As Expected: A review of Eminence by Beenie Man

Unshock. Sometimes you go into these things and you just don't know what the fuck to expect. Be it some oddly overactive artist (biggup Sizzla back in da day), someone announcing that some album that they're doing is going to be more on the experimental side, someone just unpredictable, in general (biggup Perfect) or for some other reason; sometimes you don't know even remotely what you're getting into when you listen to an album... and then there are times like these. On the other side of the examples I just gave you would be several others which virtually guarantee what you're going to hear (quality, of course, being a different story - just  talking about SOUND right now). Not too long ago, we told you about a new EP from VI standout, Pressure Busspipe by the name of "All For A Time". The set found Pressure, once again, linking with the venerable Zion I Kings, a pairing which has not only proven to be ultra-fruitful and productive but has also managed to produce a very signature sound; everyone and everyone's mom knew precisely what we were getting into in that instance (...in that particular case, the quality was also assured, actually). And that could be the signal that gives you an overview of what's going on. Sure, someone working alongside someone else doesn't always have to be the same thing but an oft-pairing of artist and label/s making a certain type of sound can definitely be a strong forecast of what is to come. This is true despite the fact that Pressure is someone who has changed things up in his career. He's made Soca and Dancehall and even an entire album full of love songs at one point. In other cases, they can just TELL you what to expect. That occurred on Buju Banton's most recent release, "Too Too Bad", which he billed, essentially, as a sequel to "Too Bad", an album built upon hardcore Dancehall music almost entirely. Again, we can talk about the results of said direction at another time (we already did that) but the route to be taken was crystal clear and, there especially, became a major selling point in the marketing of "Too Too Bad". Also, just as someone like a Perfect Giddimani can be very erratic (and I mean that in a good way), there're others who can be just as routine and calculable. When.... Mark Wonder makes an album (any time now Mr. Wonder), for example, you know what to expect because his history and his present has taught us what he does. 

And sometimes you can just... kinda... sometimes you can LOOK AT SOMETHING and have a pretty good idea where it's going. Let's say... oh, I don't know... let's say BEENIE MAN, just to name someone, was going to release an album in 2026. Most likely you'd have a pretty good idea as to how it would sound, regardless of the producer. Beenie is someone who has long entered the 'crossover' category, so whatever he does, you'd expect it to at least have some more international flavours to it, namely Hip-Hop & R&B (and maybe a little Pop as well). There'd be some big name crossover guests and some sounds that would well appeal to a wider audience. That's what he did at his peak and he's still doing it to this very day in regards to his album releases (I've been listening to a lot of "Undisputed" lately) (probably better than it was given credit for being). You'd also expect there to be an attempt to appeal to some of his more traditional heads (like You & Me) and doing that by incorporating more traditional Dancehall and Reggae music and maybe even bringing in a few names from that spectrum as well; maybe even with a few very familiar riddims. I'd also think that he'd look to make a big statement in the Dancehall. Something proclaiming himself as KING (remember that). 

SHOCKINGLY (not really), that turns out to be a decent description of the latest creation of the Dancehall beacon, "Eminence". Though it seems as if we've gotten used to Beenie taking a long time between full releases, it was just three years ago when he delivered the Grammy nominated "Sim Simma"; while It was a decade ago now that the album ahead of it, "Unstoppable", dropped. I'm going to place "Sim Simma", "Unstoppable" and now "Eminence" in the same little group as they almost seem to come off as Beenie almost enjoying a 'victory lap', of sorts. The albums haven't been crazily popular (as far as I know) or amazing in quality but they've generated a considerable amount of buzz and have done well in terms of attention. Also, it most certainly doesn't appear that Beenie Man is ready for retirement anytime soon as he's continued to put forth a strong effort at such a progressed and downright legendary stage of his career. "Eminence" finds the 'Who Am I' star linking with Billboard King Records and one of our personal old favourites, Kemar 'Flava' McGregor. Once upon a time, in the very early days of this blog, McGregor would have been THE producer of choice. The man sat on a mountain and is still to be respected so, even now, the idea of BKR making an album with Beenie Man, on paper, was pretty inviting. At some point along the way I got a look at the tracklist of "Eminence" and I got even more convinced that what I was thinking that it might be was going to turn out to be the case. I am no fan or expert of Hip-Hop at all but there's a certain quality that comes with these type of 'broader' releases and that's numerous combinations. There're a lot of people featured on "Eminence" not named Beenie Man and there are a few occasions that you run into songs that you presume will receive some run in more international circles... as expected. While I don't think that "Eminence" will necessarily get that type of outward PUSH, again, Beenie is someone who has attained a level of respect amongst international fans and I would expect quite a few of them to be interested in "Eminence". When/If they do get here, however, will they like what they hear??? 

