Have you been paying attention to what's been going on this year? No, I mean REALLY paying attention to what's been going on?? If you have, then certainly You, like me, are something past impressed by what we've are seeing unfold in 2026 in terms of releases. If you haven't, then watch this. I'm going to miss someone because this is completely off the top of my head. We have gotten full albums or EPs from the following in the first two-thirds of 2026:
...yep. Reggae fans (who give a damn about albums) have been eating good in this year and you could make a case that it's only going to get better (It's 2026 and we get albums from Capleton, Buju & Beenie! Obviously, someone's missing but I'm not getting my hopes up for THAT) (biggup Bounty). If all goes according to plan, then the day this goes up, we will have a RIDICULOUS trio of albums released at the same time as German star, Gentleman, Grammy winner, Kabaka Pyramid and Ky-mani Marley (his name is Marley, he's probably been nominated for a Grammy at some point in his career) all are set to release their latest creations on the very same day (I mentioned Queen Ifrica & Ginjah in this list, also were on the same day - which happened to be my date of birth). On top of that, next month we're also getting an album from Anthony B, called "World Of Love" (yes. That is an awful title but I'm thinking the actual music will be pretty good) and even Al Pancho is popping up with a release (though I'm listening to clips right now and it isn't sounding very good).
Out today
Out today
Out today
And I'm still fairly optimistic for the final third of the year. I think we still get at least one or two big names showing up with releases. Sean Paul has been active this year, so has Busy Signal and, who knows, though it is looking crowded on that side with a trio of Marley siblings... perhaps the (in my opinion) greatest of them all, Jr. Gong, will bless 2026 with his monstrous talents for the first time in damn near a decade. Regardless, you know there're still FOUR complete months to go and if the first eight have been any indication, we're still healthy for the rest of the year. Just thought you'd like to know.
Okay so, May's turning out to be a pretty big month. Along with our first review, we also have releases from Mikey General (review already done, coming soon) and Marlon Asher; and even Shaggy is back later this month with a brand new album and we're working on a few other things as well. Before we move on, however, I wanted to get back and take another look at the album we most recently covered, the beautiful "World Tap In" by Akae Beka, a week later. I'm still working with it (I always will be) and I wanted to kind of focus on one thing that I said during it and give you an actual example of what I meant by one thing in particular and how the wonderful music that this man has left us with sends me down these BEAUTIFUL rabbit holes.
I tend not to try to take in too many opinions of others before I review an album because if I feel one way about something but the prevailing thought is the complete opposite, I don't want to be swayed. i want to be on that island. Akae Beka's music is a bit different though because you don't see much in the way of negative responses so my interest in a situation like this would be to see which songs people are gravitating towards. While there hasn't been much yet in the way of a critical response that I've noticed (I haven't seen another review besides mine but I would expect more to be on the way), I have seen fans discussing the album, here and there, and what has come my way from our old readers (who still have my email address) has been that one of the biggest winners from "World Tap In" is 'Sycamore Tree'. That very same tune took top honours from me and I've been working on it and have all sorts of fun doing so. [Now you watch where this is going] When I first heard it, one of the things that went through my mind was how unique that it was and I immediately started to think of other songs Vaughn Benjamin had done that it reminded me of. The one I mentioned was 'Sha-tee', which probably isn't a very good comparison (and I likely just mentioned it because I absolutely love that song) but I had another one in my mind that I was thinking of but couldn't quite get out. You know I searched high & low for that song and I THINK that I found it in a very curious place.
A dozen years ago, a label by the name of Iaahden Sounds released a Midnite album by the name of "Stand The Test". The song was 'King Ring' and I was completely wrong, it sounds nothing like 'Sycamore Tree' at all, however, LISTEN TO THIS DAMN SONG!
