Okay so, a few days ago (actually, yesterday but no way this is going up tonight) they held the Grammy awards and announced, along with everything else, the 2026 winner of the Best Reggae Album Grammy Award. To my surprise, the winner was the least likely of them all as walking away with the bag was Keznamdi for his release, "Blxxd & Fyah". I didn't think Keznamdi would do it but who cares what I though. I'm very happy for him and the biggest of congratulations go in his direction. Also nominated were Vybz Kartel, Mortimer, Jesse Royal and my personal choice, Lila Iké but, again, big respects and congrats to Keznamdi for the win. The Grammy awards have a unique set of circumstances as it isn't ACTUALLY the album of the year because there're cut off dates. They have a committee (I THINK) and it takes awhile to go through all of the potential nominees and to get votes in to count them up so the dates, for example, for this year's awards were limited to anything released between the 31st of August, 2024 and the 30th of August, 2025.
Obviously, the rest of us don't have to deal with such deadlines and constraints, so we're free to count anything from 2025, altogether; including something that may've released on.... the 10th of October, for example.
To the surprise of absolutely no one at all, many outlets have named "Exile" by Chronixx to be either amongst the best or THE best Reggae album of 2025 and while I most surely do disagree (see my review), I'm not writing this to beat up on "Exile" (or anyone who may've enjoyed it). I've already done that. This is more of an observational type of post. Our old friends at Da Ville have named it as their #1 and Reggae Ville doesn't just choose albums; they actually do a poll with some very respected and more knowledgeable people than I (like Angus Taylor, of course Gardy Stein and even John Masouri) (pretty much grew up reading John Masouri) and maybe fifty-ish in all so a very nice mixture of opinions go into their list. Billboard arrived at similar conclusion, calling "Exile" the best album that the Caribbean produced altogether last year (obviously, I disagree with their top spot but Billboard had a very interesting list. It included the likes of Machel Montano, Bad Bunny and even Trilla-G) (Trilla-G's album, "Take Me As I Am: The Album", is fun but it's also kinda brutal. Nearly every song comes in around the same pacing... and it just DOES NOT STOP!). You know what I'm thinking.... nope... I don't get it... but that's fine. As I suspected, I was in the minority in my feelings in regards to "Exile" and the results are demonstrating that. Furthermore, while I expect it'll have some serious competition, I would be pretty surprised if "Exile" isn't nominated for next year's Grammy Award and he'll probably be amongst the favourites to take it home.
I have been surprised by the lack of one album being present on pretty much every single list that I've come across and that's Dezarie's "Guardian". There is a bit of discrepancy as far as that album's official release, with some attributing to it a 2024 date but you find me a review or any press at all from 2024 for "Guardian". If it is to be counted in last year then the album, which was my #2, being absent from such lists is insanity. HOWEVER, with that being said, I said the same thing in 2023 when my literal #1, "Freedom Legacy" by Queen Omega, was nowhere to be found either. Apart from that, my list is a little more obscure (it always is) with only my #1, Lutan Fyah's "Health & Resilience", being even relatively prevalent on many of the ones that I've seen from my top five. Also from my list, I guess it's clear that I've underrated Lila Iké's "Treasure Self Love" as the album that I ranked at #8 charts at #2 and #3, respectively on Reggae Ville's and BB's lists, while Reggae-Vibes.com had her at fourth (their list actually goes twenty albums deep). And I have to say that, although I don't think its omission is on account to its quality, if I were to make a recommendation to others who may've missed it, the one that I would DEFINITELY suggest that I had that no one else did would be the LOVELY "Andromeda: Sign Of The Times" from Sydney Salmon & The Imperial Majestic Band. I get it: Spectacular can be a little harsh and isn't for everyone (although I did just recently get back into his album, "Stay Up", and it is better than ever) ["PLAY NYABINGHI INNA DI MIDDLE OF THE STREEEEEEEEEET! PLAY NYABINGHI BECAUSE IT SOUND SO SWEEEEEEEEEET"] and neither is even Dezarie, honestly; but "Sign Of The Times" was just such a beautifully put together set that I have a hard time seeing how it doesn't stick itself to the tastes of just about any fan of Reggae.