Probably not ALL of it but some of it. Beenie Man does something similar to the aforementioned Pressure Busspipe and Chronixx with their most recent sets as "Eminence" arrives just a couple of days ahead of the completion of his fifty-third rotation of the sun. To start things off, he picks up nice singer, Rènata (who has her own album, her first, "Self Expressions", which just launched a few weeks ago) and they head to Miami and link up with Hip-Hopper, Rick Ross (I actually think Flava McGregor, himself, is also calling Miami home these days as well) for '305/876'. This tune reminds of an old R&B song whose title escapes me now (and I could just be wrong about that) and I have to say that it grew on me just a bit. Beenie drops a few wordy pearls ["Wi neva stop til wi hit di bullseye. Di baddest riddim play by Robbie & Sly"] and Rènata, with her somewhat unusual voice, definitely helps to light things up. I still don't LOVE the opener but it's probably better than I would have thought after my first spinthrough. Rick Rock returns later on, along with Rotimi, on the kind of meh 'Hat Tip'. This one is spiritual and it does have a BIG sound to it but 'Hat Tip' is a very average song and slightly behind the opener. For the album's second tune, Beenie pulls in good friend and long time collaborator, American R&B songstress Mya for, 'Don't Rush'. I don't know how many times these two have worked together and I don't feel like looking it up but SURELY their most memorable track would be the classic remix for 'Girls Dem Sugar'. 'Don't Rush' is absolutely nowhere near that level and.... I don't particularly enjoy it at all, REALLY. BY FAR the coolest thing about this one is that it seems to utilize a version of the same track that originally underpinned a song called 'That's The Way Love Goes' by Janet Jackson (who Beenie's also worked with in the past). That's it. That is THE best thing that I can say about this song but "Eminence" would have been more eminent had it been left on the cutting room floor. They could have kept 'Do It' as well, in my opinion. This song features American rapper, Lola Brooke, a name that is completely new to me anddddd, it also sounds kinda familiar, like some old song with a name that I can't quite put my finger on. This may just be my least favourite tune on "Eminence" altogether. Brooke seems to be a fairly straightforward rapper and talented enough (coming from someone who's never been a fan of the genre, admittedly) which isn't my thing but 'Do It' seems to... be offkey at times. The vocals, especially at the chorus, don't mesh really well with the music in my opinion and it just does not do a single thing for me. 

I may not know very much (anything) about Lola Brooke but the next name to join Beenie Man here is well familiar as is the song on which she joins as the spectacular Etana lends her ridiculous talents to 'Guide Over Us'. The first thing I thought when I saw these two together was probably about what a unique combination they made for. Though Etana has definitely branched out in recent times, Beenie Man + Etana still comes off as a little strange, doesn't it??  Maybe it's just me. Anyway. Their tune together is anything but "strange" and, instead, is fairly terrestrial (the video, on the other hand, is another story. You look at that video and try to make it make sense with the actual song... GOOD LUCK!. There is way too much ass in it to have some kind of correlation. The song, itself, is decent though surely nothing special but the very fact that these two worked together is an attractive point for "Eminence" - a pairing of genuine Reggae & Dancehall royalty. 

The big names continue to join Beenie Man for this album. Without a doubt, one of the finest such moments comes during the delightful 'Make Out' which pulls in R&B veteran vocalist, Ashanti and rapper, T.I. In the case of the latter, I'm pretty sure that the very first time I ever even heard TI's name was on a song he did with Beenie, maybe twenty years ago now by the name of 'I'm Serious'; so the two have a history together and Ashanti is no stranger to the spectrum at least, having mined gold alongside Machel Montano a few years ago on 'The Road'. 'Make Out' is VERY good. It's a beautiful summer-ish sounding type of song that finds just enough of an edge to not be too... sappy. Also managing just fine is 'For You', which is sort of a remake of the classic 'Anything For You' and, just as was the case on the original, this cut features several different names. Joining Beenie, amongst others are Snoop Dogg and Ele (who does EXCELLENT with his small contribution). There're almost TEN people on this track by my count and it isn't even four minutes long so yes, it does come off as a bit rapid but, again, it's a fun time and almost everyone manages to score well with the biggest credits going to the aforementioned Ele as well as Pamputtae. Reggae vet, Stevie Face, lends his gorgeous vocals to 'If I Follow My Heart' which isn't a total loss, I suppose, but it also isn't very good. Where 'Make Out' avoids the trap of being entirely too damn mushy; 'If I Follow My Heart' most certainly does not. It falls right into the hole. 

When the friends take a step back and leave Beenie Man on his own, "Eminence" shines its brightest... for the most part... arguably. Not included in that statement AT ALL is the wholly awful 'She's A Good Girl'. 

"Girl you born pon a pum pum farm!"

