previous release, 'Jah Blessing' which originally reached back in April. 'Jah Blessing' is fantastic. It's aged very well and... I feel pretty confident in calling it one of Cali P's single best tunes EVER. Very nice three tunes collected here. You know what we really want (add like ten more to it!), but maybe that's for 2025 and "Secret Hater" is a tiny reminder and display of one of the finest talents in Reggae today.
'Satta Massagana' by The Fantells [Warrior Records]
If you follow Reggae music closely, there's a chance that you've come across both the group, The Fantells as well as the legendary tune they've recently redone, 'Satta Massagana' (literally one of the greatest songs EVER) (...like ever). You'd likely know The Fantells from several big tunes they had when they were active , particularly during the 70's (personal favourite of mine being 'Where You Gonna Run'), and 2024 marks a big return for the group (with new members). Earlier this year The Fantells released an entire album by the name of "Just For You" and now they're taking on The Abysinnians classic. Despite being fairly straight forward, 'Satta Massagana', because of just how well known and DURABLE it is, can be a difficult tune to recreate and, asy ou would expect, The Fantells have made a more than decent account of a truly immortal sound and be sure to give "Just For You" a listen as well (doing it myself at the moment and enjoying).
The Rebel Frequency Riddim [D Rebell Productions]
Big credit goes to D Rebell Productions and Solid Rock Sound for their golden new creation, the Rebel Frequency Riddim. When you put together a compelling group of vocalists for your riddim, you're definitely going to get my attention and your riddim being of actual quality is an added bonus and, on the Rebel Frequency, DRP have both going for them and it isn't that the Rebel Frequency has.... an overwhelming group of artists but look at this: Norris Man, Clatta Bumboo, Jah Defender, Jalifa, Daweh Congo. That is EXCELLENT! The actual sound here has a beautiful ly HEAVY old school vibes to it which everyone handles extremely well. I've mentioned some of the bigger names here, but also check efforts from the likes of Nga Han and Prince of Judah, the former of which gives 'True Rasta' which is, arguably, the single best tune on this track. Probably one of the best riddim albums of 2024 so far here.
"Home & Away" by Norris Man [Greensleeves Records - 2006]
And for the look back this week - I'm working on a feature on the great Norris Man and, in going back through his catalogue, DEFINITELY the set that has acted as somewhat of an anchor for me has been "Home & Away". So named after what is probably the chanter's second biggest hit to date (biggup 'Persistence'), my interest in "Home & Away", the In The Streetz produced album, has always centered around other songs besides the hammer. 'Seh Dem Bad', 'I'm A Free Man', 'Love Makes You Alive', 'After All' with Lutan Fyah, the absolutely GLORIOUS 'This You Must Know' and the MAMMOTH 'We Are The Creator' are all mega moments from an album which is considerably better than all of us gave it credit for being. There's another tune here by the name of 'This Day' which I barely even remember but is, SERIOUSLY, damn near perfect as well.
....and with a talent like that, we've already known it for a very long time.
Achis Reggae [and Earth] favourite, Cali P, delivers a tune that is probably one of the best I've heard in 2024 thus far, altogether, the absolutely flooring 'Jah Blessing'. Produced by Randy Valentine, the gorgeous track has now birthed an equally stunning video which is.... also probably one of the best..... You know what I'm thinking about Cali P and 2024 (especially given his recent level of activity, but I'll keep tat to myself and just allow things to develop but, DAMN, he's making it really difficult not to talk about it with big tracks like this one.
This post actually started as a post all about two tunes by the great Cali P and it morphed into what you see here (because I took too damn long to get around to it), so getting us started is... the great Cali P (and his new look), who gives us the first of a pair of big new tunes, 'Family'. Coming courtesy of Derrick Sound and Evidence Music and their golden Fight Again Riddim (which also featured big tunes courtesy of the likes of Lutan Fyah, Chezidek, Bugle, LMK and others). 'Family' is an IMMACULATE unity piece which, for me, really holds is place as it lifts up every single aspect of FAMILY. There isn't Mother and absent Father or ill-behaving child ["Family! I proud of you just like you proud of me"], it is fully-functioning and entirely beautiful UNIT. Let me tell you something with this tune and the interesting one I'm about to tell you about next.... Cali P in 2024.... yep!
