The ages. The older I get, the more appreciative and respecting I become of the adage 'you don't know what you've got until it's gone'. Things change so often and so unendingly that it seems so many times that, once you've gotten used to something and maybe have started to enjoy it, that thing is gone, outdated and we've moved on to the next. Theoretically (and actually too since we can't do anything to stop it), this is just fine. Things should evolve and progress (or regress, depending on your point of view) in order to not stay stagnant and this couldn't be more apparent than when you apply it to music. Different generations of people produce different sounds. If you say it like that, it makes perfect sense and it kind of hobbles (even more) the old man on his soapbox talking about, 'well back in my day...', telling the youth how shit their vibe is. They should be different. They behave differently. They speak differently. They dress differently and they should enjoy and make a different type of sound. That being said, however, when you are on the end of things where you are supportive of the outgoing trend... well, it's kind of fucked up and I find myself there these days when it comes to Dancehall. I try only to lift up what it is that I miss instead of stepping on what I hear these days (out of fear of being that old man that I just talked about) (no one wants to be him) but damn do I miss 90's and 2000's Dancehall. There was a clear and obvious sound there which differentiated it from any other in the entire world, to the point where you could play a riddim behind an artist from another, from anywhere in the world and what they would come up with would be described as 'Dancehall infused' or 'Caribbean infused', something like that. You'll STILL hear that description, in fact, if it happens with an older riddim but, outside of that, you're normally only going to get that if you literally have a guesting artist from Reggae. In the current sense. It's gone... but, like I said, I'm not going to step on anyone in this review. The riddim 'culture', in general, is largely a thing of the past and I've heard several individuals lamenting the change over the years (biggup Red Rat). As far as the sound, what we have these days is far more akin to what you'd hear in Hip Hop circles (don't love Hip Hop, never will love it) and that infectious, hypnotic, thudding bounce that once characterized the entire sub-genre has become so frustratingly rare and difficult to find.
Once upon a time it was inescapable. Perhaps, a very easy way to quantify just how prevalent riddims were would be to look at one of the genre's most popular compilations ever, the once mighty Riddim Driven from VP Records. Way back in 2000, the series began with its very first edition, The Chiney Gal & Blazing, and would spend the next decade or so bringing together some of the Dancehall's and Reggae's biggest riddims before concluding in 2010 with The Classic. Coincidentally, at literally the exact same time, VP's biggest competitor at the time, Greensleeves Records, was busy with a series of their own, the Greensleeves Rhythm Album Series (original, I know). The difference between VP and Greensleeves, at least for me, was that Greensleeves would deal with a bit more in the way of... GRIMEY kind of Dancehall music and, right up until the near end of the series (which actually went Reggae), I found myself rarely surprised by which riddims would end up on the GRS and it definitely had something to do with how the pace was initially set and by whom... with what.
Ward 21 & Greensleeves
The very first installment of the Greensleeves Rhythm Album series would also arrive in 2000 and it would go on to do some serious damage of its own and also showcase the prodigious behind-the-scenes talents of its creator. I don't even know what's the very first thing that comes to the minds of most fans when they hear the name Ward 21 these days but I'll tell you what I'm thinking about when they come up: DANCEHALL. Even all of these years later, the Ward's Andre 'Suku' Gray remains one of the very few maestros on whom you could fully depend on to deliver genuine Dancehall music, via his Misik Muzik label. Way back in da day, the Ward was working on making their name and building their reputation in doing a lot of work for the immortal King Jammy and, of that early union, was born a legend (probably more than one if you really think about it, but one in particular), the indomitable Bellyas Riddim. Within the conversation of the single greatest riddim of all time, in my opinion, the Bellyas has a seat at the table. It's in there somewhere and with good reason. The Bellyas is dark. It's heavy. It's THICK. It's a lot to deal with and it especially promotes SKILL. It isn't the easiest riddim to dig into and deal with, which is always a great quality because you can literally hear certain artists struggling to find a melody in their delivery against others who do so effortlessly. It also helps when you manage to pull in what is undeniably one of the GREATEST DANCEHALL SONGS OF ALL TIME from one of its most gifted of champions on your riddim as well. Looking back, though the Bellyas has gone into a catalogue full of damaging creations from the Ward (alongside others from the time such as the Bada Bada, the Volume, the Da Joint ["It no matter if you have yuh friend dem fi defend you. From you dis The King, dat mean a hell man ahgo send you"] (biggup Determine), the ALL CONQUERING Trilogy and a few others), it probably stands out as THE best track they've done to date still (though the Trilogy does run it very close). Ward 21's catalogue represents a bit of a golden era for Dancehall music for me. Their work, at their most active and best, was downright thrilling, looking back and I MISS IT! At the time, of course, you think it's going to go on forever but now you realize how venomously BRIEF it really was. Most fortunately, there's nothing at all that says we can't go back and relive just how DAMN NICE it was. Let's talk about it.
There was a time when I can recall being downright frustrated at just how often or in-often Greensleeves would actually release albums by artists. In comparison to feeding their riddim series, for several years in there, it was a rare occurrence at times. Ward 21 was a favourite of theirs also. The group would supply the label with three of the first five tracks from its rhythm album series (and, subsequently, go on to release their first two albums there as well in 2001 and 2003, respectively) (both of those albums, "Mentally Disturbed" & "U Know How We Roll" have aged excellently, btw). That includes the very first edition of Greensleeves Rhythm Album series, the Bellyas, which gets going with what is, CLEARLY, its greatest moment 'Who Dem' by Capleton. I'd likely go as far as to make the claim that 'Who Dem' ranks as one of the finest modern Dancehall tracks EVER and it's the best song the Bellyas backs, as it was also the best on Capleton's opus, "More Fire" (...and probably any other album that you'll find it on as well); but you knew all of that already. The unfortunate task of following 'Who Dem' FORTUNATELY fell into the most capable hands on the Bellyas, the Ward themselves, who check in with the first of a pair of offerings, 'Model and Pose'. Though the lesser of their two, 'Model and Pose' is still a pretty good time albeit one which strives and almost revels in how basic it is (especially for a W21 tune). Later, the Ward returns with the stronger and significant (in an entirely ridiculous kind of way) 'Blood Stain'. While 'Who Dem' is THE best song on this riddim, 'Blood Stain' holds a serious claim to being #2. This song is madness and it wholly exemplifies what Ward 21 does when at their best: Along with allowing Suku, the "Deep Voice God", to do what he does, the others create chaos around him but it's still fairly centered. I think it says much that, between 'Model and Pose' and 'Blood Stain', only one of them was featured on the Ward's subsequent album, "Mentally Disturbed", and 'Blood Stain' was the one chosen. Although cringy (with all that damn moaning), Mr. Vegas''Two Minutes More' actually proves to be relatively solid, in retrospect. It makes its way based largely on being pretty clever, lyrically, and Vegas also sustains well (there's a term here that is popular, "flow", I kinda hate that word but that's what I mean by "sustains"). I wasn't much of a Vegas fan at the time (am moreso now but still not a HUGE fan) but credit goes where it is deserved. Speaking of sustaining, Beenie Man provides a heavy dosage (biggup the doctor) of sustenance all over his cut of the Bellyas Riddim, 'Skettel Tune', which features the handiwork of Angel Doolas as well. I hate to say it but in the name of transparency (whatever the hell that is), I've always felt that 'Skettel Tune' would have been better if it were sans Doolas. Typically, I think his presence is well welcomed but not this time. His offerings are kind of awkward while Beenie damn near shines. Moses completely sparkles the next time we hear from him on the Bellyas with another track that could very well be #2 and is, AT LEAST, its second most recognizable selection, the brilliant 'Heights of Great Men'. You listen back to it now and it kind of represents a brief golden era in Dancehall when giants Beenie Man and the aforementioned Capleton were having a bit of a spat and 'Heights of Great Men' was a large part of Beenie's public offense on the subject ["So tell mi how di hell you go sign to Def Jam"]. Chasing the album's first combination, 'Skettel Tune', is its second, this time featuring a triumvirate of Dancehall regulars from the era: Elephant Man, Lexxus & Kiprich; who team up on 'Ghetto Youths'. None of the three offer what I consider to be their absolute best effort but, at the same time, none of them necessarily struggle either. 'Ghetto Youths' was, ultimately, an OKAY tune and it still is but its most remarkable (at least to my ears and maybe only mine) is that it appears to receive an ever so slightly more enthused version of the Bellyas than pretty much everyone else. Lexxus also gets another run out on the Bellyas (yes, I'm about to end this big ass paragraph) with his second piece, 'Halla Halla'. Again, there isn't much to see on this one. While I won't call it annoying and it does have its moments, 'Halla Halla' wasn't a standout in its day and it doesn't carry much weight in 2026 either. Fuck it, I'll mention 'Naah Go Switch' here as well, Kippo's solo track. This tune goes unexpectedly hard for what you may've been expecting. It's full pre-warbot Kiprich and it's fun but it isn't stellar in any way. Kiprich would later show his class on such songs but 'Naah Go Switch' wasn't quite there (this is probably THE longest paragraph I have ever written).
