Aging Gracefully: A review of "Gratitude" by Gentleman

Indomitable. I think that as you age, you begin to make certain concessions in regards to the passage of time and, even if you don't, Mother Nature makes them for you. You wake up one day and you're forty-five years old and most of us aren't what we used to be, physically, and maybe you have to watch what you eat a bit closer than you ever did (....if you ever did) if you're at all concerned with sticking around on the planet. Similarly, you'll also have to start making room for the younger generation. If you have kids, they'll grow up and, perhaps, start showing less and less interest in you and what you've taught them (which isn't necessarily a total bad thing, they're allowed to make their own way) and start seeking other sources of guidance - just like you did when you were their age. They'll be interested in more interested in other things (if you've done what youre supposed to do as a parent). They'll also begin to make their own sound and you'll probably [SURELY] not like it as much as they do and maybe not even understand it very well at all - also fine. I say that because, I look at things now and I find myself likely mentioning people who either weren't around when I started writing these things or, if they were, were very, very young and I'm probably the same age (if not older) than the whoever raised them. I'm definitely enjoying some of the younger talents but, unsurprisingly, I still spend more of my time writing about the work of people with whom I am far more familiar. These're people who I either grew up listening to or began hearing as a young adult. The last review I actually completed as I write this now was for an album called "World Of Love" by Anthony B: He definitely qualifies as such an artist and so do the Capletons, Bujus and Beenies of the world, all of whom have released albums this year and we've covered them all (and I'm sure I'm forgetting someone else in there). So when I saw the album we're dealing with on the schedule today, one of the first things that went through my mind was just HOW DAMN LONG, I've been listening to this 'German guy'. I can remember hearing so much about him in the early days, to the point where I went and tracked down an album of his... and it would become a Modern Classic and then another album he did a couple of years later.... also a Modern Classic ["Intoxication of a certain kind!"]. More than twenty years later now and we're all still here and it's time for another party!

If you do not know who I'm talking about (you have selective vision because his name is literally at the top of this post), of course I'm referring to German big man, Gentleman. For as long as I can recall (perhaps at least partially due to the sizable Carribean population in the UK), Europe has been a hotbed for Reggae music. And you can go back to THE 70's and acts such as Steel Pulse and Aswad and even UB40 (if you don't like UB40 you are unworthy of love) (SERIOUSLY) or, further up the line, to the likes of the brilliant Maxi Priest (who is still going and on his way to SEVENTY years old). I don't know that such a background exists in Germany, however, and though I'm sure there must've been someone ahead of him, Gentleman's is the very first name that I can think of and, definitely, to the degree of the impact that he's made in his career. You have to think that Gentleman has not only inspired many Germans to listen to and to actually start making Reggae music but I'd go as far as to think that he's inspired a large number of Europeans, in general, to do the same with the strides that he's made over the course of the last... damn near three decades or so. 

2022

But apparently Gentleman, now well into his 50's, isn't ready for some lifetime achievement award. He's not ready for the rocking chair. He still has a few things on his mind and one of those things (or seventeen of them) is "Gratitude". I THINK the last time we heard from Gentleman in album form would have been just four years ago, with "Mad World" (seems longer than that for some reason). That album, like pretty much everything he's done, was very well received and, listening back through it right now for the first time in a few minutes, it has aged very well (when I find myself listening to albums like this, I'm always curious as to what I thought was its best song when I reviewed it. In the case of "Mad World", it was 'What Them A Go Do'. It's still fantastic but 'Defining Love' is running it close these days) You knew you'd hear from Gentleman again (more on that in a second) and probably in the not too distant future; four years later is just fine. He's also been relatively active over the course of the past few years or so. I have to say that Gentleman makes such an... OPEN and SPRAWLING form of Roots music (for the most part), that he's someone whose work, whether I mention him a great deal or not, I really find myself looking forward to hearing. His music is very catchy and immediately gratifying. In fact, in a year where we've seen CONSTANT big names arriving and re-arriving with albums and projects, "Gratitude" was in the small lot that I was most anticipating digging my claws into (biggup Capleton). When the actual background info surrounding "Gratitude" began to come out, I got even more intrigued as the new album features quite a bit of the handiwork of the great Don Corleon. I think a legitimate case could be made that Don is THE greatest producer in Reggae... like ever. He at least has earned a seat at the table so anything he puts his work into is at least worth hearing. Furthermore, the two have a history together as Corleon has been behind some of the biggest work of Gentleman's career including, arguably, THE biggest, the previously alluded to 'Intoxication', across the legendary Drop Leaf Riddim. Just a couple of years ago, the two reunited for 'Watch Over Me', Gentleman's lovely cut of Corleon's STERLING Finally Riddim; so the link has remained strong. Also, along with Corleon, Stephen "Di Genius" McGregor and Clayton "Claye" Morrison also provide production and, of course, it's a Gentleman album, so you know that the vocal guests will be damn interesting as well. If all of that hasn't sold you on "Gratitude", at least on paper, then.... just listen to it anyway. You will not be disappointed in what you hear. 