Hopefully 2026 is just as interesting. I'm thinking that we'll have more "traditional" big names making albums (like Buju & Capleton, for example) and... we'll probably be having a similar conversation about it a year from now. Until then, have a nice day.
Wandering. Though I may have one in mind, I don't think that I have ever reviewed an album from someone who was almost entirely devoid of talent. Maybe a particular release isn't something that I enjoy but there is something within all of them (almost beyond a matter of opinion, you could argue) that puts them on a level that is worthy of our appreciation. This is true even amongst just songs. You take a 'one-hit wonder' who may've climbed the mountain once and then, seemingly, lost their boots (and their ability to walk altogether in some cases) and even that individual has demonstrated themselves to be of a certain class, despite their inability to replicate it (or, maybe, our inability to see it again). This is important at its most basic of levels because it begins to build several other things; with some of the most important being a measure of prominence -- they have to pay the bills after all -- and a legacy. Who knows where your music can end up? You can inspire a literally endless line of followers who will someday grow up and attempt to do what you did having been inspired by your music along the way (I am WAITING for the day when I read some random interview with an artist who said that they grew up a massive fan of someone like Reemah... because you know they're coming). Another interesting thing that is birthed by the demonstration of talent is EXPECTATION and while this won't be the main topic of this review (I still haven't figured out what this thing is going to be about since this album is SO DAMN difficult for me to write about for some reason) (actually, the fact that is so difficult to write is probably going to be the theme for this one, in a sorta/kinda way), for those who have, even further, managed to distinguish themselves from an already gifted pack with their abilities, expectations can be downright ridiculous at times. Personally, I have a very strong and reliable group of individuals from whom I expect greatness because they've shown themselves capable of producing such quality with a certain amount of consistency (not going to name any names, because I always do.... but you know I want to). Of course I'm always open to add more names to that lot and I'm just as open to removing names when it's been shown that they're no longer as dependable; though I looooooooong for the days when I can re-add them to that batch (biggup Siz... I said I wouldn't name any names). With great ability comes great responsibilities.
On top of that, the argument could well be made that we look towards the bona fide stars of any given musical era to do special things. That responsibility isn't solely theirs and theirs alone (if you have a time that doesn't produce its fair share of 'one hit wonders', you have a problem... whether you want to admit or not, they're kind of a healthy sign) but it is heightened for them and you're sooner to hear whispers of "fell off" when someone achieves a level of stardom and isn't necessarily the quickest to follow up on it or, if they dare to demonstrate that they are human beings, and take some time off. These days, in my opinion at least, Reggae music is not only pretty healthy on multiple levels but we're also fortunate to have a line of extremely gifted and GENUINE stars in the genre.
2014
Let's take, for example... oh, I don't know, let's just take a look at someone like Chronixx for a minute. I can remember some of the very early press concerning Chronixx; literally, labelling him as "the next Bob Marley" (which isn't as horrible as it seems because that same ridiculous distinction has probably been given to a few dozen or so individuals at this point) (wouldn't be surprised if there's even been one or two females in there). This goes to show a couple of things, the first being music of a very high quality and a definite amount of popularity and within some of his earlier hits, people were hailing an actual generational shift, partially powered by Chronixx. Together with a very talented group of his peers such as the brilliant Jah9, lyrics torch Kabaka Pyramid, Protoje, Koffee and a handful of others, Chronixx would help to usher in a new age of Roots Reggae music, one which was going back to and gluing itself to more traditional Roots values but in a very fresh, neo style. Personally, while I haven't spent much time talking about Chronixx over the years (largely due to our hiatus) that man had some early songs in him, such as 'Odd Ras', which were just genius. 'Odd Ras', in particular, where he presented himself as being proudly 'strange' for adhering to very basic principles (like wearing a belt) in a criticism of the state of the times was off the charts level brain work in my opinion. Some of the work from that era (oddly, excluding 'Odd Ras') would compile his GORGEOUS "Dread & Terrible" EP (not an album) from 2014. Chronixx' style, at his best, is one which is both lyrically deep and challenging and also it just SOUNDS GOOD which, I think, has a great deal to do with just how widely he is appreciated. I think Roots music is often looked at as being kind of rigid and stuck in its ways, that's not what Chronixx' music is. As I've said, I'm going to refrain from naming certain individuals for the sake of comparison (because that's what I always do) but Chronixx was looked upon as taking over the lead from several names who mention around here quite frequently. Following "Dread & Terrible" was 2017's Grammy nominated "Chronology", his legitmate debut album, and that was his last album to date. I can recall, as recently as 2024, reading an article where people were critical of the Spanish Town native for inactivity to which he, essentially, responded that creativity was not a thing to be rushed and that his next musical move would be ready when it was ready! He had canceled another album back in 2022 or so and was enjoying being a new father with, seemingly, nothing new in the works. All of that changes in the latter portions of 2025 with the release of his loooooooooooooong anticipated and expected sophomore set, 'Exile". 2025 has been pretty good to us as far as Reggae albums go and wouldn't a BIG new album from Chronixx only go to make it better???