'Up All Night' by Cali P [Evidence Music - 2023]
Cali P and Evidence, this time, link with Gold Up from out of Canada for the very colourful and infectious 'Up All Night'. You're likely to hear it called Dancehall (which is fair, there's elements of that), but it's probably slightly more to the Hip-Hop side, which isn't my favourite, but this one works for me. It doesn't have that.... kind of rigidity that I usually associate with the genre; it's far more free and versatile and a very nice change of pace. Like I said (though I have nothing in the way of inside information on the topic), keep an eye on (and an ear on) Cali P going into the new year with material like this.... oh and all of that other stuff he's been doing for the last 15-20 years. There's always that stuff too ["SO IF YOU LOOK FUH MI, MI RIGHT ROUND DI CORNAH!"]. BOOM!
'Keep On Moving' by Pete Lawson & Sara Lugo [Novo Sonic - 2023]
All things pause as we hit yet another traditional favourite of ours SARA LUGO [WHUTTTTTTTTTT!] who teams up with another talent originally from out of Germany (although I think 'Funky Comfort' calls France home these days), Pat Lawson, who is entirely new to me, for 'Keep On Moving'. 'Keep On Moving' has a purpose, it has a direction - in terms of progression and development in life but you'll have to work on siphoning that out just a bit because, definitely, the star of the tune is its sound. It's just a lovely vibes (especially that chorus) and, in case you haven't noticed: This is a new song from SARA FUCKING LUGO!
'Anxiety' by Patrice Roberts [Xplicit Mevon - 2023]
Ah feeling. So it's coming. If you've been paying attention, you're noticing that early entries for the 2024 Carnival season are slowly but surely rolling out and, unless I'm really forgetting someone and something, the early favourite for me comes via a most familiar and dependable source as decorated Trini super nova, Patrice Roberts recently set out and succeeded in ridding the world of some extra 'Anxiety'. I'm not going to go too deep on this one, because I'd probably end up crying and I don't feel like doing that right now; but there is an INHERENT aspect of Soca music, in my opinion, which is so powerful in dealing with just cheering someone up or mental health, in general. When the music is at its best, there is NOTHING in the world that I know of which can pull that type of feeling out of me and while you don't hear it addressed so often, lyrically, how many HUNDREDS of songs have you heard with artists talking about how much they love Carnival and Soca and how much they miss them!
"Soca mek wi stronger together!"
"Lyrical Faya" by Cali P [Pow Pow Productions - 2008]
Lastly (because why not???) I've [very] suddenly rewound the clock back a decade and a half to "Lyrical Faya", the album debut of the aforementioned great Cali P, as I tend to do maybe once a year or so. These days, as I alluded to, I'm stuck on the all kinds of wonderful SWEET Dancehall-ness of 'Right Around the Corner', but you know that despite the fact that this album was PACKED, you still have a difficult time finding a soft moment in its run. I think 'Redemption' might be the biggest remembered tune from "Lyrical Faya" but, again, there were so many as the venerable Pow Pow cracked open their vault of top notch riddims and delightfully Cali P took aim.
7. 'People Want More' [Shanique Marie Remix] featuring Shanique Marie
8. 'Rise Up & Shine' [Swing Ting Remix] featuring Stonebwoy, Seun Kuti & Swing Ting
9. 'When You Hold Me' [Crate Classics Remix] featuring Crate Classics
10. 'Rise Up & Shine' [Teka Dub Remix] featuring Stonebwoy, Seun Kuti & Addis Pablo
Surely you didn't think we were done. Last year (though it does not seem like that long ago at all), we told you about "Vizion" which was the latest album from AchisReggae favourite, Cali P, along with ace producer, Teka, for the latter's LowLow Records imprint. The album was a compilation of a pair of EP's from a couple of years prior. I can recall wondering, while reviewing the album why, exactly, hadn't Teka taken (I'm sorry. I just had to) the opportunity to make more of some of the BEAUTIFUL compositions he had made for the project and now he's showing why. He was saving it. "Vizion Remixes" recently dropped and it is precisely what the title says it is, some (not all) (eight of the thirteen by my count) of the tunes of "Vizion" in a remixed form. The results are apparently done by a variety of different builders, most notably (after Teka) is 'Life Lesson' which is placed in the hands of longtime Cali P collaborator, Riga. I'm still working on this one just a bit, but I do have to say that an early favourite is definitely the Dancehall Rulerz remix of 'Crazy'. The track on that one has been somewhat simplified (or has it???), but there is SO MANY wonderful things going on there at times and what results is a delightful composition. One of the standout tracks from "Vizion", 'Rise Up & Shine' is given three different mixes, one of which features the handiwork of the outstanding Addis Pablo and I did not like it the very first time I heard it, but it is well growing on me these days.