"Dem seh dem ahgo abandon dem ship then ah feel fi go down wid it
Mediterranean children to all the world metropolis-
Is rhetorical vitriol that naïveté omit
World know the region is the world hand pocket
It all seem insurmountable to politician tactic
News state featuring hold-up language
Just to find a stable medium between the poor and the rich
TOWNHALL MEETING INNA DI SCREECHIEST PITCH
INDEPENDENCE BECOMES DI BIGGEST SLICE PERCENTAGE
Political position dem no waan fi be associated with
World cities of a changing demographic
Lack of technology cah dem see it as limited
Merchant marinas find a store weh wi deal
The manners of our guest - observation fi is
THE MANNERS OF THE HOUSE MAY BE INCLINE-ED
These are the roadsigns from the time weh wi live
Di warrior bust from ancient was explicit
Bible seh nothing new, under the sun, exist"
I remember "Stand The Test" (it was kind of a Hip-Hoppy sounding album) but I do not remember it sounding like THAT! There is a further connection in here as the press release (that no one bothered to send to me) mentions that one of the players of instrument on "World Tap In" is a Jordan 'Iaahden' Jones who, of course, is also the Iaahden behind Iaahden Sounds and produced "Stand The Test" in its entirety. THIS would also take me on another journey through Benjamin's catalogue because, of course, I was also certain that I remembered another tune which reminded me a lot of 'King Ring' and this was easier to find because I had actual words in my head and that was 'Ithiopia Millenium Deliverance', from the album "Ina Now".
"And the Genesis of the age is Selassie I, Jah
And the Genius of the age is Selassie I, Jah"
I hadn't listened to "Ina Now" in quite awhile so what I do with things like that is that I'll go back and read through my own review, curious as to what I said about the album generally and, particularly, which song I said was my favourite at the time and in this case I was really happy because I actually did choose 'Ithiopia Millenium Deliverance'; and I even referenced that lyric as well.
Okay, that "one thing" that I mentioned from my review that kind of started me to actually writing this was this:
"Benjamin's work is truly the gift that keeps on giving."
Do you see what I mean? This isn't a random occurrence either. It's surely more often happening these days given the new album release but, even without it and not to exaggerate anything, but I'll have episodes like this... maybe once or twice a month even without new material pointing me in a certain direction (the "Kings Bell" album usually does it for me. If you REALLY get into that one, there're so many lines you can draw to other work) and whether I find what I'm looking for (if I'm even looking for anything) does not matter. It is the journey to comprehension that matters most and Vaughn Benjamin left us with a, literally, endless musical itinerary. That is not death. I don't know what that is but that is not death.
Okay so, I had tons & tons of fun putting together the Sizzla 50, a list of fifty random songs in celebration of Kalonji completing his fiftieth year on the planet. Putting that together fairly quickly (I don't know if it took more than two or three hours) was a BEAUTIFUL dosage of nostalgia and, despite the fact that I had so much room to work with, I still left out quite a few tunes that I had originally planned to put on the list (such as the entire "Ghetto Youth-ology" album, for example). It was a fun journey back through the classics and, on one hand, it made me miss them, while on the other it made SO appreciative of how well we had it back then.
Typically, when we talk about Sizzla Kalonji at his absolute best, the discussion centers around the work that went into a pair of albums, "Praise Ye Jah" and "Black Woman & Child", which is completely fair. Those two releases have reached a legendary status and that's fine. They're deserving. The latter is the single greatest album I have ever heard in my life to this very day and, all these years later, I still find myself running into new things that I hear on "PYJ". I wanted to take a little look at some of Sizzla's earlier work that didn't/doesn't get as much attention, in retrospect, as "Black Woman & Child" and "Praise Ye Jah" but definitely are big demonstrations of a supreme level of skill.
The biggest example of this is probably "Royal Son Of Ethiopia" for Greensleeves, from way back in 1999. There used to be a fairly strong contingent of individuals who maintained that "Royal Son" was every bit as strong as "BW&C" & "PYJ" and although I do not agree... the album lays a serious claim to being the solidified #3 out of his catalogue. The very first song on the album, 'As in the Beginning', was literally PERFECT (probably in the top ten of my favourite Sizzla songs altogether) and although it was the highlight of the album, it was the brightest of stars in a sky FULL of them. That set was absolutely LOADED and other standouts included the likes of 'Eastern Mountain' with Luciano, the intoxicating 'Burn Dem Turf', the blistering 'Ripe Leaf' ('Ripe Leaf' was PROBLEMS!), 'A Wah Dat', 'Break Free', 'Babylon Homework' ["Who dem go fool seh Black man a monkey? Black man, Black woman a di first monarchy!"], 'Break Free' and I could go on and on.