The Bellyas also featured the infamous 'Skin-A-Slap' by Red Rat. I don't know if I ever had a great emotion (of any kind) towards this one but, all of these years later, I can recognize only the positives. 'Skin-A-Slap' is absolutely hilarious:
"....my yute, yuh cellie
'Tell dem fi call back'
But my yute, a Kelly
Mi nah tell her nothin, better you come tell it
MI NAH KNOW HOW YOU AH SHH... SO LONG AND MI NAH SMELL IT"
I can remember quite a few people (I think even Beenie Man) having a problem with 'Skin-A-Slap' and although I can see the (hear) (not SEE) (thankfully)(...no one wants that) the source of the controversy, the song featured the underrated (including by me) rodent on a creative and entertaining pillar. I was never the biggest fan of Red Rat's and I was even less of a fan of Alozade back in da day (there were a few of them back then who just never did much for me and he was one of them) (Buccaneer was another one) and it was kind of sweeping, for the most part. I can't name a single one of his songs that I even sort of enjoy and his cut of the Bellyas, 'Prowler' most definitely isn't the exception. I won't dwell on it for long but the chorus on 'Prowler' is... challenging, there's way too much of it and I'll leave that there. A contemporary of the Rat and Alozade's challenges W21's "Blood Stain' for the champion of the second quarter of the Bellyas Riddim album as Spragga Benz delivers the absolutely blistering 'Praise'. Spragga dazzles on the Bellyas in a way in which is a little deceptive (and I mean that in a positive way). He meets the aggressive track in a way that sounds as forceful but it isn't. This is a masterful matador with a bull and, easily, one of the most skillful displays on the whole of the Bellyas (arguably, THE most) (not the BEST song but the most adroit). Someone else who definitely hits the target is the Ancient Monarchy, Frisco Kid, who checks in with 'Wash Pan'. Although kind of funny at times, the women-empowering cut is a strong display of one of the more overlooked and undervalued talents of the times (I have a very healthy appreciation for what Frisco Kid was able to do with his career these days and he's still out there). Madd Anju may not necessarily appeal to everyone (no one does though) but I've always appreciated his skills and the characteristic 'Dat Nuh Mek It' didn't detract from that appreciation at all. Generally, there's a comedic value to his work and that's found all over this one:
"Gal weh have baby like puppy
DAT NUH MEK IT
Big big man weh fraida duppy
DAT NUH MEK IT
Man weh have stinkin foot
DAT NUH MEK IT
Gal weh too hype and can't cook
DAT NUH MEK IT"
For me, as I've said in the past, Anju is one of the most inventive artists the Dancehall has ever produced and, when he's anywhere near his best, it is a FULL JOY to listen to his work. I also have to mention Mega Banton, who I'm also a fairly big fan of, who went in a controversial direction with his tune, 'Tight Pants'. Songs like this one have an obvious baggage to them these days but I have a very large level of respect for for Mega's talent but if you don't, I do understand why (...if this is the only tune you've ever heard from him and ONLY if this is the only tune you've ever heard from him) (otherwise, you have no excuse at all). Goofy (Mr. G) (I think either name is fine with him these days) does just fine with his piece on the riddim, 'Naah Heng Out'. Goofy (like Red Rat) was a member of the once mighty Main Street crew, helmed by Danny Browne (the most talented of which was General Degree) and he had some very nice songs. 'Naah Heng Out', which cleverly combines more typical/terrestrial Dancehall topics with more substantial ideology (primarily being anti-abuse of women) would have definitely been on the higher end of Goofy's releases in my opinion. You'll find a slightly stronger tune featuring the two on the aforementioned Badda Badda riddim (and they've also had another one since these two) but 'Live Up' is another very high level selection linking together Bushman & I Lue. Their other track, 'Send Dem Come' is a near personal classic for me but 'Live Up' holds its own and interjecting a well received bit of excellent consciousness into the madness here. In retrospect, I'm actually kind of surprised that things didn't turn out better for I Lue. He is incredibly gifted (and still out there, just had at least one big new single a couple of years ago, 'Love Rastafari') and though the stars never seemed to quite align for him to reach a level of stardom, his catalogue is well worth going through, even today (also had a big tune on one of my favourite compilations ever, "Culture Dem", called 'The Sabbath').
The remaining trio of selections on the Bellyas are by veterans and name from the era who I don't feel really hit the mark with their selections. The bottom of them is likely 'Tight It Tight' from Jack-a-Diamond. This one is about exactly what you think it's about and it just isn't very good and it's non-imaginative. J-a-D is someone else who I never really caught on to but I have seen a number of interviews with him and find him to be a very impressive human being, for whatever that's worth... in a music review. Slightly ahead of 'Tight It Tight' would be 'Mix Up Time' by Hawkeye. I was never a fan of Hawkeye's either (he had a tune called 'Twingy Twang' which had a pretty good run. I fucking HATED that song) (and I just listened to it and I STILL FUCKING HATE IT) for some reason and this tune, at least for me, never really got off the ground. And lastly, 'Wi Like It' also didn't do much for me but neither did its creators, Tanto Metro & Devonte. The derivative (of a song from the 1980's by the name of 'Tom's Diner', by American singer, Suzanne Vega) chorus of 'Wi Like It' is painful. It is tough to get through and it comes off as a really cheap way of trying to find a melody on the Bellyas and it did not work at all for me (though the rest of the tune isn't anything special, it's far better than its chorus).