So, if you missed "Vizion" the first time around go ahead and take care of that and then join the rest of us in diving back into it with a very fresh ear (biggup Arif Cooper) (did you catch that???), courtesy of "Vizion Remixes", which is available now.
[Note: Wouldn't at all be surprised to see a Vol. 2 of this someday]
Calibrated. Today I think I want to talk about a wonderful word which people like me and others tend to [over]use quite a bit when it comes to music. Now this term has very strong roots, particularly within the scope of the types of music we deal with around here and it is incredibly broad and can be (and is) used in description of a wide variety of different things. It is a word which can go overlooked and, simultaneously, be THE main reason why we even listen in the first place. Of course I am talking about the word VIBES. What is a vibe? Can anyone define it??? Sure you can because it, kinda/sorta, means just about anything you may want it to. It is a noun -- "I love the vibes on this tune" -- and a verb "the way they vibe this tune is damn impressive" -- and, again, sometimes it can mean virtually anything you want it to me. However, most often when you use the word VIBES, in any form, what you're describing is some type of feeling (generally positive, but not always. There're 'bad vibes') that the music gives you or leads you into, some way or another. Just to show how damn random I can be: I'm thinking now of the review or two I've done over the years for instrumental/Dub albums and one of them sticks out in my brain. Waaaaaayyy back in 2008, Achis Reggae favourite, the incomparable VI Reggae wizard, Tuff Lion, would give us an album by the name of "Ten Strings" which has gone on to be declared a Modern Classic on these pages. My experience with the subgenre is not deep, I'll admit, but it's likely the finest of its kind that I have ever heard (still holding out hope that we may someday see an "Eleven Strings"). I bring it up here because, in writing reviews for that type of work, as someone who LOVES the spoken word and all of the healthy opportunities of analysis it offers, I find it refreshingly challenging to attempt to bring a review of this length to such a project. It is writing almost exclusively based on VIBES. Writing based on what I feel. And as someone who has not a shred of actual musical talent, I would imagine the feeling that it gives me is a similar one to an artist who walks into the studio and hears some sweet piece of riddim. Maybe they feel like I do. Maybe they smile. Maybe they go through a range of emotions. Maybe they even see a few things in their head. Maybe they start to hum or tap on something. Maybe they hear a challenge. Maybe they welcome it. The same happens when I do hear some master of wordplay. The challenge is just as interesting and compelling for me and, again, given my total dearth of actual musical ability, I wonder if a certain musician or a producer might look at working with a gifted artist in the same way. Maybe they look at making a composition which will bring out their best as that challenge. Maybe the approach is different for everyone. Maybe it's highly technical or maybe they work spontaneously. Maybe it's just about the vibes.
That same word can be and is often used to denote some form of unity or chemistry in music as well -- "on this one you can really tell that artist and producer really vibe together quite well" -- which may be (it will) one of the ways in which we use it today as we take a most WELCOMED look at the return of one of the absolute favourites of this blog. It's been a minute! Ever since his scalding debut, 2008's "Lyrical Faya", Gwada/Swiss firebreather Cali P has essentially been a mainstay on my radar. What I heard back then was an obviously gifted chanter who and one who, clearly, was sitting on a goldmine of potential. Since then, Cali P has done nothing but fulfill on what I heard on that excellent project and, in doing so, has demonstrated himself to be amongst the genre's brightest of lights. Subsequent albums have delighted as, chasing "Lyrical Faya" was "Unstoppable" (more on that in a bit) and "i Thoughts" and, somewhere within that timespan, Cali P became my one of my absolute favourite artists. He has vibes.