As I said, "Royal Son Of Ethiopia" was Sizzla's Greensleeves album for 1999, if you go and look at what he was doing for VP Records around the same time, you don't see anything quite impressive, singularly, but you see a group of albums whose best represent some of the finest work of the entire genre at the time. Lumping together the three VP albums of 98-00 -- "Freedom Cry", "Be I Strong" & "Words Of Truth" -- when you take THE best that they had to offer, in full... BOOM! For its part, "Freedom Cry" was FUN. It leads into a point that I'll probably end this post on so I'll save it for a minute but it was a really good time of a Roots Reggae album of its time. It's very melodic in tunes such as 'Saturated', 'Long Journey', the kind of funky 'Rain Shower', 'Ancient Memories', 'Lovely Morning' and even 'Till It Some More' to a degree. Take that and combine it with the class of the album, 'Real', 'Love Amongst Me Brethren' ["To Sizzla, that is heaven"] and 'Dem Ah Try Ah Thing' and you have an album which may not represent the chanter at his absolute zenith but PAINFULLY close to it. While 1999's "Be I Strong" wasn't as fit as "Freedom Cry" it, too, also served up some unforgettable material on its highest side and it had a certain 'levelling' quality to it (which makes no sense at all but I'm going to explain it). The two signature tunes, at least on paper, from "Be I Strong" were the title track and "The Vibes" which featured Capleton. Neither one of those songs are amazing. They're pretty good and there's nothing wrong with them but there was far better material to be found there and most of it is gone. You don't remember damn near BRILLIANT Dancehallish Roots tracks like 'Powerfull', 'Men & People', 'No Chance', 'Stop Violate' and 'Love Is All' very often. And that's what I meant by "levelling". "Be I Strong" hit a certain level of quality and, for the most part, it just STUCK there. It never went too far up or down and, if you enjoyed that sound, listening back to it today shows a different side of what came before it in sound but one still honouring the downright monstrous talent behind it. Then there was "Words Of Truth" which kind of sits out on an island of its own because of the fact that the album came accompanied by a second disc which was a live performance of Sizzla's (which was and remains a VERY cool addition by VP). That fact will probably always keep this album not too far forgotten but, perhaps, we do tend to overlook what was going on with disc #1 a quarter of a century later. 'Enemies Are Confounded' ["Babylon! You're a dirty bastard!"], 'Them No Good', 'Attack' [BOOM!], 'Love Ah Di Way', 'Step Up' and the GORGEOUS opener that was 'Lift Mine Eyes' were EXCELLENT tracks present on "Words Of Truth". Again, they weren't his best but they weren't galaxies away either and they represented fine, collective, next steps and expansions on his sound in my opinion.
What Kalonji would do with VP in the next two years isn't worth discussing because it's been talked about ad nauseum (and if you do need more, check HERE and HERE) and deservingly so; both albums were fantastic (and I just thought of a cool conclusion to this, so I'll bring up one in a minute). But let's go back and see what the next two years had in store for Sizzla on the Greensleeves side. In the year 2000, they'd push out the absolutely FANTASTIC "Bobo Ashanti" which, for me, is a top ten level Sizzla album (and it isn't eighth, ninth or tenth) and would've been a Modern Classic were it not for the fact that it missed the cutoff by a year. "Bobo Ashanti" is headlined by a tune, 'The World', which is one of a very few in the conversation for being THE single greatest song I've ever heard from Sizzla altogether and what followed were SUPREME winners such as 'Strength and Hope', 'Wicked Naw Go Prosper', 'Grow U Locks' ["....and wear yuh turban. Pon di disobedient di fire burn pon!"], 'Attack', 'Courage', 'Do Good' and others still. Charged with following "Bobo Ashanti" was an album which, although it didn't reach those levels, admittedly, has WELL become a personal favourite of mine, 2001's "Rastafari Teach I Everything". Highlighted by a downright GLORIOUS ode to Mother Africa, 'Beautiful', I think "Rastafari Teach I Everything" is, arguably, THE most underrated release of Sizzla's entire career (I'm REALLY biased if you haven't figured that out) as it is STOCKED with excellent tracks and no one remembers! 'Better Make Sure', the THUMPING 'Stay Clean', 'Energy', even 'Give Her The Loving' was solid, 'Escape From Prison', the title track, 'Revenge' and, of course, the all sorts of fun ganja tune, 'Yes, I Get High' ["Rastafari a who we are. Identify me now - BY MI SKIN COLOUR, YOU KNOW THAT I'M A STAR!"]. Always at least solid, over the course of the past decade or so, "Rastafari Teach I Everything" has become special to me and, again, it fits so wonderfully into the type and the QUALITY level of work that Sizzla was doing at the time. The Sizzla & Greensleeves releases would lose their way shortly thereafter with albums such as "Rise To The Occasion", "Soul Deep" and that other one whose name I can never remember and don't feel like looking up (Street or Ghetto SOMETHING) ranging somewhere between awkward and awful; before righting the ship somewhat with "Life" and COMPLETELY with fine albums "Waterhouse Redemption" and "Ghetto Youth-ology", making way for the MAMMOTH "I-Space" in 2007.