The very fact that the Bellyas album (like most of the Greensleeves Rhythm Series albums) even existed in the way that it did is a rather large statement on the state of those times. It was too damn long. It just was. Checking in at north of seventy minutes, spread over twenty tracks, you got ALL of the Bellyas that you wanted and so much more. The very fact that they did this at a super-consistent rate FOR YEARS (which, obviously, means that they were happy with the revenue that they were receiving from them) definitely speaks to the strength of an unfortunately long gone time in Dancehall music. And I also have to mention that Bounty Killer NOT being present on this track is one of the most regrettable situations of particular artist missing particular riddim that I can think of (Lady Saw, Ce'cile or Tanya Stephens would have been nice as well)... and there not being a clean version of the riddim included is also kinda criminal (thankfully, however, the internet masters have remedied that).
Overall, no, the Bellyas Riddim ALBUM wasn't the greatest riddim album from Greensleeves (if you're looking for the pinnacle of the series, check the later editions, which would go Roots and tracks such as the Diwali and the Masterpiece, from Lenky, where the riddim changed many times over the course of the overstuffed album) but.... DAMN, WASN'T IT SO MUCH FUN! It still is and, listening back to it now, it has not only a nostalgic appeal to me but also one which (almost certainly because of its rarity these days) almost sounds revolutionary. It sounds like something that could set a trend. That is a credit to the riddim's creator, Ward 21 and the lasting quality of their work. Now, when you place it in the context of, again, an album that is... admittedly downright exhausting at times what you ultimately end up with in the Bellyas Riddim album a quarter of a century later is a celebration of a classic and absolute juggernaut of a track. One of the best Dancehall riddims of all time.
The Africa Movement Riddim [Conquering Lion Records - 2026]
1. 'Faith' by Quan Nelson 2. 'Hail Adonai' by Jelliss 3. 'Guidance' by T'Jean 4. 'Wisdom Over Hype' by Dahvid Slur 5. 'Amharic Verse' by Daweh Congo 6. Africa Movement Ridim
Okay so, I had mentioned this one (sorta/kinda) in a review that I did a week or two ago because I'd had my eyes and ears on it already for a few minutes ahead of its release but the Africa Movement Riddim from Jallanzo The Dubwizard and Conquering Lion Records has now been released and it is thriving mightily at least on one front (but more like a couple, actually). While all of the tunes are at least solid, there're a couple of standouts that I think you should REALLY be paying attention to.
"Propaganda dem ah spread but it can't change di facts-
That the first man and women dem was one wid locks
A di same bloodline run deep in us
Melanin inna mi skin like a burning pot
Wid hair like wool and foot like burning brass
Everybody haffi hail The Negus Negast"
The first of them is definitely the mighty 'Hail Adonai' by Jelliss. Jelliss has been coming on over the past couple of years or so (downright EPIC love/ganja tune he had, 'Medication') but he also had a few big tunes that I've run into throughout the years, particularly one called 'Back To Reality' (which sounded like something from out of the ZIK catalogue) that well caught my attention, so I am aware that he possesses a certain level of ability. Were I not aware, however, 'Hail Adonai' would have certainly remedied that.
"WICKED SHALL BLOW AWAY, JUST LIKE A TRASH"
The other song here that you'll be doing yourself a favour by donating a whole heap of time to is the ABSOLUTELY MAMMOTH 'Amharic Verse' by Daweh Congo, the single best tune on the Africa Movement Riddim and... probably one of the best songs that I've heard in a minute (I seriously have difficulty NOT playing this record).
Also appearing on the riddim are Quan Nelson & Dahvid Slur, with tunes that are at least decent, like I said, with the latter, with 'Wisdom Over Hype', being quite strong, actually (Slur sounds a bit like Chronixx at times). The talented T'Jean also checks in with 'Guidance', which is also good but is a delightful listen. As I song, I wouldn't place it ahead of 'Wisdom Over Hype' but for pure sonic appeal, 'Guidance' is lovely. And you also get a LOVELY clean version of the riddim itself with a bit of effects added in, making for an almost Dub-like experience. Golden.
Be sure to check out the brand new and GORGEOUS Africa Movement Riddim because it isn't like you have anything better to do.
Convinced. Back in da day such an occurrence was all the more frequent. You'd have a very Reggae-centric situation where you'd have twenty artists jump on one riddim and some of them would get lost in the proverbial cracks IMMEDIATELY and then you'd do some sifting of your own, whether you realized it or not. My delightfully nostalgic point of reference takes me through names such as Hollow Point, Jagwa, Zumjay, Calico, Desperado.... Alley Cat... Icecold [!] and a number of others who'd have songs on tracks which would go consistently overlooked. They weren't amongst the biggest names in the genre and, barring the occasional hit, you might not pay much attention to their work. Still, they were popular to a certain degree (and most of them are probably still at it) and, obviously, favourited by producers of a certain era of Dancehall. There was also some serious talents in there as well. Desperado had a very interesting LOUD quality to him and, at his best, Hollow Point was literally off the charts with what he was capable of (and he still is). So, who knows what we may've missed out on (some of those people should have been much bigger stars than they were... but that's a different discussion that I'm sure I'll have one day) through not paying as much attention as we probably should have been. The point here is that, regardless of how good something (or someone) may be, even if you are attentive and are proactive to go out outside of your usual patterns, you can't keep up with EVERYONE. It may take some impetus to help you get started in giving someone a chance and for everyone that I named, I could name others who you did give a shot. The vouching of someone by someone who you respect can go a long way. Baby Cham, for example, had the backing of an actual GENIUS in Dave Kelly driving his career and was able to develop on some of the finest production the genre has ever seen. Vybz Kartel had a similar run across Don Corleon's riddims and maybe Spragga Benz lifting up Assassin gave him a solid basis to start out on (and I bring up those instances, specifically, to stick with the times that I had previously started into with my initial examples). Were those not the cases, who know! Maybe we'd be looking at Baby Cham or Sasco as talented underachievers (I don't think so, but it's possible). There are any number of things that can get you to open that door for the first time and MAYBE never closing it.
Maybe even an album would do it.... but then again, maybe not (it might take two of them). Today we're going to take a look at someone who just, all of a sudden, one day seemed to pop up and whose music I've written about, fairly consistently, without truly digging into what they were actually up to. Perhaps (no way), we may even get into addressing WHO THE HELL IS DERRICK SOUND? Again, I can search these pages and find myself writing about them, directly, as far back as a couple of years ago now in regards to working with longtime favourite of ours, Cali P. HOWEVER, a bit of research reveals that the players at work behind Derrick Sound, Mr. Nico & Inspecta Derrick are the same ones behind the ULTRA familiar Evidence Music from out of Geneva, Switzerland, whose releases I've been writing about for about a dozen years (dating all the way back to the Dancing Machine Riddim) and that shine you see coming from this page is the lightbulb going off over my head (... and don't even get me started on Little Lion.... who knew!).