2009
And throughout his career, Cali P has been fortunate to 'vibe' with many a great talented maestros and producers, particularly on the European scene. Labels such as Pow Pow, Oneness Records, Weedy G Soundforce, Necessary Mayhem, Addis Records and a whole heap of others decorate his catalogue. Still, if you've been following the artist, then surely the label with whom you have come to most closely associate his work has been Hemp Higher Productions, who not only helmed both "Unstoppable" and "i Thoughts", but also a truly GOLDEN EP that Cali P would do in 2014 by the name of "Healing Of The Nation" ["Cause wi just give dem something, something weh dem neva si before. And di light weh wi shine pon dem mek dem run away fi sure!"] (BOOM!) (and biggup Hemp Higher, they're still hard at work, having released a single, 'Ma Lionne', for another of our favourites just earlier this year, Tiwony). But if you look into some of the finer details of Cali P's work, you begin to notice another very constant presence as well. At least two selections from "Lyrical Faya", 'Settle the Score' which featured Ras Charmer (biggup Ras Charmer) (Tiwony was also on that album as were Queen Omega & Straika D... you must be some kind of a damn fool if you haven't listened to "Lyrical Faya" by now) (no excuses!) (biggup Tiwony. Tiwony has vibes, like a lot of them) and 'Take Care of My Family' ["Righteous people ah go tek ova di globe and fi si dat, mi nuh need no blasted microscope!"] came via German imprint, Rootdown Records and producer Teka. Rootdown would also be involved on the "Healing Of The Nation" project with Teka building that GORGEOUS composition on which 'United We Stand' laid its head and were that enough (and it was), my absolute favourite song from "i Thoughts" was 'Guiding Shield' ["MI NO WORRY AND MI NO FRAID WHEN WI DEH PON DI BATTLEFIELD"] and I will give you one guess on who produced that one... some guy they call Teka on his fine Straight From The Fridge Riddim. And that's just material that would appear on albums (that I could actually source) they've also 'vibed' together on quite a few other singles (such as 'Tek De Beam', Cali's excellent cut of Rootdown's swinging Kokoo Riddim. And that's just THEM. I also VIBE with Teka's music. Personally, I can say that he's been behind more than a few of my favourites in the history of this blog such as Smiley's 'Distance' on the Tek A Train Riddim (which I just noticed that Teka may've named after himself) and, most notably, one of the best damn songs I have ever heard from anyone, the MASSIVE 'Slew U In The Open' ["Dem will dash you in the freezer til yuh frozen!"] from Natty King (which was on the iLove Riddim which also carried 'Need to Tell You This', a sizable hit from Ziggi Recado, who we also love). So, whether you know it or not, if you are a consistent fan of modern Roots Reggae music, you've probably also enjoy Teka's music at some point (he's really a fantastic, and predominately Roots, ace) (and just searching his name or 'Rootdown' on these pages reminds me how often we'd run into Teka's work over the years, working with the likes of Lloyd Brown, Dynamq, Hi-Kee (do you remember Hi-Kee???) (WHAT!). And, when you've been VIBING with someone for as long as Cali P and Teka have musically (going back nearly fifteen years as far as we know, but maybe even longer now), what comes next? Maybe they could make an album together?! Well, okay maybe not a full album, maybe you can build to that point and start with an EP... but when you have THIS much vibes, apparently one won't do it. Thus, Cali P and Teka bookended 2019 with a pair of EPs, "Vizion I" and "Vizion II", respectively. And I hadn't heard from Rootdown in quite awhile and that was likely due to the fact that Teka had moved away from the label and started his own LowLow Records outfit in Berlin which officially released the set. And CLEARLY the idea was that, because I was on hiatus when the EPs released initially and didn't have the opportunity to review them, artist and producer --having so much respect for me-- decided to take that logical next step and have now set out to the masses, "Vizion", the full album (there is absolutely no way in hell that happened like that) (NONE!). Both EPs featured four songs and they are combined with five others (a mixture of previous singles and new tracks) to bring the number up to a thicker thirteen in total. They've also been very attentive in regards to the promotion, with several tunes birthing videos (quite a few, actually) and digital singles as well. Someone, somewhere thought that "Vizion" had vibes.