Yeah it would... unfortunately that isn't what we have here. Well, it is "NEW" but there is nothing AT ALL "big" about "Exile". Typically, when I write a review of an album that is somewhat popular, I try to avoid taking in too much in the way of the opinions of others, so I won't just follow along (and, actually, it has been a reason why I've avoided writing some reviews for really popular albums in the past). I will take a brief scan to see what the general reaction is but I won't really focus on details. In this case, however, because I WAS SO DAMN CURIOUS if I were the only one hearing what i thought I was, I wanted to see what others were thinking and I WAS ABSOLUTELY FUCKING SHOCKED! I've seen "album of the year" types of praise heaped onto it and... I don't get it. I alluded to Chronixx taking a break and saying, effectively, that he was allowing the creative process to do occur organically and I get into this album and what I hear sounds like someone just decided to make an album. It was time to make one (the album's official release date is Chronixx' thirty-third birthday) and it just sounds rushed and.... bad. "Exile" is a bad album in my opinion. YOU almost certainly disagree with me, and that's fine, but I'm going to attempt to tell you why I feel that way, while also attempting (unsuccessfully. I'm not going to be able to do that. Nope) to ignore the fact that someone so ridiculously gifted should be doing better than this, in general.
The best thing I can possibly say about 'Exile" is that it's music, it's instrumentation is solid for the most part. It never quite rises to the point of being what I would call exceptional but a credit does go to producer Inflo for what he does for the backing of the album (as well as to Chronixx, himself, who plays a number of instruments here). An example of that would be the very first and title track on "Exile", which, rather easily, ranks amongst its very best, 'Exile'. I would imagine Chronixx hearing the riddim for the song and seriously enjoying what he heard to the point where he didn't really want to.... hinder it much and he... doesn't. Far and away the star of the show for the title track is the music with Chronixx' bits being more skeletal and/or an aide for the song. And I don't want to be too hard on it because it is, inherently, the type of song that I would give credit for, were it on better album. There's nothing wrong with it at all. Next up is something that definitely caught my attention with its more old school delivery and sound, 'Market'. It combines a Dancehall style of delivery from yesteryear (think Supercat) with a... an almost kind of Jazzy type of feel to the vibe. This song goes in so many different directions that it would be difficult to believe that it isn't a vibe. Clearly it's something that came arose organically, which is fine, but it's unexceptional BUT still one of the undeniable highlights from "Exile" (and it's probably the type of tune that'll work better in a live setting). 'Sweet Argument', on the other hand, is most certainly not a highlight from "Exile" or anywhere else you might bump into it in the future. The kind of golden aged Lover's Rock piece (it's almost 'doo-woppish', which isn't necessarily a bad thing) never really goes anywhere or makes an impact for me and, while Chronixx isn't Jah Cure (Jah Cure probably wishes he wasn't Jah Cure these days) in terms of voice (and no one is), he has much better vocals than what you'll hear here (at his best, Chronixx sounds a little like Jah Nyne (Jah NYNE, not Jah9)). Go and listen to... virtually any other song (from 'Skankin Sweet' to a WICKED tune by the name of 'Champion') and you'll get a finer singing voice from him. 'Survivor' serves up another fine piece of instrumentation, via the 1970's. This song has a zenith -- right near the middle -- where the chorus seems to click and it gets very lively... but then the second half gets crazy, perhaps attempting to make up for its kind of odd nascence. What results, ultimately, is pretty uneven and.... then it just drops you off after nearly five and half minutes. 'Family First' is very pleasant, it's nice to listen to and probably one of the best songs on this album but it is entirely average. Again, it is the type of song that would... You know what? I was about to say that it would have more of a place on a better album, but I don't even think that's the case. If you stuck it on the back of "Dread & Terrible", it wouldn't be a standout and we probably wouldn't pay much attention to it. I said a similar thing in regards to the title track but I stand by it in that case because on a better album, it would be that nice changeup tune. That is not the case with 'Family First'.