Gentleman has always struck as a bit of a music junkie. What I mean is that - if he never made a dime for his work, I think he'd be, by far, one of the most enthusiastic of music hobbyists in the world. Because of that, I almost look at the way he does things as how a fan might. If I were a musician, I think I'd hear someone and really want to work with them. Gentleman does that. He's done full albums with other artists (coincidentally, one of whom was Ky-Mani Marley who released an album on the exact same day as "Gratitude") and it's usually one of the most compelling aspects surrounding his releases: Seeing with whom he'll work this time around. We'll get more into that in shortly but 'Genkleman' begins his brand new album, "Gratitude" all by himself, with what is undeniably one of its biggest moments, 'Lion'. This tune may've been one of the (if not THE) first singles from what turned out to be "Gratitude" as it launched way back in the winter or so and even a cursory glance of a listen to it shows you exactly why it was chosen. 

Not only is 'Lion' excellent but, again, it's signature Gentleman. It's open, EXCITING and very catchy Roots music. I do have to mention that... GRUMBLE sound on the riddim. It kinda/sorta sounds like it's a little angry at us all (and that's fine) (we're flawed. It probably should be mad at us) and IT IS GORGEOUS! Gentleman shines, arguably, just as bright but Don gave him a damn DIAMOND of track to do his best on. Next in is, EASILY, one of the most interesting efforts on the whole of "Gratitude" and at least partially the reason why I structured this review in the way I did, the absolutely LOVELY 'I'll Be There'. Let's go back for a second: In 2007, Gentleman did an album by the name of "Another Intensity". That release carried a nice tune by the name of 'Lack Of Love', which just so happened to feature the great Sizzla Kalonji. Nearly twenty years on and Gentleman now does 'I'll Be There' alongside Meleku, who is Kalonji's son. You know you've put in some serious checks in the longevity column when you're knocking around with GENERATIONS of families (not named Marley or Morgan). And you aren't just hanging out and sticking around, you're also maintaining some level of stature as well (particularly given who else is here) (Gentleman & Sizzla would make at least one more song as well. It was called 'Don't Worry' and it also featured Mark Wonder). 'I'll Be There' is really good stuff as a love song and it finds Meleku employing that high pitched kind of wail that his father often does and it works from beginning to end and as the first of TEN combinations on "Gratitude", it really gets us off to a great start. Just as Anthony B did with his ridiculously addictive 'Jet Ski' from his most recent release, "World Of Love", Gentleman also tackles the Hill & Gully Riddim and he also dazzles, with 'Nah Worry'. 

"Coulda hill top weh a di grades, man grow

Dung inna di gully, a di same love show

Still ah carry love pon di journey, mi know

IT'S A HILL AND GULLY RIDE FULLA HIGHS AND LOWS

Jamaica just open di door and say 'come Gentleman, cah yuh heart to di core'

Cologne, where it start unfold, wid a real yard influence: Cultural gold!"