They were correct. "Vizion" becomes Cali P's fourth complete studio album and his first since 2016. Coincidentally (I'm thinking it was by coincidence), with the official release date for this project being the twenty-fourth of September 2021, "Unstoppable" was released on October seventh, 2011: That's fairly close (just thirteen days by my count) to being an actual decade. So, in honour of its tenth anniversary, definitely go back and check out the high-powered "Unstoppable". Before that, however, let's dive into "Vizion" which is actually constructed in an interesting manner. The album's five songs which did not appear on either EP are placed at its head. In particular, there's 'Innit' which wasn't one of the three prior singles either, therefore, it was completely new to me! 'Innit' is all kinds of interesting because it kind of just comes off as a 'vibe'. It seems relatively spontaneous and organic as it goes in a few different lyrical directions, but what I ultimately took away from it is that Cali P is showing gratitude for how his career and life have evolved and how people now react to him and show him love and respect. I also have discovered that I have to play 'Innit' now exclusively on my headphones because if I play it otherwise, I run the risk of my daughter hearing it, thus ensuring that, in some type of way, I will spend the rest of the day listening to the chorus of 'Innit' (because she WILL NOT STOP singing it). And it also needs to be said that the opener is constructed over a downright ambrosian track That riddm is FANTASTIC and Cali definitely does not let it go to waste, complimenting it with some the finest wordplay you'll hear on the whole of "Vizion". Next we have the album's most recently released single, the fresh 'Heartbreaker'. Like the tune preceding it, 'Heartbreaker' is very catchy and from the very first time that I heard it, the word COOL has stuck with me in describing it. Although fairly specific, 'Heartbreaker' is a song about getting older, maturing and just 'going through it'. We've all been through certain things, particularly in and around relationships, that have kind of 'scarred' us and left lasting impressions (and I've found the older I get, I blame myself almost exclusively for that stuff) and this is the story of someone experiencing that. Again, the overall SOUND of 'Heartbreaker' is very attractive and is sure to keep heads bobbing and feet tapping, just as mine are right now. Cali P has big purpose in mind for the next selection in, the resounding 'Hit Like Gunshot'.
"Slavery abolished
But nuttin demolished
The school and system support di damage
Media mek ya panic
Control economics
HISTORICAL BANDIT
I seh check how dem plan it
I CANNOT STAND IT
SI DI VIDEO - VOMIT
Humanity, damn it
Yuh needed the graphics
To feel how it tragic
Now go back in time -
When Iphone wasn't
Sad don't?
Mi nuh waan nuh pity
Tek a trip inna di real nitty-gritty
AFRICA SO PRETTY, STILL THINGS AIN'T PRETTY RIGHT NOW
Mi nuh waan nuh pity
Tek a trip inna di real nitty-gritty
And where is the justice for those who died?
Gunshot
Hit me like a gunshot
Gunshot
This hit me like a gunshot
My focus is home
To build up my zone
NO REASON FOR ME TO LEAVE AFRICA
AND BE KILLED IN AMERICA
I'm not here to beg please
You getting seized
400 years, still, we balling for justice and peace
Wickedness increase
Sometimes I can't believe-
How do we let down ourselves, like a king weh accept defeat?
MARCHING TO PROVE I AM HUMAN
ALONG WITH HUMANITY
SOMETHING IS WRONG, DON'T YOU SEE?
I CANNOT BREATHE
Gunshot
Hit me like a gunshot
Gunshot
This hit me like a gunshot"
Easily one of the finest songs on the album and probably of Cali's entire career, 'Hit Like Gunshot' is a piece of the times. The history of Reggae music is decorated with songs like this in regards to specific moments and actions (and DEFINITELY in the more expansive sense, with general social commentaries) and, at least as far as I am concerned, when you take a look at what has been going on in the world recently, you would expect the genre to DIRECTLY react and 'Hit Like Gunshot' is Cali P's absolutely TOWERING response (just thinking out loud here, you can go onto the next track if you like: It would be so interesting to look up if anyone already has written such a book (I would presume someone has) addressing the direct 'reaction' of Reggae to significant social moments of the human experience, throughout history. It's a very interesting topic and I remember taking a Pan African class in university and learning about the Negritude Movement and doing some brief research of how/if it had been addressed in (mostly French and Creole) Reggae music. Surely someone has already written extensively on the topic and if they haven't, maybe it's something I should look into, myself). If 'album building' and 'album sequencing' are such things that actually exist, in terms of how you place songs in order on an album and how well they flow together, then whoever was in charge of that on "Vizion" had a moment of full genius between #3 and #4, when they followed 'Hit Like Gunshot' with the similar but, arguably, even stronger (and brand new as far as I know) 'Care For Us', which is my favourite song on the entire album.