Let's talk about 'Genesis'. If you look down the tracklist of "Exile" (at least one with times on it), 'Genesis' will definitely stick out due to its length - it's nine and a half minutes long. I heard this song and something very strange crossed my mind (and it actually got me to thinking about some of the other selections on the album): I thought about Ninjaman. Yup. Ninjaman. Why on earth did I think of Ninjaman when listening to 'Genesis'? I'll tell you why. Ninjaman has a talent which is virtually useless when recorded. You make random riddim and put Ninjaman on it, you'll have to search high and low for lesser talents to ensure that his tune won't be the absolute WORST on the riddim. HOWEVER, were you to take the Ninja's trash tune and put it in the scope of a live performance, then it would absolutely glow. He'd change it in some clever way and, suddenly, the worst song would become the far and away champion. That's what I thought about 'Genesis'. It does very little for me in this capacity but I could see this song destroying in front of an audience (more on that in a minute but you can see where this is going). Despite its length, you pretty much don't hear a thing from Chronixx after the third minute or so and 'Genesis' becomes this musical experience which I would suggest, again, is probably best appreciated in a performance. The musicianship, the backing singer/s and the VIBE are all top notch and, although it doesn't hit me in such a way, I could see people being lost in this song given the right set of circumstances. And I listen to it and I... see lights and people socializing and such things, it doesn't translate the best in this format though. There's the woefully unfortunately timely 'Hurricane' which is a chant and it's harmless. I've actually grown a bit in respect for this one since first hearing it but I still look at it as fairly average though, I will keep working on it. There's a spiraling sound found on 'I Know What You Feelin' which confuses my brain into ENDLESSLY thinking that Bob's 'Waiting In Vain' is about to jump in (I'm sure someone, somewhere has already made that mix happen). This song is almost invisible. It just isn't there. There is a brief verse but maybe 90% of the lyrics of it are:
"I know what you feelin"
And that's it. The music is on the minimal side but just fine, the vocals aren't great but they aren't terrible either and that's about it. I'll push to 'Keep On Rising', briefly, because it's somewhat similar to 'I Know What You Feelin' (although slightly better, in my opinion). It just doesn't make an impact on me at all. It sounds fine, not exceptional (sound familiar?), and it's written, largely, by piecing together banalities and the song's title.
"Keep on rising to the top now
Keep on rising to the top
Keep on rising to the top now
Keep on rising to the top
Keep on rising to the top now
Keep on rising to the top
There's a burning fire in your heart, yeah
Fight with everything you've got
They know they're afraid of us
There's levels to greatness
When you feel you're in darkness
You just remember Jah light is shining"
That's why I say 'Exile" feels rushed and hurried along and almost feels like Chronixx is going through the motions at times because this man is INFINITELY better than what you hear on this song and... pretty much ALL of this record. The very straightforward riddim on the back of 'Saviour' was candy to my ears when I heard it, initially and while it still is to some degree, it did become concerning to me when it dawned on me that, about a minute into the three and a half minute selection, it pretty much hadn't moved at all. THANKFULLY, 'Saviour' does pick up and though I don't love it (more on that in a second), I might go as far as to call it my favourite song on the whole of 'Exile'. I also don't have much of a problem with 'Don't Be Afraid', which does come in with a nice old school Roots type of a vibes to it (there's some old riddim this one well reminds me of but I cannot think of the name of it and I'm tired of looking for it) and does blossom some. It does end up being a strong display of music (the end of it is, literally, Dub) but not a GREAT song in my opinion. There's also 'I And I' which isn't quite as strong as 'Don't Be Afraid' but does have a pleasant vibes to it. These are all ('Saviour', 'Don't Be Afraid' & 'I And I') tunes that you would have just expected more from out of Chronixx. They're fine. I don't dislike either of them but they're just kind of there. There's nothing remarkable about them at all and when I've exhausted this album I probably won't remember any of them (and remember, I just called 'Saviour' THE best song on this album).