2024
"THIS CHANGES EVERYTHING!". "MIND BLOWN!". Evidence Music has pretty much worked with everyone. Along with a few of the wonderful people we're going to talk about shortly, they've also done work with the likes of the incomparable Queen Omega, Tiwony, Micah Shemaiah, Addis Pablo, Skarra Mucci and a mightily impressive line of others. They've had their hands in many pots over the years and continue to these days. Why I'd never known the specifics is probably because I was content to enjoy the music of Derrick Sound in the fairly frequent times that it popped up on my radars and I had yet to actually review one of their projects. This was due to POOR planning as, in early 2024, they gave me a RIPE opportunity to do so via what stood as one of the year's strongest compilations by its end, The Fight Again Riddim. As I said, I'm going reserve the heaviest of my ammo for this new project but the Fight Again was CRUCIAL and carried contributions from Cali P, Shemaiah, Tiwony, LMK [BOOM!], even Hollow Point (remember him??) alongside Chico and it was just a GORGEOUS composition with a very light sound but strong core to it. The Fight Again got up everyday and did its crunches! Derrick Sound made it nice and easy for me and I should have reviewed the Fight Again Riddim album (and its beautiful cover) but I didn't... because I'm old as hell and tired but they're giving me another shot! 2025 now brings us another compilation which I cannot keep my eyes off of, "Upliftment". When I saw the tracklist for this one and saw what else they had forthcoming (more on that in a second), Evidence suddenly got my WHOLE, ENTIRE attention for the last part of the year. ON PAPER, we had what amounted to a potential compilation of the year contender and just a DAMN RIDICULOUS collection of vocal talent aboard "Upliftment". The compilation appears to be built with tracks from, primarily, 2025, although I did find one or two which date back to last year or year before (which is just fine) and it stands a powerful display and catcher-upper to exactly what Derrick Sound has been up to. Let's take a look!
I have to say something about that cover (I am contractually obligated to do so). When I first saw it, I thought it VERY cool in a lovely, nostalgic, old school kinda way and I was delighted to see in the press notes that it read:
"With Upliftment, Derrick Sound delivers a true homage to the reggae of the late 1990s and early 2000s, a pivotal period that also marked their beginnings as DJs. The project recreates the energy and atmosphere of those years, drawing inspiration from legendary producers such as Fatis Burrell and Bobby Digital"
They absolutely NAILED it with that cover and its early 90's feel. It goes on to talk about paying homage to the golden age of Reggae music and, when you get into it, they're doing SWEET on the musical end as well. Perhaps none are sweeter than the opener and title track which brings together a favourite of Evidence's, Bugle, and the brilliant aforementioned Agent Sasco.
"Nuttin no negative, so wi no deal wid minus
Wi blessed and multiply, so they cannot divide us
Oh yes, wi give thanks to di blessings dem weh Jah provide us
Whoi! Dem cannot stop wi cause a Jah ah guide us
AND YOU CAAN DRAIN WI ENERGY, GO DRAIN YUH SINUS
You no si - badmind ah get dem, yes, dem catch di virus
Di crab dem inna di barrell, dem no waan you climb up
MI POSITIVE OF DI FACT NEGATIVITY TIME UP"
I can recall when "Assassin" was coming up and it was him and Vybz Kartel being compared to one another, they were 'classmates', in terms of time. Kartel was a martian. He had lyrics from outer space and he had so much HYPE based on his skill that it was reminiscent of very few people the Dancehall had ever seen prior to him (thinking of someone like Papa San) (Papa San can probably still just rhyme ALL DAY LONG if he wanted to). Assassin was different. He was far more straight-forward and there was more of a... development to him. He didn't start from so far along but what this man has become lyrically is ABSOLUTELY STUNNING and he puts nary a damn syllable out of place on 'Upliftment'; destroying his initial verse, only to return later and say some shit like:
"Yeah di massive, ah si positive
POSITIVE INNA WI NOUNS, WI VERBS AND WI ADJECTIVES
REAL & GENUINE SO NO PRESERVATIVES, NO ADDITIVES"
HUH?! WHAT?! Not to overlook Bugle's contributions to the finest tune you'll hear on the album named after it but Agent Sasco absolutely burns the place to ash in the name of positive with a simply PERFECT performance. Given the most unenviable task of following the opener is someone who is up for and capable of the task, as the highly skilled Lutan Fyah makes the first of his two HUGE appearances on "Upliftment" with 'Blessings'. If you want to hear a song that does absolutely NOTHING in the way of breaking new ground and is pure and simple, straightforward Roots music but is EXCITING and thrilling to listen to, hear 'Blessings'! The Fyah is joyous for what he's received in his life and for the opportunity he has to praise His Majesty and I won't write them out because I just did it on the previous song but he drops some BEAUTIFUL lyrical gems here, as is his norm... like this one.
"Late at night, before I rest, Jah is my company
SELASSIE I. NOT PERHAPS OR PROBABLY!"
BOOM! That being said, perhaps you could make the case that Lutan Fyah goes even harder on his second track on the album, 'Bla Bla Bla', his cut of the previoulsy mentioned Fight Again Riddim. It was one of the best songs on that riddim and it's one of the best songs on "Upliftment" as well. Lutan Fyah is tired of hearing the bullshit and 'the company line' over and over again and he's found a SWEET way of making that known. As one of two artists to appear here twice, Lutan makes the most of both opportunities with powerful displays of his considerable skills. Speaking of "considerable skills", if everyone on this album were at their absolute best, I think the CONSIDERABLEST is the star of 'Jah Is Always Near', Sizzla Kalonji. He hasn't been in a fine form over the past few years, however, which makes it all the more interesting and noteworthy when I do hear something good from him and his offering here, though not on even the same planet as his best, is decent. The song is done in that kind of odd wailing that Sizzla used to get dual criticism and praise for. I've never felt much for it either way but it works on this song which is, obviously, a praise. There're other points where he changes things up (like a really nice one at around 2:20 in) and moments like that helped this song grow on me. Also of note is the beautiful riddim underpinning 'Jah Is Always Near', which is allowed to shine on its own at times as well, making for a very well done complete musical display (and I just finished writing that at the exact same time the tune ends!). Have some more! Chezidek is also here with a tune I know quite well from earlier this year, the GORGEOUS 'Jah Is In Charge', which finds the singer relying on the Highest strength in existence ["All mi troubles and mi fears, Jah Jah cancel. Obstacles inna mi way ah get trampled"] when he needs a helping hand. There is something SO appealing about the way 'Jah Is In Charge' is sung. Chezidek has an unusal voice and that's often the focus when you listen to him but have you ever notice how VERSATILE his delivery can be?? He can pull it back slightly or tone it down more and when he does you get GEMS like this one, delightfully registering somewhere between singing and chanting - and excellent on both fronts. A huge tune. Let's have a quick conversation about a guy named Turbulence. Many years ago, Turbulence seemed to make shift where he found joy and some success making love songs and since then (literally, like the last TWENTY years!) he's been far too focused on them.... and they aren't very good for the most part, in my opinion; and it's kinda pissed me off to be honest. Turbulence's combination of legit TOP FLIGHT singing voice with several different styles of impressive chanting can make for outstanding Roots (and even Dancehall, at times) and who knows what we've missed out on over the years with him pursuing his obsession with love songs (check a recent piece of Roots, from a few weeks ago, called 'Who Are We'. It's outstanding). HOWEVER, given the fact that I've been critical (heavily sometimes) of him for making love songs, then I should be the first one to give him credit when the planets align just perfectly and..... Turbulence makes a love song that is actually good!