"You ain't for the people
You don't care for us
People still hungry and you don't care for those
Everyday new tv stories making up
Instead of telling people what really goes
More time I hear unuh talking
All I can do is laughing
My mind, it start imagine all the shocking things that happen
And now wi see these fathers dying
And see these children crying
AND STILL YOU HAVE THE POWER AS A LEADER TO BE LYING
You fighting terroists
I know you make them
I know you protect the fuckry that you projecting
Try put us in positions you selecting
And those you don't wanna see, you keep neglecting
Rejecting to the core
Mek wi feel it some more
SEGREGATE DI WORLD INTO 'RICH' AND TO 'POOR'
COUNTLESS WARRIORS DISAPPEARING FROM THE COURSE
CUZ ANYTIME WI SAY SOMETHING, YEAH, YOU START USE FORCE
You ain't for the people
You don't care for us
People still hungry and you don't care for those
Everyday new tv stories making up
Instead of telling people what really goes
Education is expensive-
Like it should be limited
NOW LOOK INNA DI FACE OF DI ONES DEM WEH LIMIT IT
Money money people wanna stay limited
READY FI SPEND THEIR MONEY JUST TO KEEP WI ILLITERATE
And always try to give us di impression wi so poor
Mek di whole believe wi need yah help some more
Charity, charity yeah fi hungry pickney
MI SI CHARITY, CHARITY
AND ALL WITHOUT CLARITY
And there's people with nuff popularity-
WEH MEK PEOPLE FORGET DEM HAVE FAMILY
Mek dem live a life weh dem run fi vanity
No solidarity
Mi si pure animosity"
I mean.... DAMN! BLESSED (it is a GIFT. It is PERFECT!) with what may be the finest composition on the album as well, like the song ahead of it, 'Care For Us' is a knocking social commentary. This one is just a bit wider and encompassing in its direction but the lyrical precision is needle-point accurate as Cali P scintillates on a FORTRESS of a song. Lastly (besides the eight other songs I mean) is another previous single and the only combination on "Vizion", 'Rise Up & Shine' which links Cali P and Teka with African artists, Stonebwoy from Ghana (who we just ran into on "Pamoja", Etana's outstanding recent release) and Nigerian musical prince, Seun Kuti, son of the legendary Fela Kuti. Besides just being very nice to listen to (there's this really cool 'shuffling' sound in there somewhere), 'Rise Up & Shine' does take its opportunity to make a point as well ["My people keep shining. From Lagos to Holland"], reaching with a solid inspirational vibe. Songs like this can be inherently interesting based purely on the combination of styles (which is the main attraction, on paper, obviously) but sometimes you can have situations where so much is going on that it ends up as kind of a big ass mess. That isn't the case here and, for what it is, 'Rise Up & Shine' has very sleek and well put-together VIBES to it.
As I alluded to, the remaining balance of "Vizion" is filled with the eight songs which compiled both of its EP releases in 2019, so I think that the best approach is to separate them as they were released and VIBE them like such. First was "Vizion I" (DUH! Can you imagine if they released II in January, then came back and did I in November - like just because), which just so happens to have been headed by the downright DAMAGING 'Baddest' which was its brightest star in my opinion. The track found Cali P giving due respect and honour to some of his most powerful peers and, presumably, many of the artists who provided him (and You and I) with inspiration through the years.