And, before we do end, I'd also be doing you a disservice if I didn't mention another pair of albums from the time, "Good Ways" & "Liberate Yourself". The former is the followup to "BW&C". Produced by the brilliant Bobby Digital, "Good Ways" featured a very loose but old school type of vibes and it carried some serious HAMMERS such as 'Bless Me'... I was about to go down and list a heap of tunes like I've been doing thus far but fuck it.... pretty much the entire album was a HAMMER! I would point to one song, specifically, that was an excellent dose of what was to come on the Dancehall end: Sizzla's cut of Jazzwad's WICKED Riott Riddim. It was aggressive, POSITIVE and uplifting music which would soon become a giant staple of his output. Like "Words Of Truth", "Liberate Yourself" came with a wildcard. It also came alongside a second disc; this one a straight compilation with the likes of Bushman, Kulcha Knox, Terry Ganzie, Prezident Brown and even the legendary aforementioned Garnet Silk and Luciano, amongst others. As for the actual album, while it most certainly was NOT great (and that opener... probably turned more than a few people off from listening to all that came after it) ('Inna Africa' may just be Sizzla's WORST time from the period altogether), it was saved from total quality oblivion by 'Forever Be Strong', the striking 'Waan Go Home' (probably the best song on that album), 'Fire Fi Bun', 'By Your Words' and maybe one or two others. While "Liberate Yourself" may lack (it does) in overall strength and levels, it does give you glimpses CONSTANTLY of the brightness of its source. Generally speaking, LISTEN to the work Sizzla was doing. I point out in certain individuals -- whose music I absolutely LOVE -- such as Vaughn Benjamin and Lutan Fyah, who I regard as being bona fide masters of the spoken word with some of the things they're capable of doing, lyrically; but aren't necessarily the most gifted at making melodies. Benjamin, for his part, often doesn't even seem to give a damn about the riddim behind him, while Lutan Fyah (although he's better than he was earlier in his career) can come off as being somewhat rigid and less malleable). Sizzla was positively BRILLIANT with his words AND he made a brand of modern Roots which was WHOLLY ENTERTAINING and gratifying to the ears. He could glue himself to a riddim of several different types and do so with a poignancy virtually without equal. Also, he had a way of writing which combined both the spiritual and tangible worlds effectively. You did not have to seek His Majesty to find clarity in his words and, at his absolute best, he spoke to EVERYONE willing to take the time to listen and, again, listening wasn't labourious. You did so willingly!