The album's final quintet of offerings do not serve up a single shout in the way of anything of significance in my opinion and it's really too bad because you do hear nice things that either never quite fully flesh out OR, in one case, they stick so closely to something else you hear within the group that it doesn't distinguish itself at all. FOR EXAMPLE, first you have a remastered version of a tune from a few years ago or so, 'Never Give Up' (biggup Jah Mason), which is chased by the lover's-ish 'Pain in Your Heart'. The latter is in a tough spot because it follows a song that is not only better than it is but is also somewhat similar in terms of sound. 'Pain In Your Heart' also isn't sung very well and it's just... kind of flat. My favourite aspect of the song is its backing singing which isn't anything special but is very timely in for the vibes of the song. For its part, 'Never Give Up' is EASILY the best of the final five and one of the best of the entire release but it's average. It's an OKAY song and though the melody was stuck somewhere in the back of my head and I thought I recognized a piece of it, I wasn't totally sure. Not quite reaching the nine minute mark like the aforementioned 'Genesis', the acoustic 'Resilient' does check in at a very hefty seven minutes and twenty seconds with there being, essentially, two halfs of the song. I actually prefer the first which is just Chronixx alone (and I'll make the point that I do not like this song and the vocals are not great but you can take this song as an example of Chronixx' vocals being at least slightly better than on some of the other offerings on "Exile"). The second half of 'Resilient' is damn near BRUTAL! There is a stretch of about FORTY-FIVE seconds where NOTHING happens. It's the exact same chant (from ~4:50-5:35) over and over again. Eventually it develops into chaos (which isn't a bad thing and is, in fact, MUCH better than what comes ahead of it) but 'Resilient', shockingly, I know, just isn't for me. 'Scheming', by comparison (and only by comparison), is considerably better than 'Resilient' but it is pedestrian in every single way. Also quite healthy at six and a quarter minutes, 'Scheming' is ordinary and would be fine were it shorter by three minutes or so but listening to it THAT much definitely wears on you after awhile. I hesitate to call its latter portions 'ANNOYING' but it is headed in that direction looooooooong before it actually ends with Chronixx, himself, being constant but never really adding anything to the song after awhile. FINALLY, 'Love Is On The Mountain' is about as fine of a ending as I could have hoped for. The song does have some SPICE to it (a good thing) but it doesn't glide us home with the last minute or so being the same thing -- the title of the song -- being said over and over and over again basically...
Okay, I have a few things on my mind that I have to mention before I wrap this up, some of which I alluded to along the way. The first is how I think "Exile", potentially, would be best appreciated. There're several songs carried here that I think would definitely work in a visual medium. I listen to this and I can see Chronixx just loving the music and enjoying himself, even in the studio. I'm sure you've seen that happen either in concert or on video where a performer will lose themselves in a moment (you've seen a rapturous Bob Marley on stage struggling to sing his song and maybe even Vaughn Benjamin in a trance in the middle of a tune). THAT most certainly is exciting but pretty much none of it, in this instance, translates well to a medium that is strictly audio. LISTENING to "Exile", as much as I hate to say it, is kind of boring. I'm not someone who needs to be punched in the face in order to be entertained (although go right ahead if that's your way) (...biggup Soca) but the 'subtleties' presented by "Exile" are just not for me. Another thing that really stands out in regards to this album is just how poorly it is written. I'm someone who, happily (for the most part), combs through lyrics. You'll find some of them in here but I usually do much more in my reviews. The two examples in this review were only used to point out how little is being said and I don't recall hearing ANYTHING done in a clever way. Everything is very plain and straightforward and, again, for someone who, just last year, said that they couldn't rush creativity, it sounds like maybe that particular aspect was rushed in order to complete this album and that is so damn unfortunate because Chronixx' talent is in the stars somewhere. In a live performance/visual medium you can overcome such a thing without great difficulty and I'll be shocked if MANY people don't enjoy hearing him perform these songs but just LISTENING to them, at least for me, is tough work.