'Knock Knock' caught me with my hands down, chin in the air and off-balance. I'm used to these things. I've been here probably hundreds of times at his point (and will probably be there a hundred more) but it rarely (if ever) sounds like this. It doesn't SOUND like it at all but in terms of how its written, 'Knock Knock' is somewhat similar to Junior Kelly's classic 'Love So Nice' where Turbulence is addressing an ungrateful former flame. The chorus is lovely and infectious and will glue itself to some part of your memory, it's beautifully sung and it has a point to it. You can't ask for more than that and I have no problem at all calling it amongst the greatest of its kind that Turbulence has EVER done.
coming soon
Okay and now let's talk about another guy, named Eesah, who is the other artist featured on "Upliftment", along with Lutan Fyah, to have more than one tune.... and he also has something else going on with Evidence Music in a few weeks. His first is the poignant social commentary 'Change We Want', going exactly where you think it is. Take a deep listen to 'Change We Want' and you'll notice how well it goes as it reaches a point, at its second verse, where it levels up. It becomes even stronger (after a start that isn't bad either) and blooms into something kind of explosive at times.
"You haffi give up the good fi the great
A wise man will change his mind
And a fool will never si di sign
Look like seh di government blind
So wi, seek knowledge and break dem chains
Until yeah, wi start si change
Eternally fyah gwan blaze
Try fi open yuh ears
Let's si Reggae music free di mind of di people
Evidence nah go deliver dem evil
Have a voice so wi speak to di people
Step forward: In the ground
Or take ten steps back, into safety
Every four year wid di same plan and trick politician dem come to play wi"
Grrrr. Eesah's second tune is also the album's second and final combination. 'Badda We Badda' features UK stalwart, Brother Culture in a very open and just COOL style. With that being said, however, the main attraction here is the sickening chorus. It is "sickening" in the same way that eating too much candy is sickening... meaning it will make you feel bad for enjoying it so damn much. For example: I was writing this review and had 'Badda We Badda' on repeat. I took a break to wash some dishes and what was going on in my head the entire time I was doing the dishes? Yep! The chorus for this song. 'Badda We Badda' is catchy as hell and it will plant a flag in your brain that you will not be able to remove, no matter how far you dig in there. In other news, Eesah and Evidence Music have other works in the pipeline as his sophomore album, "Success" is set to release in just a few weeks from writing this review. Both 'Badda We /Badda' and 'Change We Want' are included on an the album that MIGHT prove to be the final big Reggae album of 2025.
The remaining list of names present on "Upliftment" represent a tremendous run of names and top talents. The album's oldest tune (I THINK), comes from the late Peetah Morgan as his cut of the Indian Casino Riddim, 'Can't Break Our Souls' is here. We lost Morgan in early 2024 to a rare disease but he, along with the rest of the members of the famed Morgan Heritage, left a powerful legacy. 'Can't Break Our Souls' is a beautiful track from 2014 where Peetah speaks to the indomitability of the children of His Majesty. This song, probably even if you don't care much for it, is going to make you smile and feel good! It brought a smile to my face and it also has points where it sounds like Peetah Morgan is smiling while he's singing (if that makes any sense. Sometimes you can actually hear a smile) which is always a fascinating sound on a tune. Biggup Peetah Morgan and biggup Derrick Sound for including him here. Given the description from the press materials that I quoted for "Upliftment", I'm going to presume that Derrick Sound got ALL they wanted and more from the legendary Luciano when he blessed them (and the rest of us too) with 'Old School Rule'. The Messenjah pays homage to those who came before on the tune and teaches all to follow course in not only honouring those individuals but the ideas and methodology of the times as well. This version of the tune is billed as the 'Extended Mix' which comes with an ending where the clean riddim is featured and allowed to do its thing. As I've said in the past, I think this can be a very nice touch to add on and it was a really good notion had in this instance because this riddim, for as simple as it most certainly is, is also a DIAMOND and we get it for nearly a minute and a half completely sans vocals. CAPLETON (I told you the lineup on this album was crazy) is all fed up and also tired of the bullshit on his 'Tired Of The Drama'. Supposedly, Capleton was set to launch a new album in 2025 (would have been his first in a century or two), "Heights Of Fire". Coincidentally, that album is/was also an Evidence Music release so hopefully we get that in the new year but until then, the King of Fire is building... and he's building with very strong material such as the common sense saturated 'Tired Of The Drama'. Jah Mason EASILY has one of the strongest offerings on "Upliftment" with his scathing 'Rumours Of War'.
"Nuclear weapons are deployed
And dem ready fi destroy
Wid dem weapons of destruction
Get yuhself employed, whether girl or boy
Dem ready fi go start up di action
Who will survive?
Tell dem a di fittest of di fittest
Set up yuh grounds, mek sure that you legit
Sorry for those who just can't resist
LIVING INNA ZONE WHERE DEM DON'T HAVE NO LIMIT
Mi nah know how it start, so how it ahgo finish?
Should be making that paper
Stocking up yuh spinach
If a war dem come wid, a no my image
NO, DEM CAAN GET MI TIMID!"
The Mason absolute scorches on this anti-violence set. Hopefully it does not go overlooked on this album because 'Rumours Of War', is also one of his best tunes in recent times in my opinion. "Upliftment" also ends on a very high not in the form of Fantan Mojah's 'Double Standard'. Mojah poses the question, "Why is there a place for you but not for me?" to the powers that be in the midst of serving up a lyrically impressive social commentary and SIZABLE ending to this album. I also have to mention the riddim on 'Double Standard'. It is SO GOOD! The version on "Upliftment" is the 'Horns Cut' and you hear the horn come in initially right before the three minute mark and just generally enhance what was already a fantastic piece of music.
The only critique I have of "Upliftment" is that I wish Derrick Sound would have gotten a tune from Queen Omega... or any other female.
Overall, EXCELLENT. As i said, when I first took a look at just who was involved with "Upliftment" my expectations of what I was about to hear went square through the proverbial roof. In an era long gone, even if I were to see such a lineup on some random riddim it would have been very impressive (at such a time where it happened at least semi-regularly) and i is even more the case in a format such as this one. Also, a big, full credit goes to the producers and players of instrument who work their magic so finely. When you have a more typical compilation such as this one (meaning one without the same riddim on every song), you have an opportunity (when you do it well) to really impress musical, particularly when put in the hand of such gifted vocalists. "Upliftment" is FUN Roots music that sacrifices nothing in the way of hitting its marks, ideologically, in the name of boosting the entertainment value. So, while it may've taken me an embarrassingly long ass time to make the connections of exactly whoDerrick Sound was, with what I hear on "Upliftment", there isn't a chance that I'm going to forget anytime soon. THE BEST REGGAE COMPILATION OF 2025.
Signatures. I'm currently working on the latest installment of our running series, 'Signatures', which is a feature we started to highlight some of my personal favourite songs from various artists. It's gotten a pretty solid response thus far and, after a break, we will continue it with the legendary Cocoa Tea, probably sometime later this month. I bring it up (because I absolutely love it) to lead into the fact that you can definitely take that same concept and apply it not only to a particular, individual artist but an entire label as well. It can be a little bit more difficult (and interesting to write) because you may not normally associate a certain piece of work with a label in terms of release and the choices you have to choose from may be incredibly vast but it can also be a very fruitful and satisfying experience as well. I'll bring up an example of a label that not only fits the concept of what we're doing today (they've worked with some of these artists) but one which has done PRECISELY what I think we're looking at here as well. Of course, I'm referring to I Grade Records and, by extension, the Zion I Kings. What're the signature releases of I Grade Records??? Were you to put together a list, surely it would be full of pieces from Akae Beka -- having the biggest Virgin Islands artist alongside the biggest VI label -- but I'd also include, off the top of my head, a pair of albums from Lutan Fyah and you might also come across works from the likes of Dezarie, Tuff Lion ["Ten Strings"], Pressure Busspipe and maybe even one or two others as well. Another set that I think would HAVE to be included (....and, of course, I'm now thinking about doing such a list) would be an album that we've well discusses around these parts so I won' take up too much of your time by beating it down again but, way back in 2009, IGR would release what is my opinion one of the greatest compilations of the modern era of Roots Reggae music, "Joyful Noise". Similarly, the other components of the Zion I Kings, Zion High Productions & Lustre Kings Productions, have also released compilations which are, easily, amongst some of their greatest productions. I could go on a more well known scale and start mentioning things such as "Reggae Gold" and "Strictly The Best" also - people who make Reggae music love making compilations and when they are very well done, the results can be some of the most memorable and most identifiable that they make, period.