There is an elephant in this room which I alluded to but did not mention outright when it comes the "vintage" level or "PRIME" of Sizzla Kalonji and that is "Da Real Thing". Despite coming years following "Praise Ye Jah" and "Black Woman & Child", "Da Real Thing", arguably, has had even more influence on the genre and played a greater role in bringing new ears to the flock (given just how outwardly popular it became) (and remains). The title of that album is significant because, if I recall correctly, its maestro, the aforementioned Bobby Digital, insisted on it. The story was that Sizzla, himself wanted to name it "Thank U Mamma", after its best (in my opinion) track but he relented and it became "Da Real Thing". There's an obvious connection here but I think that, given the fact that someone SO DAMN responsible for supplying much of the ammunition which we recognize as Sizzla's finest output wanted to, ESSENTIALLY, declare another album to BE part of that. It was just three words but they included an album into a certain level and also excluded it from one (<that being more of the Dancehall oriented and controversial material that Sizzla was doing around the time). That is VERY POWERFUL coming from who it's coming from. It sounds like something You and I would do, as fans. So, while we look at two very large pillars as being THE examples of a level that remains Sizzla's finest after all these years (and do so fairly enough), perhaps that thought is INCOMPLETE; because when we examine the entire general era, in full, what we find is that the genius seeped into other areas, whether we realized it or not. Combine that with a level of [over]activity that may be unmatched and where you end is at an EXTREMELY robust catalogue - particularly LOADED with diamonds at the front.
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.
Okay so, something a bit peculiar occurred to me a week or two ago while I was looking through upcoming releases.... actually that's wrong: What it did was to reinforce something that I'd noticed previously as being some rather strange behaviour.
A month ago (almost exactly to the day), we told you about "Oath Of Akae", the big new album from VI veteran chanter, Ancient King. That album came through Trinity Farm Music & Go A Chant Productions, who work together frequently (and may actually be the same group, who knows). Here's the most interesting part. If you've followed Ancient King's releases over the past couple of years or so, you may've noticed that he's released a couple of singles for GAC, exclusively, NONE OF WHICH appeared on "Oath Of Akae". Going back to 2023, there was a solid combination with Abja, 'Frankincense'.
Not only did 'Frankincense' miss "Oath Of Akae", but it also did not feature on "Journey Of Gratitude", Abja's own album on TFM/GAC, earlier this year. A week prior to that album releasing, there was another Ancient King single for Go A Chant, the CONSIDERABLE 'Word Sound and Consequence' (this song is excellent).
"Meditate not upon di ugly-
Of how ugly people is
If you I-ditate on the ugly, then you draw the energy to yourself
And becoming ugly, like the spirit you have in your head"
Also in there (even a bit more perplexing), was 'Be Soulfull', which was a fully Trinity Farm Music & Go A Chant Productions. Ancient King will never be confused for being the most melodically gifted of artists, but 'Be Soulfull' did a good job in showcasing that he does have more immediately pleasing skills while not drifting away from his typical approach at all.
And all of this happened while they still, steadily, presented songs that would appear on "Oath Of Akae". Tunes such as 'Hites', 'Tender Obedience' and the album-topping 'The Earth is Egziabheer' all reached between November and February. And the work is, CLEARLY, not done. Today (literally today, while I'm writing this), Ancient King and Go A Chant have delivered yet another single, 'Egziabheer Feed Us All'.
"Hey, it's a connection
So don't turn your back on the natural food from the land
Remember, dutty food, processed GMO-
Fling dat inna garbage pan"
Hitting on a topic that he also touches on during the brilliant 'Convenient Store Tree' which does appear on "Oath Of Akae", Ancient King takes a heavy look at physical health and nutrition and while you certainly do come across similarly themed tunes from others, I don't know if anyone is currently hitting the topic this hard and definitely not with the passion and detail that Ancient King is. 'Egziabheer Feed Us All' might even be slightly stronger than 'Convenient Store Tree'; I am THOROUGHLY enjoying this tune.
With a release schedule like this, it might make you think that another Ancient King/Trinity Farm/Go A Chant release is in there somewhere, but it may not be. If that is the case, so be it. So far, just about everything that they've worked on together has been BIG and whether they're building towards another project or just keeping current, I will be listening. Just thought I'd let you know. I'm going back to bed.
Shouldn't require much of an intro and I'm not writing an outro. Maybe I'll start doing this once a month or so. Here're fifteen completely random big tunes for your approval or.... yeah, whatever else. Have a nice morning, day and evening friends. BOOM!