The song goes through Gentleman's journey to prominence a bit but what I REALLY get from 'Nuh Worry' is just HOW DAMN APPRECIATIVE he is. It comes off more, to me, as a THANK YOU. Gentleman is thanking a culture, his fans, an artform, a place and he's grateful for everything -- "the highs and lows" -- that he's experienced along the way. That is a HUGE thought for me and I love all of 'Nah Worry'.  The R&Bish 'Unity' is another winner here with its somewhat unusual sound. I call "R&Bish" and I'll stand by it but you'll get nothing of the typical R&B fare in terms of direction from it at all. 'Unity' is pretty much exactly what you'd think it would be if you follow Reggae music to any degree ["Mi waan di people spread di love so mi ah nudge dem. For our part wi use di music and wi touch dem"] and it is a substantial body of work, lyrically. I don't want to be a 'prisoner of the moment' but, seriously.... 'Unity' is one of the best written tunes that I've heard from Gentleman in quite some time and he's always pretty dependable in that area, so that is a considerable statement. Here is another considerable statement: QUEEN OMEGA IS ON THIS ALBUM. Her contribution comes on a tune called 'What If' that reminds me of a personal all time classic for me by the name of 'Stay Like Bees' from Agent Sasco; as the Queen and the Gentleman ask a most basic question: What if things were different? I don't think that the perfect picture (or perfect MODEL of a picture) here is some type of utopia where things are both better and simpler (he literally says "what if reality is just a mirage") but I took this one in more of a combined way. This is a tune where so many different little topics come together to make ask that question. Maybe they would be better in some cases or maybe not but these two go about posing that scenario in a most DEVASTATING fashion together. And... I MEAN, DAMN! IT'S GENTLEMAN & QUEEN OMEGA ON THE SAME SONG! BOOM! 

The floodgates open after Meleku and Queen Omega as EIGHT of the final twelve selections on "Gratitude" are combinations of some sort; featuring a very healthy variety of names joining Gentleman. The album actually completely introduces me to someone who I've never come across in any capacity, the wonderful voice of German songstress, Milaa, who joins in on the glowing 'Show Me A Sign'. My little research tells me that Milaa typically sings R&B and CLEARLY that gold bar of a track from Don Corleon made her feel completely at home because she does a BEAUTIFUL job with Gentleman here. The song is lovey-ish but it has a certain DEPTH to it and, much like the opener, the riddim comes equipped with this terrifyingly delicious GRUMBLE to it. It isn't as strong as it is on 'Lion' (and it shouldn't be) but it is so damn addictive when it pops in. Even stronger is the track behind 'Bypass The Sorrow' which features impressive German singer, Nico Santos. I am not crazy about 'Bypass The Sorrow', on the whole, as a song; lyrically, it isn't very strong (it isn't bad but it's kind of meh). But just LISTENING to it... DAMN! It is a heavy piece of art and, strictly in that capacity, it's probably one of the finest listens on the entire album. Just play that thing in the background to your day and you'll truly enjoy it. Curious voiced Irishman, Michael Patrick Kelly, makes an appearance on "Gratitude" through 'Wildfire'. My friend, Google, told me that, about a decade ago, Kelly and Gentleman worked together on 'iD', which I'm listening to right now and am probably going to have a difficult time shaking. 'Wildfire' may not be quite as immediately captivating but it is a better song in my opinion (probably due to all of that actual Reggae going on) ('iD' was a little Poppish) and it really does pick up. Much like the situation with Meleku & Sizzla, this is pretty nice as you make a song with someone who doesn't really fit into the landscape of the music that you typically make and, several years on, you're both still around and are able to run it back and do so at a level where it's still crucial to your fans. The THICK and unusual 'Fireflies' brings in both Jahmiel and Claye (who also produces the song). I call it unusual because I don't.... quite know how to qualify it in terms of sound. It isn't Reggae really and I almost want to call it Hip Hop to some degree but not quite. Regardless, while I can't rank it amongst my favourites, I'm still working on 'Fireflies' because I'm damn confident that there is something in here that is slowly building on me. I don't think that I ever get to the point where I LOVE 'Fireflies'.... but we will see. And I'll put it here (as it may just be the shortest combination that I've ever heard) but 'Same Struggle' is at least a little better than every song I've told you about since 'What If'. 