So, were one of my favourite labels going today to release a compilation which, at least on paper, looked like pure FLAMES, they're probably going to have my full attention. That brings us back to the wonderful people at Trinity Farm Music who, once again, are doing something well worthy of a look. While I could already point to a signature release from the label (they did launch our favourite album of 2024, Akae Beka's "Living Testament"), TFM have CONSISTENTLY delivered solid work in very recent times courtesy of a very interesting batch of names (biggup Batch) and have done so at a fantastic rate. Clearly, they have no intent on slowing down AT ALL.
2018
So how do you take things even higher? Maybe [another] large compilation would do it. I can't go too far with this (well, I can (and I probably am eventually, but....), because Trinity Farm Music already has an outstanding compilation to their credit in 2018's LOVELY "Music Tree" which would have been one of their very first releases altogether. At least to my knowledge, there was never a second volume to "Music Tree" so, in its stead (kinda), 2025 now brings us "Heart Of One". The PACKED compilation checks in at nearly and hour and a half, spread over twenty-one tracks, featuring contributions by a VERY healthy variety of names. If you're following along with TFM's works, you'll see a number of their favourites building up the vocalist roster on "Heart Of One" and you'll also see some wonderful surprises as well (some of whom, I hope to see recording with the label more going forward) including some old personal favourites that we haven't seen much of it lately. For me, when it comes to compilations (especially on riddim albums which're far more rare these days than they used to be) one of the things that stand out most immediately is who is on board. I've actually made comments about that exact thing in the past and have had producers message me saying what happened or how certain things came about and it's all very fascinating (one was even apologetic) but when I laid eyes on what was happening here, even prior to hearing the actual music, I was mightily impressed, once again, by TFM. I failed to see how you could even put together such an array of talents and drop something subpar and "subpar" is not what I heard when I did get to hear "Heart Of One". Also, like pretty much everything that I've listened to from TFM, the music here is very heavily Roots Reggae, but I didn't find it very.... exclusive. While I don't see it being a very good starting point for listeners new to the genre entirely, if you've only recently come to know the greatest sound on the planet (congratulations), you're going to find something here entertaining and not just because there's so damn much of it. From beginning to end, "Heart Of One" shows itself to be stellar and a FINE potential introduction to one of the best labels going today. Let's get into it!
Did I mention that this album had twenty-one songs on it?? It's been a minute since I've done a review on an album so damn long and I don't know how I'm going to break it down and segment it but let's just get to it anyway. Getting things up and going on Trinity Farm Music's BIG compilation is a very familiar name to our eyes and ears as the Arkaingelle puts both his and one of the album's best foot forward with the outstanding 'Yaddin by the Rivers'. By the slimmest of margins (with respect to maybe two or three others (but one in particular)) The album's opener is also my single favourite that it has to offer. Arkaingelle has a song called 'Manifess Joy' which is one of the top fifty or so best songs that I have EVER heard, so it's no surprise that he takes top honours here for me, as 'Yaddin by the Rivers' is simply flooring.
"It is time now for repatriation
Gather yourself, yow, let's get it together
We've got to organize, and centralize and mobilize
We haffi dispell all their falicies and all their lies
Do you know The King Of Kings was crowned, Haile Selassie I?
Rastafari, Head Creator over I & I
Lord Of Lords, Conquering Lion Of Judah
Prince Of Peace, I wonderful Counsellor
Yes, He's the Alpha & Omega and with Menen, there's no other
The King & Queen, dem hold the ancient order
Mek I an ah yad a Mama land, lef outta babylon
No matta where you come from, Africa Fi Africans"
The Arkaingelle gives a MASSIVE grounded praise to The Almighty with this shot and it, instantly, became a favourite of mine (would have to think, but it COULD be the second finest tune that I've heard from him thus far) and were it at all possible, suddenly I was even more intrigued by "Heart Of One". Also want to give a quick credit to the music here: The impeccable aforementioned Tuff Lion is credited as being amongst the musicians on this album and I don't know if he plays on 'Yaddin by the Rivers', but I would not be surprise if it does feature his handiwork. This sound, as EASY as it is, is GORIOUS and I would well recommend that you pay a closer attention to the riddim as it develops because it does move ever so slightly and becomes even stronger to my opinion. Next up (spent all that time talking about one tune, time to get moving!) is someone whose name I have come across but, clearly, don't know as much about as I should because Dre Z Melodi DELIGHTS on his effort, 'Faith'. Just last year, Melodi dropped an album which I heard a bit of by the name of "Victory". Such release was damn difficult as it featured, amongst others, Akae Beka (twice) (and the first of the pair, 'Loving Jah' was fantastic), Fred Locks and Perfect Giddimani. It may be time to give "Victory" a closer listen because 'Faith' is damn impressive. DZM has somewhat of an unusual delivery. To my ears... he's almost sounds a bit like Ras Army but no matter a point of comparison you may want to come up with, check the golden 'Faith', another praiser but one which definitely finds its home with a VIBE. Listening to this song makes me feel good! Also, again, note the lovely musical conclusion here as well. Veteran Haile Maskel comes through for Trinity Farm Music with 'Wadada Today', which I'm going to allow my wonderful Wife to review:
"This song sounds like a cool old man singing a song"
There you go! From my point of view.... 'Wadada Today' is so DAMN BASIC but I don't mean that in a derogatory way. There is something compelling about it (beyond the great music, which I'm going to stop mentioning so much because it's the case on pretty much every song on this album, so I can save it for closing), especially in its latter stages as Maskel puts forth a very solid unification tune. Underrated and overlooked Belize born, Jah Myhrakle, has a new album out of his own by the name of "Worthy 2 B" (about six weeks old at the time of writing this), which is pretty good and I should probably review it at some point in the future. Until then, however, check his contribution to "Heart Of One", 'Take Frontline'. This GORGEOUS selection deals with ideas such as loyalty and the importance of surrounding yourself with positivity and positive, forward thinking people. EASILY one of the strongest pieces on "Heart Of One", Jah Myhrakle SHINES and does so in a very entertaining and melodic way as well. Hikari Zion, unfortunately, offers up the sole and solitary misstep on the whole of "Heart Of One". Try as I might, I could not get into his 'Luv Yu' at all. Both the pacing and what is are rather unusual and neither worked for me, ultimately (I, seriously, have no clue what is going on with that song). Righting the ship, the final two names from the opening third of the album came as total shocks and really helped to up my curiosity here. The first is Ickarus. Former (and maybe still) member of the famed Star Lion Family (which also produced both Pressure Busspipe & NiyoRah) from out of St. Thomas, Ickarus may not have had the road that some of his peers have enjoyed but OBVIOUSLY that isn't a matter of talent as he displays throughout his 'Everything Irie'.