{The only rule I followed here was that no artist will appear more than once}
'Entering Greenzland' by Bunji Garlin [Xpert Productions - 2023]
Courtesy of the SHOT that was 'Hard Fete', Trini lyrics king, Bunji Garlin, won Soca in 2023. If there was a single prize at stake, it was his this year. That tune immediately became a favourite of mine and pretty much everyone else's and would go on to net the grizzled veteran his very first solo Road March crown. HOWEVER, not to be overlooked at all was some of his other work (would be nice if Bunji could give us a new album one of these seasons (and I'm sure he will)) including this spellbinding track for Spice Mas, 'Entering Greenzland'. Backed by Xpert Productions' delightfully toxic Slam Bang Riddim, Bunji absolutely SCORCHES it to ash as he touches down in Grenada most epically.... and what the hell is this:
"Boy I get cut yesterday
This morning wake, I ain't have no cut
LIKE THE JAB ON JOUVERT MORNING HEAL MI LIKE IT IS NANOBOT"
This may be evidence of evolution.
'Folly Deeds' by Norris Man [E.Turn.A.T. - 2023]
This tune may've actually been the ignition on this post as I was about to throw it into a 'What I'm Listening To' feature and then decided to maybe give it is own post but I got busy and kind of sat it down before doing anything with it which was a mistake because it definitely deserves a listen. Still just about three months old, Norris Man's HUGE tune, 'Folly Deeds', is still a BEAUTIFUL offering from this great talent. Coming from a link between the Trench Town native and E.Turn.A.T. Records from out of Denmark as part of their Rhythm Of The Ocean project, 'Folly Deeds' is probably one of Norris' best efforts over the past four or five years or so and if you've been paying attention to his output across that time, you know exactly what that says about the quality here. BOOM!
"Inna every region -
Babylon - unuh betta mek a decision
Cause when dis judgment come-
NO ESCAPE!
And I tell you this: TOTAL ANNIHILATION!"
{Note: Norris Man & ETAT have done another tune by the name of 'Life' (which I don't love, but it's decent). So maybe keep an eye on what 'fully' may develop from this union in the future}
'Dem A Tear Down' by Sizzla Kalonji [Kalonji Music Production - 2023]
Almost as if to cleanse away the stains left by the last pair of albums, the legendary Sizzla Kalonji recently (two days ago as of this writing, probably like five by the time you read this) has released 'Dem A Tear Down which is -- GET THIS -- an ACTUAL Reggae song... and it's GOOD! More importantly, HOPEFULLY, this is a simple sign of what is to come (I could REALLY go for an entire album full of sounds like 'Dem A Tear Down') as Kalonji sets forth a unity track which is easily amongst his finest work of 2023 thus far.
"Dem no like fi si di progress
Dem ah fight everything, but yuh so blessed
No hate nowhere
Tell dem no stress
They think I'm hard but Selassie a mi fortress
Dem wi neva help a youth out di dark
For dem to si demselves and know dem true worth"
'Nah Guh See Di End A Mi' by Capleton [Troyton Music + Jerrytal Production]
We've got Capleton who's nearing sixty years on the planet and is still absolutely TRASHING tracks like he does on his 'Nah Guh See Di End A Mi' via Troyton Music on their Pleasure Tyme Riddim. The Pleasure Tyme was lovely; an old school infectious piece of Dancehall which featured the likes of Busy Signal, Bounty Killer, I-Octane and even Alison Hinds who jumped on the remix of Octane's 'Da Wine Deh' and, at least for me, the best of the lot was 'Nah Guh See Di End A Mi' as the Fire Man still continues to BLAZE all of these years later.
'Shameless' by Skinny Fabulous [Thirty Two Music - 2023]
"THIS YEAR, I STINK AGAIN
JUMPIN UP ON THE EDGE AND THE BRINK AGAIN"
If you, for some ridiculous and non-existant reason, were still under the impression that Skinny Fabulous gave a damn about.... pretty much anything, there was 'Shameless'. The jewel of the Sine Wave Riddim (which was very, VERY basic and that's a good thing) from System Thirty Two, the tune stands as example #severalbillion as to why the supernova from St. Vincent is STILL very much in the process of establishing himself as one of the greatest Soca music has ever seen. DAMN!