"Drop it, wild it like Shabba
Powerful and mad like Cobra
Super Cat, di real don dada
Dem deh bad, bad, badda and badda
Mi look up to Buju, Killa, Peter Tosh, Kalonji dada
'WHO DEMMM', Capleton, Beenie - nobody, nobody madda
Gi dem, mi gi dem, mi gi dem it everyday
Lyrical fyah
Keep up the work-
Represent straight, Mama Afrika
Buss up di place with Tiwony, Anthony B, inna Gambia
LISTEN TO MARLEY, BIG YOUTH AND BURNING SPEAR -
FI GET WISER"
He goes on to make the priority of specifically mentioning a few of the pillaring women (Sister Nancy, Queen Omega and Queen Ifrica) of Reggae music as well as African artists (Fela Kuti, Miriam Makeba and Hugh Masekela) and REALLY just does what I'm going to call a 'humbling' tune. And I really appreciate it, in particular, because you hear songs like this in tribute to people who're either no longer with us at all or who've gone to a place of being living (ELDERLY) legends, but Cali P is giving those types the credit AND his direct peers. He's actually made music with Queen Omega, Tiwony and Capleton (and that's just from the top of my head, he may've worked with others he mentions as well). It's a wonderful way of telling someone that, despite that I'm standing next to you, vibing with you, I'm still a fan and am still inspired by and learning from you. Speaking of learning, next on "Vizion I" was 'Life Lesson', which was also wholly excellent. The way this one is written is pretty unique because it isn't as if Cali is talking about a single lesson, he's come to teach a few of them ["Everyday we get it is another life lesson"]. In its near four minutes, the artist goes in on things such as anti-violence, respect ["I, is not a punching. I, is not a hypocrite"] and injustice. Taken as a whole it is definitely one of the more interesting lyrical approaches on "Vizion" and one which I would well recommend anyone to spend more than a couple of spins on before deciding how you feel about it completely. Oh and even though I'm tired telling you just how good the music is on many of these most of these songs, it HAS to be repeated in this instance. I hesitate to call 'When You Hold Me' (ditto for this what I just said about 'Life Lesson' in regards to this one. And this one literally SCREAMS out for a Dub version) a 'love song' in the usual way we use that term (although I don't think that doing that is necessarily incorrect, but maybe just a bit limiting); instead, I'm thinking of referring to it as a 'relationship song'. The difference being that 'When You Hold Me' virtually comes off as a 'thank you' letter. It's as much about GRATITUDE, PRIDE and RESPECT as it is about love, at least in my opinion. The result is a song which most people will regard as a love song, surely, but in its defense, is one with possesses another element for anyone willing to take a deeper listen. And sending out "Vizion I" was 'When Things Go Up', another track whose value increases with the more attention you give it.
"As soon as things go up, some try fi bring it down
As a problem gone, a next problem come
Most High please don't let I drown
Lift up my head and keep my feet on the ground
Good to be feared
Better to be respect
And in this time, I think family is affected
SO KNOW YUH ACTION, IF IT'S WRONG, CORRECT IT
Or things ahgo come at you - really unexpected
Keep the focus, stay connected
Make use of yuh talents and don't be wreckless
Send up yuh prayers, stay protected
Practice nuff, yeah that's how you perfect it
Choose where you wanna be
Bredda better select it
And anywhere the good vibes dem, deh go collect it
And anywhere the bad vibes dem, deh go detect it
Fling dem outta di window and stay uninfected
Bad man is active, it's so fascinating
The love I have it keep mi motivated"
Along with being a display of some excellent wordplay, 'When Things Go Up' seems to be something that Cali P created to provoke thought (he literally says it at the beginning, "So mek mi tickle ya brain, like some good brain food") in his listeners and it does work. There is also a umbrella-ing direction (at least to my opinion there is) (you find me someone else who is using 'UMBRELLA' as a verb!!), which is a very relatable one as the artist takes a very colourful look at the ups and downs of everyday life ["Life fulla ups and down. For sure I never lose my crown. Real youths, firm and strong. Jah Jah keep wi safe and sound"] (BOOM! That's from an old song called 'Bless Me' - just felt like mentioning it). I like the relatively laidback tone of it as well as, while there is emotion here, there's never a panic, it's more like someone giving you advice rather than trying to admonish you.