"You've gotta nice smile, now put it on display
Do it real fast, arriba, andale
Wi no inna negative, wi no waan today
Tell dem mi serious and now mi no come to play
Put di knife down, youth, put di gun away
And hold a Bluetooth speaker from today
UPLOAD SOME AKAE BEKA POSITIVE SONG TO PLAY
And watch di moon enlight di night and sun bright di day
When you walk with a positive, it's like a spiritual armor
Some people say bad deeds does return
Some people a just does ah call it a karma"
As you would expect, a song by the name of 'Everything Irie' goes in every possible direction and I'm thinking it was just something that he Ickarus vibed for that riddim. Regardless of its origins, however, it is a big winner for the album. Whether you realize it or not, THE most identifiable name on the whole of "Heart Of One" is that of Ras Elijah Tafari. Best known for his visual artwork in album covers -- such as this one, this one, that one over there, this one and that one too and even THIS ONE HERE -- (I HAVE NOTHING IN MIND WHILE I AM WRITING THAT. I'm going to go through and fill them in later. That shows you how prolific he's been and continues to be) but here, he turns his talents to actually inside the recording studio (as far as I can tell, he's been doing it for a decade or so at this point) and offers a pair of tunes for "Heart Of One"... along with the cover, of course. The first of them, 'Same Family' MIGHT be my favourite of the two but it's very, very close. Tafari's style is fairly straight forward chanting, for the most part, though he will press it and back off from time to time and he has a pretty good command of melody as well. That is well apparent here, 'Same Family' is pleasing to listen to and it makes sense. The same could be said when Tafari returns for 'Hot Hot Hot', later on. For its part, this song has more of a HEAVY vibes to it (there's something really cool about 'Hot Hot Hot'... despite its title) as the artiste turns up the heat on those in serious need of cleansing. I give a massive credit to Ras Elijah Tafari, in general. He's one of those people who'll likely not get his full credit for it but the man has made a MASSIVE contribution to this generation of Reggae music, again, whether you know it or not.
The next third of "Heart Of One" keeps the wonderful surprises coming in the form of who's on board and the quality of their output is also high. We also get a couple of names back from the first batch with their second songs on the album: Jah Myhrakle & Dre Z Melodi. Myhrakle's song, the very catchy 'By His Words' sits comfortably amongst the album's finest in my opinion, combining exactly what you're thinking of for a theme with a very clever method. DZM, on the other hand, takes a somewhat unique route on 'Keep My Health'. Although this one doesn't quite reach the heights of 'Faith' and (it's going to take a few spins to grow on you) it's fairly skeletal at times, 'Keep My Health' wins by virtue of a uniqueness and a VIBE. Staying away from it for now - musically, something very interesting happens on the tune and, again, if you have a little patience, 'Keep My Health' will glow for you. We also get a pair of CANNONS courtesy of two unexpected names for "Heart Of One" as both 'Rastafari Guide the Way' and 'Moralist' are EXCELLENT. The very simple former is by an Isayah, who I'm not entirely sure that I've come across at any point ahead of this album but it the big praising piece comes as a very welcomed introduction and, as usual, I'll immediately head off and find out what else Isayah has been up to (he'll come back and show us what he's been working on, later). The ULTRA impressive Kali Wale is the man behind 'Moralist' and though I thought I'd also have to do some background work for him, a name change actually saved me some time. Wale has a very nice singing voice (it's very LOUD and clear) and he's an even better writer.... somewhat reminiscent of an artist by the name of YahKali, with whom I am familiar, largely due to a review I wrote over a dozen years ago for an album by the name of "Powerlink" by the Amandla collective. I was impressed with YahKali's abilities back then and he and Kali Wale just so happen to be one of the same and, nothing has changed: 'Moralist' is downright MASSIVE and I could really go for a full album of this.
"System of the serial
Some win, some losers
Use language just to confuse us
Ripped from nature so dem can abuse us
Entertainment just to amuse us
And nation rise unlike no other
Giving honours to the child and the mother
Protect the innocent and respect each other
Equal rights, justice forever
System backward: Sit down - get reward
Identify the I as civally morbid
Reject your place of birth, inheritance forfeit
Another generation sorted
And nation rise, not bound to no colour
Just to pedigree, tradition and to culture
DECLARE your allegiance and start to unocover the true source of all your power
Moral, say we loyal and we noble
Royal cause we cup full, yet we joyful
Healthful, sipping sorrell, smelling floral
Inna the spiral, message viral, with we hearts full
Moral, say we loyal and we noble
Royal cause we cup full, yet we joyful
Healthful, sipping sorrell, smelling floral
Inna the spiral, message viral, with we hearts full"
Original Nine Fingers, Xkaliba, WONDERFULLY also makes an appearance here with a big piece of intelligence in 'Want More'. Though not to the same degree as the aforementioned (and soon to be mentioned again) Ickarus, we'd definitely like to hear more from Xkaliba. His style is SUPER SIMPLE. It is very basic and straight-forward but it works for him, far MORE often than not. I do enjoy 'Want More' (don't love the spelling but everything else is just fine) as the Cruzan chanter touches on the thin line between thriving and seeking the best for yourself ["Get good loving. You still want more"] versus just being DAMN GREEDY. The musically motivating 'You Can Be' comes from someone who I almost certainly have not mentioned for at least a decade, King Hopeton. Several hundreds of years ago, Hopeton released a FINE album by the name of "King Of Kings". It was a thundering introduction to the singer and although he didn't really follow up on it (he did, but none of Hopeton's subsequent work has been on the level of his debut, in my opinion), it made a fan out of me and I've at least made an attempt to keep an ear out for what King Hopeton's been up to. 'You Can Be' is another one which required some time to grow on me but it has greatly from the first time I heard it. King Hopeton also has a new collection out, "Time", which will probably be just about a week old by the time you read this. About a year ago, veteran Rob Symeonn pushed "Manners & Depression", an album, for Trinity Farm Music. He's also had other work on the label, including since the album, so it should come to no surprise - his presence on "Heart Of One", with 'Depression' (...probably would have been a surprise if he weren't on board). This song is what you're thinking it is as Symeonn warns all about the various stresses of everyday life and how to not get caught up in so many things piling up on you at once and losing your happiness. The topic is, obviously, quite crucial to him lately as the artist also pushed the similarly concentrated 'Sunshine', another single for TFM, earlier this year. 'Depression' is even stronger and a major attraction for "Heart Of One".... more on that later.
Another kinda/sorta familiar name shines during the final chunk of "Heart Of One" as both of the songs that Noble Culture contributes are found here. About twenty years ago, a Black Culture launched the Bambu Station produced well-received "Lion's Den Adversity" and, like Kali Wale, he, too, has undergone a name change and is now Noble Culture. Between his 'Refugee' & 'Not in The Mood', it is former which REALLY stands out as BC puts forth a very nice and specific social commentary about how people can feel like outsiders in their very own homes. Apart from the sake of comparison, 'Refugee' is just really strong as well. Though it doesn't quite hit those levels, 'Not in The Mood' also goes well, especially lyrically. The shortest selection here by more than twenty seconds, you do wish it were lenthier but 'Not in The Mood' does manage to make an impact in its short time. It's also very simple and nice to the ears. Our old friend, Messenjah Selah also makes an appearance with this fun time, 'Natural'. In the early days of this blog, we did a kind of running project with one of Selah's albums, "Breaking Babylon Curse", so he's had a special place on my players even since. 'Natural' is EASILY the best song that I've heard from Selah in some time and it features him dealing with how he's come to be who he is, musically, a 'sufferer' of intense, infectious Reggaemylitis.