Overall, while I'm sure my opinion is in the minority, after putting a reviewer's ear to "Exile" I'm even firmer in it. The absolute best material that the album has to offer is somewhere in the range of mediocrity. That's a problem for anyone and it is magnified when you consider the immense power of its star. I also found listening to it to be quite frustrating at times because you do hear potential in some of these songs with some of the instrumentation and, were Chronixx in a finer form, you could have really had something here and, even if it didn't turn out to be GREAT, "Exile" could have been a very fun and interesting listen. This isn't fun; it isn't colourful and, ultimately, "Exile" shows a version of Chronixx, one of the genre's reigning world champions, punching at a level WELL BELOW what he is capable of.
Here comes trouble in the form of a big new EP project from the source of one of the most celebrated rises to prominence in Reggae music in a… in ever - as the constantly FLAMING Chronixx readies his "Dread & Terrible" project. While we still await his first official full length album -- via spending the better part of the past couple of years scoring some of the biggest hits in the genre -- our (and common sense's) choice as the Artist of The Year 2013 has pretty much guaranteed a grand amount of attention will be thrown in the direction of anything he puts his hands on and, for this particular set, his work is all over it.
"Here Comes Trouble"
The ten tracked (including three dubs) EP includes both new and known material and comes via Chronixx' own Chronixx Music imprint. I find it interesting that he chose to go the route of doing this on his own when, at least presumably, just about any label even remotely interested in Reggae music would have likely taken this project as well. As for the actual music here, it is a blend of new and known material which puts on full display the chanter's very compelling and refreshing style which includes both a great commitment to old school Reggae charm and an unrelentingly fiery spirit, very much rooted in the current era (and maybe somewhere beyond it). The finished product has become candy to the ears of Reggae fans of all varieties.
"Dread & Terrible" from Chronixx is set to arrive in stores on April 1st. Time to get excited.
With big names such as Sizzla Kalonji, Etana, Luciano, Machel Montano, Mr. Vegas and many other showing up with albums for 2013, we begin to take a look at just who might be in the offering for the year ahead. Be it even more big names, amazingly gifted up and comers or someone who figures to return from long absences, this list, as it annually does, pulls together ten whom we would REALLY like to hear from, in album form, in 2014. Here are ten artists who could really do excellent work in the new year and we hope they do: Most Wanted 2014
{Note: Artist's appearing on last year's list were intentionally excluded}
#10. Prince Theo
Free again. Along with many other wonderful things, one of the most interesting occurrences which 2013 brought for me was definitely the full return of one of Reggae's most remarkably underrated and overlooked vocalists, Prince Theo. The veteran singer will almost certainly never receive the amount of attention that his tremendous abilities would seemingly warrant and I cannot even begin to think of something which would change that. What might help, however, would be a followup to his first and what, unfortunately, remains his only album to date, the wonderful "Set The Captives Free" which will soon be a decade old. Though you'll not find his name on any other list like this from anyone else, the Prince makes my list because I'm beginning to see a foundation built for a new set. He's done almost all of his recent material for Jah Mikes and Reggae Vibes Productions who recently did a new release for another veteran, Courtney Melody. I do not know what is in their plans, but if you're doing albums, why not mix in a brand new one which will have been a loooooooong time coming from someone who is guaranteed to make the most of it.
#9. Kénédy
Pretty pictures. It took far too long, in the consistent sense, but I have begun to get back into the wonderful world of Zouk music and really pay a steady amount of attention to it as well. But hopefully 2014 will bring something which will make it even easier and I have two things in mind. One of which would be a possible all Zouk album from Achis Reggae favourite, the delightful Jalena, whose next album may be just that (and the only reason that you won't find her name on this list is because she has had THREE albums from the last time this artist had one) (which was only her second) and the other would be the album return of still my favourite Zouk singer, the amazing Kénédy. Last out way back in 2009 with "Entre Toi Et Moi", the Gwada songstress has managed to stay in the light with big tunes (most recently teaming up with Lylah for 'Femmes Fatales 3') and she's also managed to keep things interesting outside of the studio. Between her first album and the second, Kénédy already very attractive… got… attractive… er. She came back and was STUNNING and if you look at her these days, you immediately notice her growing addiction to tattoos. Will that translate into a more edgy sound for her next album? Maybe or maybe not, but I'd love to find out in 2014 with a brand new album from one of Zouk's finest.