'Click Click' by Shane O [Chemist Records - 2023]
I don't love 'Click Click'. The track, Chemist's 1 Rifle Riddim, isn't anything that would catch my attention on any surface -- it's basically a Hip-Hop tune and that doesn't work for me -- and it's almost hilariously violent, which isn't necessarily a problem (I'm a Mad Cobra fan) (and a Bounty Killer fan) (and an Aidonia fan) (even prefer a violent Kartel), but in combination, again, not necessarily my thing. HOWEVER, the level of wordplay and tangible SKILL put on display by Shane O here is not to be missed or undersold. You could have had this one as an a'cappella for me and I would have enjoyed it just the same (that's wrong - I would have liked it more). I wrote this a few hours ago and I had called Shane O underrated, but he isn't. He's one of those artists who, at his best, is a reward for more heavy Dancehall heads who're likely the only ones who will come across his work consistently. On 'Click Click', he BOILS!
'Bring Back Ah Vibe' by Terri Lyons [Nu Generation Studios - 2023]
Fay-Ann's little sister turned up the heat for Carnival 2023 with several big tunes to her credit, none bigger than the conquering 'Bring Back Ah Vibes'. This tune has some CRAZY pull to it (especially at the chorus) and, though I don't entirely feel comfortable calling it #1 (but it just may be), 'Bring Back Ah Vibes' EASILY slots in as one of the biggest tunes Terri Lyons has ever done (her sister is perfect -- SHE'S LITERALLY PERFECT -- and it would find a seat amongst her best as well).
'Tea Bread' by Richie Spice
What a COOL one this is. A minute ago, Richie Spice dropped a new album by the name of "Black Man Time". It's pretty good, might tell you about it at some point. The very first selection on the set is 'Tea Bread' which is a delightful acoustic kick of Spice's classic 'Earth A Run Red' (which, I guess we should start properly referring to as one of the biggest tunes in all of modern Reggae) and it sounds DIVINE! 'Tea Bread' is magical and, though I've never been the biggest fan of Richie Spice's, ENDLESS praise is due in this case. TEARS! Just a great idea.
'My Way To Zion' by Turbulence [Xterminator]
'My Way To Zion' just may be THE single greatest song Turbulence has ever done and it's gone largely forgotten, so I make the point to bring it up as often as it has my attention. Now nearing a quarter of a century in age, the Xterminator helmed GEM sounds just as good today as ever and also shows off Turbulence's chronically (biggup Chronixx) underrated singing voice.... maybe they'd have more respect for it if he used it for something else besides love song after love song after love song....
'Woman A Sample' by Buju Banton & Beenie Man [Gargamel Productions]
Recent albums from Buju Banton ("Born For Greatness" & "Simma") leave a bad taste in your mouth?? Leave you a little thirsty for some Reggae and some Dancehall?? If that's the case, check this long buried combination from the two which was carried on Beenie's Grammy nominated "Many Moods Of Moses" set. Produced by Buju (with a helping hand from the great Steven 'Lenky' Marsden). 'Woman A Sample' was kind of HEAVY and a little ponderous, but it was STELLAR! There was a vibe right in the middle of this thing which stuck on you and, over a quarter-century later, it's still attached to me.
'We Know Who They Are' by Bugle & Spragga Benz [Notis Records - 2023]
Biggup Notis Records for bringing together the always surging Bugle and the legendary Spragga Benz through their literally glowing Free Spirit Riddim for a HUGE combination tune, 'We Know Who They Are'. The tune speaks about those people who may present themselves in one way but in their hearts are someone completely different. Bugle is as solid and consistent as always, but Spragga Benz absolutely TRASHES this tune!