 

"Careful cah di rat dem out fi get yuh cheese

Mind yuh enemies cah dem will try fi put yuh pon yuh knees

Solid as a rock, it's like wi concrete

 Neva tek a loss, it's like wi bawn fi it

HAFFI LIVE MI DREAMS, THAT'S WHY MI CAAN SLEEP"

I THINK I may've come across Richie Campbell but I'm not entirely and IF I did, I did not hear THAT from the Portugal native. He SCORCHES the semi-social commentary (I say "semi" because it is but it's also pretty personal and specific) with his piece to the tune of one of the most thrilling verses on the whole of "Gratitude" and I will definitely be seeking out more of Campbell's work in the future. 

I have no idea how many songs Gentleman has done with Capleton and I don't feel like looking it up but I'm going to go ahead and immediately install their collective tune on "Gratitude", 'They Don't Care', as one of my favourites from the duo. Let's stay here for just a second because I have a couple of things on my mind. The first thing I'm going to do is to give HUGE credit to one Gardel Fulvio Stuart who produces and comes up with a riddim literally DRIPPING with nostalgia. This thing sounds like.... gorgeous, BRUTAL late 1990s Dancehall and if you don't know, you just happen to be in the presence of one of the genuine masters of the era in Capleton and he absolutely annihilates this sweet, sweet track (the KNOCK on 'They Don't Care' almost reminds me of a tune King Shango did called 'Melting Pot' a hundred and twenty years ago) 

"After mi gi dem di torch and dem drop it

Show dem di door and all now dem caan knock it

Give dem di code and all now dem caan crack it 

How dem si mi wid di key and ah ask 'a who lock it'?

Capleton and Gentleman, di one yah shoot like rocket

Not even AI, nuttin can stop it

Go fi cybernetic and dem still couldn't hack it

Mek mi tell dem one more thing: 

Mi love di people uplifted

Blessed from birth, so mi know seh mi gifted

ANYTHING THAT GOOD, IT HAFFI GET RESTRICTED

Real organic, well a dat wi ah stick wid

And mi nah lef mi clip wid"

Grrrr! Gentleman, himself, also turns in a stellar effort and the pair blaze hot enough to the point where if 'Lion' is not the best song on this album (and it is), 'They Don't Care' makes a MIGHTY argument for itself! Don returns to steer Gentleman with Christopher Martin on the postively golden 'Open My Eyes'. This is another pairing that isn't first as the two vocalists have linked on multiple occasions; most notably, perhaps, on 'People', atop Kabaka Pyramid's winning Victory Rock Riddim. Though 'Open My Eyes' may not quite hit those lofty levels, it's running it very close as a total composition. 'Open Your Eyes' isn't Reggae music at all. It just is not. It's somewhere between R&B and Jazz and it's one of those songs that people would say has "Caribbean undertones" or something like that, strictly because of the vocals but it doesn't have that either (and we'll get back there before closing this one out). It does have a very uplifting message and, again, regardless of its genre, 'Open Your Eyes' is undeniably wonderful music. Finally (besides the other... four songs I still have to tell you about), Bermy star, the well qualified Collie Buddz, is featured on "Gratitude" as well with his track, 'Friends' ranking amongst the very finest it has to offer altogether. On paper, Gentleman with Collie Buddz is a HUGE FUCKING DEAL. The thought of it is a very one exciting one and it pans out as well as you could have imagined.

"Biggup di real ones and go have a laugh"

The tune is about the special people we meet along our journey and how they come and go (and how we come and go in their lives as well) with that specific select few sticking around to the very end. Also I just get from 'Friends' the idea of TREATING people better, in general. Also, just in case I haven't mentioned it over and over again but the riddim here, from Don, is a piece of glowing magic. I don't spend a lot of time talking about Collie Buddz but the man is super talented and he's been churning out some top notch material over the course of the past few years or so.