For its part, released some ten months following the first installment, "Vizion II" features a selection which, despite its brevity (the shortest track on this entire release by twelve seconds and one of only two less than three minutes long) ('Heartbreaker' being the other), is probably my second favourite anywhere on "Vizion" at all. That song, 'Congo Natty' began "VII" and it was a chunk of BEAUTIFUL vibes. My daughter may not like it very much because, when her father hears it, she's likely going to have to spend the rest of the day listening to him sing the chorus, but she'll just have to deal with that (not my problem! Don't care!) (NOPE!) (NOT SORRY EITHER!). From its sound and its course, which is one talking about perseverance and maybe attempting to be less emotional and 'thin-skinned'. 'Congo Natty' is about knowing that you are secure in yourself and doing positive things. You can definitely take that a step further and get into subjects like CONFIDENCE and pride as Cali P strikes a MASSIVE blow in a [way too] short amount of time. Jumping ahead, there was also 'People Want More' (....time to be attached to 'Congo Natty') which is the obligatory ganja song from "Vizion". Cali P has scored heavily on this front previously. Perhaps, most notably, there was 'Herbalist' for Necessary Mayhem (which was GENIUS, it just was) from a few years back, but you might also remember the KNOCKING 'Sweet Greens' from "Unstoppable" and a fun vibes from years back called 'Bun Dem Herbs' ['Give thanks to Jah, cause HIM plant di marijuana, and di best a it mi find inna Jamaica"]. So there was some type of lineage to 'People Want More' and it definitely does not disappoint. 'Crazy', wonderfully, seems to celebrate all of the little idiosyncrasies that we all have. If you have someone special in your life (even a friend or a family member) you know that there is something that they do which is strange as hell but you find it adorable and maybe if you fall out with them, you'll complain about how much you hated it, but you LOVED it. It's a tune which is really just about relationships that we have with one another ["She asks, 'are you just like alla dem?' Now you tell me girl, did you try alla dem??"] and the things that we're willing to put up with and, in come cases, even honour to a degree. It's somewhat subtle I think, but there is a real substance when you dig into 'Crazy'. And lastly, with its Dancehall-ish and Hip Hop-ish vibes 'Girlfriend' stands as the musical changeup on "Vizion" (I guess you could call 'Rise Up & Shine' a changeup as well) on Teka's Whirlwhine Riddim. It isn't my favourite song on the album but it isn't bad at all and I'm actually glad that they decided to mix things up just a bit. If you go back and listen to "Unstoppable", you'll see immediately that Cali P has earned his stripes in the Dancehall as well (and Necessary Mayhem, albeit in a different way (they tend to more old school oriented), also touch Dancehall music relatively often) (biggup Mr. Williamz) and you can hear it on 'Girlfriend'. I also enjoyed reading the press release on the album which mentioned how this song (and others) organically evolved. It goes to show just how much producer and artist (and artist's lady) truly do VIBE together.
I do have a pair of standing critiques for "Vizion", one of them is obvious and the other is related in some (probably none) way I think. The obvious one is that if you're really into Cali P's music, then you're already familiar with eleven of its thirteen tracks. It will only give you 'Innit' and 'Care For Us' (which, I remind you, is its best moment for me) as entirely new work. The second is the music on the album. WHAT! Hear me out. Maybe I've grown spoiled listening to Zion I Kings albums but when you make VIBES that sound this good, I'd like to think that you'd want to show them off just a bit. Some of these songs have tracks (even 'Girlfriend', actually), that you'd want to hear more of and I think it would have been a good opportunity for Teka and company at LowLow to add extended versions of some of the tracks and just PRESENT the vibes of "Vizion" even more, because some of them (most of them) are exceptional and deserving of such treatment. And, back in his Rootdown days, when they would frequently release riddim albums, Teka often (not always) would include instrumental tracks for his riddims (and he even did it for the Whirlwhine). I wouldn't be against it if, someday, "Vizion" received some type of instrumental release because, again, that would be DAMN interesting and enhance the vibes of this big release.
Overall, if you've hung around here to any length of time you know that they had me convinced at 'new Cali P album'. I was interested already. However, after hearing how things played out and really tuning in "Vizion", I'm still impressed. Cali P's style is so diverse and so open that he can work well with just about any talented producer, but in Teka, like Riga before him, he's found a nearly perfect musical match. They vibe amazingly well. And what sticks out here, in retrospect (allow me to turn into a giant nerd for a second) (you're probably a nerd too, however, after reading a review of this length), is that despite how the VIBE of "Vizion" never really makes a grand deviation (and it isn't a huge leap to put a Dancehall song on a predominately Roots Reggae release, especially given the artist's history), it has this lovey, OPEN, feeling to it. And I'd say that to the point where, ahead of any other Cali P album, I'd probably recommend "Vizion" to newer fans -- which allays, somewhat, my largest critique of it -- because it is a very strong introduction to one of the strongest and colourful artists of this current era. Older fans, like You and I, know what to expect and there is ample BULK to the project for us as well as "Vizion" hits a few different targets. I don't know if I actually managed to stumble across any type of 'correct' definition (I did not) for the term, but I do know that whatever a VIBE really is, "Vizion" has a warehouse full of it. Very well done.