"Nuff a dem no like wi and ah smile up wid wi anyway
Go fi mi machine cah man fi buss it pon dem everyday
Over deh so - dem fi stay
Wid dem guy deh, man no play
Rubber tire fi a likkle a guy ah try ah talk I back way"
'Elect Of Himself' by Mark Wonder [Black Star Foundation - 2020]
A most interesting set of circumstances set me on a course towards this one: I did a review not too long ago for an album called "Harmonic Therapy" by the great Tuff Lion and, in doing background for that album, I stumbled across a tune the Lion had done that I never recalled hearing by the name of 'Slave Master' along with Osagyefo. It appeared on the Black Star Foundation's Babylon Burning Riddim which also featured quite a few other big tunes from the likes of Marlon Asher, Jah Thunder, King Kong and the great Mark Wonder who would lay it to absolute ruins with the MAMMOTH praising set, 'Elect Of Himself'.
'Upper Room' by Anchants & Empress Charisse
Is "enchanting" just too much? It might be, but if it is not, 'Upper Room' is ENCHANTING. It was sang by an angel and her band whom, if you don't remember them for anything else, you'll remember them for that. SIMPLY ONE OF THE GREATEST SONGS I HAVE EVER HEARD.
'Samson Strength' by Black-Am-I [Ghetto Youths International - 2019]
This GEM - you'll find it creeping in the ranks of Black-Am-I's mightily impressive "Living Dread" EP from a few years back ["IN THE GHETTOOOOOOOOOOO!"] was, easily, one of the fines from anyone that year and it has aged vintage-ly. If you hear 'Samson Strength' and you don't feel like getting up and doing SOMETHING, then you and I are very different people. The vibe here is so damn potent and infectious that you simply cannot ignore and it reaches you in places that even other great tunes on this post do not.
'Follow Me' by Mr. Killa & Kevin Crown [Mr. Killa - 2023]
Grrrrrr! Grenadian Soca blowtorch, Mr. Killa, teamed up with Kevin Crown (who I don't think I'd actually laid ears on before this track) for the TRULY RIDICULOUS 'Follow Me'. Many many years ago, coincidentally, the previously mentioned Bunji Garlin also had a tune by the name of 'Follow Me' which is probably in my top..... twenty or so favourite songs that Garlin has ever done and, to be completely honest, this song with the same name is almost just as good. This song has absolutely no respect for boundaries or personal space and it BASHES OVER THE FUCKING HEAD IMMEDIATELY! Afterwards, you thank it for the experience and listen again.
Okay so, how cool is this?! Something I've been meaning to talk about for awhile now (before life decided to get in the way) was the WONDERFUL occurrence of I Grade Records doing some lovely reissues of the work of the immortal Vaughn Benjamin. From the beginning of his career up until 2015, Benjamin and company recorded under the collective name "Midnite". While "Midnite" once was -- and still largely was in some sense I suppose throughout its existence -- the name of an actual, fully-functioning band, in the recording sense, the name would, essentially, grow to mean Vaughn Benjamin. He did a variety of albums with a variety of different producers and they were all "Midnite" albums, regardless of who played on the music. In 2015, with "Homage To The Land" for Fifth Son Records ["You have seen many heroes in the villainous light. Seen many villains in the hero's light. Set things in order as in 'good ' and 'right'. Realize who really paid the price. Prosecution said 'Your Honour, this ain't right'. Forget the miscalculation, let's all rejoice' "] the name changed from Midnite to Akae Beka and it became a similar situation of.... pretty much everything Vaughn Benjamin touching coming with the new name attached.
Recently, however, in paying a wonderful tribute to an artist with whom they collaborated very frequently and perhaps more than any other label (which is saying a lot given Benjamin's prolificacy), IGR reissued several older albums under the name Akae Beka that originally released as the work of Midnite; amongst the reissues (which you should be able to see here) are truly unforgettable pieces such as "Beauty For Ashes", "Rule The Time" and others. This is somewhat subtle, I suppose, but it is AWESOME! What a wonderful thing to do! Not only is it a move sure to get the collectors amongst us SALIVATING, but it also helps to maybe snag a few new heads along the way who might've originally missed out on these massive sets.
Also, it is worth mentioning that this isn't the first time such a thing has happened as, a couple of years ago "New 1000" which first reached way back in 2006 for was re-released for Full Grown Records, made its way back courtesy of Native Fyah Productions. Again, just a wonderful and nice thing to do.
Oh, and by the way, "AN ELEVEN FOOT, SIX-HUNDRED POUND TIGER"