#8. Jahdan Blakkamoore
Release the Kings. Just as I'm waiting here to see what ten artists, in particular, have in store for fans in 2014, I'm also curious as to what some producers may be up to and one of those who have my interests very high are the Zion I Kings. We do know that they'll work the already scheduled "Beauty For Ashes" set from Midnite and we're also quite sure that they'll link up for an album for #5 on this list (or #7 if I changed it), besides that, however, it remains to be seen. Something I'd DEFINITELY like to see are the ZIK come back for is a brand new album for one of Reggae music's most adroit wordsmiths, Jahdan Blakkamoore. Though it has now been three full years from his last set, the very well-received "Babylon Nightmare", Jahdan did have a big year this year on the strength of appearing on one of the most talked about releases of 2013, Snoop Lion's "Reincarnated". A return to album in 2014 would be a welcomed one and, at least presumably, he may officially bring the "Kings" of the ZIK back with him as a return of another kind from Lustre Kings Productions (who didn't do an album this year, I believe). But I'd be happy with just about anyone, but a 2014 album from Jahdan Blakkamoore and the Zion I Kings would be a really, really nice thing to do and a certain master class of a record.
#7. NiyoRah
A different era. In retrospect, out of all of the people who we've gotten to watch develop as artists in recent years, one of the most captivating and, ultimately, one of the most gifted has easily been NiyoRah. I can still pull his debut album, "A Different Age" and really hear a foundation of talent for someone who, in the then not too distant future, would grow to become a GIANT of a talent. These days, as evidenced by his last two albums, "Purification Session" (one of the best albums I've ever heard) and "Feel Your Presence", Niyo is amongst the very few artists today who is truly capable of ANYTHING. Whatever he does and whoever he does it for, I expect greatness and hopefully I can expect it in 2014. It's been nearly four years from the "Feel Your Presence" set and now would be a wonderful time for Niyo's fourth album which would be another set released at the height of his monstrous powers.
#6. Alaine
… Alaine. One of a couple of females that you'll find on this list (it would have been a trio, but I thought it too soon to start asking for a new Reemah album), Alaine has quietly turned in a sterling year of music for 2013, which will have to be considered amongst her very best and, hopefully, she'll culminate her winning ways with a winning album next year. Alaine's situation when it comes to albums is very interesting because, like most of her musical things, it changed from a few years ago when she split with ace producer Don Corleon who had not only helmed many of Alaine's biggest hits, but was also behind all of her two or three albums (I think it's officially three, but one of them was released twice). But that is ancient history as far as music goes (though the two would produce bonafide classics together which will never die) and it is full time that album shelves get a lot more class and romance by virtue of a new album full of songs by one of Reggae's greatest conductors of both in 2014.
#5. Pressure
Coming back. It has SHOCKINGLY been more than four years now from the last time we received an album from VI Reggae superstar, Pressure Busspipe and, obviously, that is just entirely too damn long. Fortunately, not only is Pressure one of a couple of names appearing on this list that is relatively secure to have a new set in 2014, he's also going to have it for the aforementioned Zion I Kings. Pressure would have made this list regardless of his circumstances going into the new year because, much like his fellow Star Lion Family alum, NiyoRah, the chanter is at a point in his development at which only greatness is appropriate material coming from him and for such a person, going half a decade without is just wrong (biggup #3). He's been there previously with one of the finest debuts of the modern era, "The Pressure Is On", and on two subsequent albums he maintained those levels. Since then Pressure has remained one of the genre's most dependably impressive stars and he's also branched out - recording with some of the most revered maestros Reggae music has to offer. On his next album, he'll bring things back to center for I Grade Records and the Zion I Kings, which is a link that could not come at a better time.