"It's written in my blood
REGGAE YOU DO ME LIKE NOBODY DOES, NOBODY DOES"
It does all of us like that, Messenjah Selah. Take Haile Maskel, for example. He loves it so much that he comes back again to the album with 'Negust is Ruler', which is even stronger than his first effort here, 'Wadada'. I'm going to tell that though I don't feel the song needs any time to grow on you, it does take a bit to develop and, as the only over five minute piece here, 'Negust is Ruler' gets all the time it requires on that front. When it does get where it's going, it is a creepingly LOVELY praise which fits its creator (and THE Creator) perfectly as a vibe which is the best way I feel it is enjoyed. Ickarus also makes a return before ending things here with his second go on "Heart Of One" with the familiar 'To Africa'. This song actually taps the same riddim as 'Who Will Go For Us', the initial single from what turned out to be our favourite album of 2024, "Living Testament" by Akae Beka. Here, we find the chanter outlining some personal goals as he plans to visit the continent before the end of his days. This one is FUN and you can really here the passion coming through Ickarus and HOPEFULLY he makes it home! Lastly, check the ABSOLUTELY MAMMOTH 'StrucJah' from Isayah who returns to the project gloriously. Isayah beats us all down to the cellular level (the man literally talks about things like DNA and photosynthesis) (somewhere, Vaughn Benjamin approves) and you get to a place where, in its later stages, Isayah is SOARING all over 'StrucJah'.
"HIS Haile temple is the willingness of royalty
JAH GIVE US EVERYTHING WE NEED IN RIGHTEOUS ENERGY
The DNA, double helix, highest complexity
YOUR BODY IS A NATURAL ORGANISM, KEEP IT CLEAN"
DAMN! If you were, at all, unfamiliar with and unaware of Isayah's level of skill prior to "Heart Of One", you, like me, have just been placed on notice as he gives a giant word to honour the power of The Orchestrator.
I've alluded to it (and flat out said it) a few times throughout this review, so I'll make this brief: The music all over "Heart Of One" is kinda SPECTACULAR. It's really, really strong. In particular, I'd point you in the direction of Haile Maskel's 'Negust is Ruler'. The guitar (which may or may not be played by Tuff Lion) on that thing is GORGEOUS and it truly levels up near its conclusion. Big credit goes to Trinity Farm for making an album which sounds like this because, even if you aren't as fond of the actual songs as I am, anyone even remotely a fan of Reggae music will thoroughly be impressed by what they hear by the players of instruments here.
Overall, while I definitely set some mighty shoes for it to fill and a big path for it to follow, "Heart Of One" does just fine with it. It is excellent and it is such in a way that is very understated, for the most part. I don't think ANY vocalist on this album is going to leap out at a more casual fan. Again, THE most recognizable name here would be that of Ras Tafari Elijah and that's because of his visual art. Musically??? PROBABLY who stands out the most is Arkaingelle (Rob Symeonn and Messenjah Selah would also be in that conversation) but, as a collective, for someone like myself (and probably Yourself) this lineup is delicious and rarely is there a wrong direction taken. So, perhaps if you haven't been paying attention to the fine work Trinity Farm Music (and Go A Chant Productions) has been pushing over the past few years, "Heart Of One" represents a brilliant point to become acquainted, especially for more constant fans of the genre. One of the finest Reggae compilations of 2025 - and it ain't even close!
Okay so, when we last spoke to [about] the wonderfully prolific people at Trinity Farm Music, they were dealing with yet another release from the equally active Ancient King, following the [other] new album release from the determined chanter (biggup Determine), "Oath Of Akae". Next week, by the time you read this, the label is back with a BIG new compilation with a very interesting roster of vocalists that definitely caught my attention, "Heart Of One".
Who's here, exactly??? Well, there's Rob Symeonn, there's the Arkaingelle, Noble Culture, our old friend Messenjah Selah, RAS ELIJAH TAFARI [!], KING HOPETON, Jah Myhrakle, "Original Nine Fingers" Xkaliba, Star Lion Family veteran, Ickarus, and others! I mean.... that is BRUTAL and I mean that in a great way. TFM has been flaming as of late (and it continues. I'm writing this one Saturday, the 19th and, yesterday, they released 'Africa', a new tune from Abja) and a really big compilation like 'Heart Of One" presumably stacks up to be, is a damn strong addition to their catalogue in my opinion. The label... there's something about them that... I don't know.... There's something really strong about this lot. It almost comes off like their RAN by music fans - if that makes any sense at all. Trinity Farm is making moves and working with individuals that I would work with! 'Let's make an Ancient King album!', 'let's do something with.... Danny I'.
And if you think they're just kind of making cheap stuff and throwing it all against the wall to see what (if anything) sticks, I would point you in the direction of an album they did about a year and a half ago by the name of "Living Testament", by Akae Beka, which was subsequently named Album of The Year 2024 by this blog. They make REALLY good stuff as well. It isn't quantity over quality.
You can check both quantity (twenty-one tracks in all) and, likely, quality in just a few days on the 23rd of July when Trinity Farm Music returns with "Heart Of One". I will be there and so will you.... it isn't like you have anything better to do.
The ages. The older I get, the more appreciative and respecting I become of the adage 'you don't know what you've got until it's gone'. Things change so often and so unendingly that it seems so many times that, once you've gotten used to something and maybe have started to enjoy it, that thing is gone, outdated and we've moved on to the next. Theoretically (and actually too since we can't do anything to stop it), this is just fine. Things should evolve and progress (or regress, depending on your point of view) in order to not stay stagnant and this couldn't be more apparent than when you apply it to music. Different generations of people produce different sounds. If you say it like that, it makes perfect sense and it kind of hobbles (even more) the old man on his soapbox talking about, 'well back in my day...', telling the youth how shit their vibe is. They should be different. They behave differently. They speak differently. They dress differently and they should enjoy and make a different type of sound. That being said, however, when you are on the end of things where you are supportive of the outgoing trend... well, it's kind of fucked up and I find myself there these days when it comes to Dancehall. I try only to lift up what it is that I miss instead of stepping on what I hear these days (out of fear of being that old man that I just talked about) (no one wants to be him) but damn do I miss 90's and 2000's Dancehall. There was a clear and obvious sound there which differentiated it from any other in the entire world, to the point where you could play a riddim behind an artist from another, from anywhere in the world and what they would come up with would be described as 'Dancehall infused' or 'Caribbean infused', something like that. You'll STILL hear that description, in fact, if it happens with an older riddim but, outside of that, you're normally only going to get that if you literally have a guesting artist from Reggae. In the current sense. It's gone... but, like I said, I'm not going to step on anyone in this review. The riddim 'culture', in general, is largely a thing of the past and I've heard several individuals lamenting the change over the years (biggup Red Rat). As far as the sound, what we have these days is far more akin to what you'd hear in Hip Hop circles (don't love Hip Hop, never will love it) and that infectious, hypnotic, thudding bounce that once characterized the entire sub-genre has become so frustratingly rare and difficult to find.