'So Good' is a solid love song. It isn't a GREAT one but it's pretty good but.... I hate to beat a dead horse (revive it and beat it again) and sound like a broken record but... DAMN! The riddim on that song is kinda divine. It's a gift from the Heavens or Don - one of them. The same EXACT source provides that thing you'll hear beneath 'Never Fail' so I'll spare you my thoughts on its quality... because you already know what I think about it. 'Never Fail' is excellent. The praising tune sits comfortably amongst the very best that "Gratitude" has to offer without a doubt and it's specifically one of the best on the lyrical end as well. I should also mention a VERY subtle horn that I hear in the background here. It is as faint as it could possibly be but my ears jump (biggup Shabba) each and every time I hear it, particularly during the sweet, SWEET chorus. Check the surprising modern Dancehall burner 'Warrior' which stands as a bit of a changeup for 'Gratitude' and one that is damn welcomed! I would have listened to this album and said that maybe something here is missing and I wouldn't have been able to qualify it.... it would have been 'Warrior'. 'Warrior' would have been missing. It's a FUN song that does have a semblance of a greater purpose but, like I said, Gentleman seems to me to be that music addict who is always thinking of something to add to the pot and it sounds like he had an endless amount of fun putting this one together; that stands out most glaringly, when it almost seems like he free-flows an entire verse to biting effect. 

"Mi just ah sekkle and flow pon di beat unu Don

Cooler than di breeze weh blow outta di fan

Hotter than di fya from out frying pan 

Lyrics dem ah shot but no gun inna mi hand" 

The final song on the album doesn't do much for me - 'When The Sun Goes Down'. It's largely acoustic and it has a nice, bright vibes to it which is fine but it doesn't move too much from that point. It's also the second shortest song on the album so it doesn't wear out its welcome and, who knows, you'll probably enjoy more than I do.

Sticking on that topic, quickly, I do want to just mention that, "Gratitude" definitely brings in a few different sounds which aren't typically/traditionally found in Reggae circles. It isn't overbearing to any degree and it isn't even all that shocking given just how many songs it carries but it is worth mentioning. So, just in case you're wanting every single tune to clunk you over your Reggae & Dancehall starved head, do beware. Also,.... have I mentioned just how DAMN GORGEOUS some of this music is??? In case I haven't (over and over and over again), you've now officially been notified. 

Overall, while I won't attempt to compare "Gratitude" to some of Gentleman's other releases, what I will say is that it is a very entertaining and fulfilling set. Again, given the sheer number of songs here (and all of that other stuff that I mentioned), I was expecting a lot here and I don't come away from it disappointed to any degree. While the album comes at an interesting and WELL DEVELOPED point in the career of Gentleman, it still sounds, wonderfully, like he's working on some things. He's still in the lab tinkering and mixing vials that probably shouldn't even be sitting next to each other; it's probably the same thing that got him started down this most interesting path in the first place. "Gratitude" is an album from an aging star that sounds like he still brings every ounce of the zeal and PASSION that initially put him on our radars in the first place.... way back when. Well done.

Rated: 4.2/5

Warner Music

2026

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

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

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

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

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

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

Breathless fi mi goals, a so mi mek run

Every idle leader bout yuh fi step dung

CAUSE AIR-CONDITION NAH KNOW SWEAT RUN 

Fifty-two card inna di deck player poker

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

Night-stand no inna nuttin wid sofa

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

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

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

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

Now look at how those kids they wanna be us

Ready fi di fight because a Massa God ah lead us

HEAR THIS: MI SHELL DOWN DI WORLD LIKE A PEANUTS

Mi press delete pon dem negative speech

Some get complacent inna di place weh dem reach

Neva get weak and when di journey get steep-

Dog mi hold mi owna set and caan get impeached

Far man ah come from and no bridges neva burn

Look how di tables turn

Look how di tables turn

Look how di tables turn

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

Look how di tables turn

Look how di tables turn

Look how di tables turn"

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

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

"You've gots to give

You can't live and expect fi get

Dreams do come true

Apply yourself, move ahead of regret

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

When ah gaze you did ah gaze and expect benefits

Gaze you did ah gaze so you caan win"

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

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

Rated: 4.15/5

Dawg House Productions/Creative Titans Music

Digital

2022