#4. Mad Cobra
The baddest. It would be so unfortunate if one of the genre's biggest stars ever was to go through such an upward turn in their career and do so without ever having a full release to mark the occasion. However, when the genre in question is the album-anemic Dancehall music, then that will probably be the precise situation heading into 2015. Dancehall albums from the biggest names, these days, occur at a rate of only two or three annually. But if one of them in 2014 could somehow, someway manage to be from the re-enthused Mad Cobra, the world will be a much better place. Over the past year, Cobra has given Dancehall a much need bloody nose by serving up some of the craziest and most vicious tunes heard in what has been a fantastic career brimming with such pieces. And, though he didn't take such a long hiatus away, it just seems as if this version of the DJ has found him in the same devastating form that was heard on his two most recent albums "Helta Skelta" and "Snypa Way" and maybe even a little better actually. I think it to highly unlikely that 2014 will bring us a new album from Mad Cobra, but if it does, I'll guarantee you RIGHT NOW one of the best Dancehall albums in a very long time.
#3. Queen Omega
Most royal. As each and every of the past five (soon to be six) years pass, Reggae album shelves are significantly lacking in one very major area. QUEEN OMEGA! THE MOST TALENTED WOMAN MAKING REGGAE MUSIC TODAY (and probably over the last decade) has not had an album since 2008's "Servant Of Jah Army" and it would have been even before then -- nearing a decade -- from the last time that she would release a set which was widely celebrated - 2005's "Destiny". Both of those are just terrible considering the fact that she hasn't left the scene. She hasn't gone anywhere! Instead, she has continued to cultivate her supreme skills and today remains the Roots Reggae fireball that she always was. 2014, like every year before it and every year after it, would be a fine return and I do see a bit of hope for a new Queen Omega album. This year, a burgeoning label by the name of JahLight Records, like the singer from out of Trinidad, made its album debut in the form of Matthew Greenidge's solid "Jah Rules Over All", an album which carried the work of Queen Omega (as both a featured guest and a backing singer, if I recall correctly). Presumably at some point they will want to make another album -- probably at some point in the next twelve months -- it would seem a possibility that JahLight may take this next step with her as the star. Such a thing would have massive results and she'd also likely have similar success with almost anyone (including 149 Records who did a video with the Queen this year) and I'll definitely be watching because I'm tired of being able to put her name on lists like this.
#2. Bunji Garlin
We ready. Though he just had a full album in 2012 (the wonderful "iSpaniard", in stores now) Soca lyrics leader, Bunji Garlin, has just had a supremely powerful 2013 which, literally, dictates that he return with a new album, which will be his tenth in 2014. To facilitate this, the four time Soca Monarch recently [re]signed up with VP Records which will likely deliver the project. All of this, of course, comes through on the heels of the MASSIVE creation that was 'Differentology', but it was not alone and it won't be alone on the album (that would be really weird if it were). The likely result here is that VP allows the 2014 carnival season to play out, during which Garlin will likely have another hit or two and I would expect the album (to be called "Differentology") to be full of songs from his '13 and '14 seasons. Also I would like to hope that they would appreciate the moment. Though Garlin previously did two albums for the label [2001's "Revelation" and "Global" six years later], they both seemed to be at least somewhat packaged in a way to make his music more accessible to the typical fans of VP Records' releases. And there's nothing wrong with that (and it probably worked) but as someone who is always so upstanding about pushing Soca music, I really do hope that everyone involved on this set realizes that they may have something which has the possibility/likelihood of becoming one of the genre's biggest albums EVER. If they do, we'll have something special and even if they don't - I'll still be picking it up. And nothing can break it up. And nothing can break it up. And nothing can break it up. And nothing can break it up…
#1. Chronixx
Fit to lead. The biggest album jewel that 2014, seemingly, would have to offer Reggae fans would be the debut set from the leader of the latest rise of Roots Reggae stars, Chronixx. Though it is conceivable such a release could be pushed to 2015, I'm fully convinced that with the material that he has already done, Chronixx could probably put together a potential classic album right now, but if someone were to actually make an album for the sake of an album, it would be GOLDEN. The artist has shown himself to in possession of a very curious talent which is founded in a heavy streak of common sense and the application of common sense and humility. The blend has led to someone who has not only produced one of the most dominant streaks in recent memory, but someone who has also immediately gained the mass attention of fans. His situation has been similar to that of some of his more immediate predecessors, such as I-Octane and Tarrus Riley, but in Chronixx' case, it has seemed to be even more magnified. Furthermore, he has not faltered and in 2013, the youth turned Reggae music into his own personal flawless performance. He figures to do the same into the new year and an album would be a perfect bow to place on an amazing rise to prominence.