And that's all that needs to be said about that one. There's also the AIGHT 'Bands' with its big sound. 'Bands' actually has a place on this album because it is somewhat related to my favourite song here, that it follows. THAT tune is also kind of bragging about the levels that Beenie has attained (and nothing wrong with that. You did the work - enjoy it!) but it's almost vacant at times and I'll go into this more in a minute but there's a nice distinction to be made between similar songs and why one sticks out and another does not. Substantially better than both the songs that I just told you about but still a distance from GREAT would be the closer of "Eminence" 'Heavenly Father'. It's pretty much what you'd expect (sound familiar??), with Beenie offering up a prayer to close out on. Though largely unremarkable (a year from now, you will not remember it being on "Eminence"), it isn't fully devoid of any quality at all; it does have its moments, just not a lot of them. A step up from that (you see where this is going) would probably be 'Friends For Life' which finds Beenie touching up a classic riddim whose name I always forget. 'Friends For Life' actually has a bit of substance to it and one (or two) which I've been high on for years now. Appreciate people while they're in your life and make them know it because, "Nobody never promised tomorrow". I think more could have been done with this song but, to its credit, 'Friends For Life' does crawl out of its shell more and more as it progresses; ultimately with Beenie Man seemingly set out more to make a point than to make a song. 'Kingsteppa' actually made me smile and it was around here that I started to catch on what was happening DIRECTLY with "Eminence" (and not surprised by it at all). This one is an ode to Ini Kamoze's legendary 'Here Comes The Hotsteppa' and that vibe did something to my brain! It got me all nostalgia'd out (and my Wife too) and it's not going to change lives (none of this stuff is) but WHO CARES! 'Kingsteppa' is a damn good time! More good, fun stuff comes through on 'Marijuana in the Kouchie'. 

"And mi nah smoke cigarette cah mi nah waan mess up mi lung

Mi fit like a Honda cause e very morning mi run

To how mi love Mary Jane it cause problems with mi and mi hun

And mi nah memba and ah hum, mi just ah hummmm"

Across another classic riddim, 'Di Doctor' absolutely glows and 'Marijuana in the Kouchie' represents one of the all too infrequent times where it appears that he is genuinely having a great time (again, more on that in just a second). The results stand up for it as, EASILY, it ranks as one of the biggest highlights from "Eminence". Even better is the damn infectious 'Doll'. The vibe on this one is just perfect for what it is and also showing up is the wordplay. Songs like this don't tend to leave much of an impact but there is a difference with 'Doll'. It's a fairly straightforward but ALL SORTS OF FUN gal tune and it scratches an itch that "Eminence" definitely needed taken care of. THE most eminent moment of "Eminence" is the song that I alluded to when I said, "I'd also think that he'd look to make a big statement in the Dancehall. Something proclaiming himself as KING (remember that)". This the HAMMER of this album. It doesn't really have a set course but Beenie does provide what I believe is the punchline of "Eminence":

"Mi nah go nowhere"

As a testament to his longevity (and around for SO long at such a high level. He now has peers in Dancehall (or whatever that shit they make these days is) that were not on the planet when he started making hits and he's older than their parents) and efficiency, he tears into 'Immortal' unlike anything else present ["Over two-thousand hit song. 'Sim Simma' and 'Romie', unuh choose one"] and, again, provides us with a most needed thrill in the process. BOOM!

Two things I want to touch one about the balance of this release. When Beenie Man is, in my opinion, at his absolute best - yes, he's impressive lyrically and he makes a really catchy and flaring brand of Dancehall but it's also ENTERTAINING. He doesn't take himself very seriously at all (he's the ever iconoclast to Bounty Killer's rough and gruff style) and it's a BEAUTIFUL quality that comes through in his music when he's really on his game... just ask Romie... and his big fat sister Naomi. You don't find a lot of that during "Eminence", unfortunately. A song like 'She's A Good Girl', for example (and it's the final time I mention it, I promise), is playful and it's dirty as hell but it isn't really fun to listen to outside of it being awful. The approach actually sounds a little RIGID and formulaic and it isn't alone in that. Also worth mentioning is the preponderance of familiar sounds. All of the old riddims and melodies that come through seems like the intent was even more so focused on capturing that international ear. As a more hardened head I don't have much of a problem with that particular aspect --and it works better in some instances than in others-- but, along with the various names involved, it's another piece of evidence as to exactly what was the thought behind "Eminence". 

Overall, I don't want to seem like I'm being too hard on this one because it's not far, at all, from what I presumed it would be when I saw the tracklist in terms of quality. I wasn't expecting "Eminence" to be some fantastic, best of the year type of album and it most certainly is not; it's right in the middle. Some of it is (one of it) is truly bad, some of it borders on the spectacular and MOST of it is somewhere in between. That's something else that sort of gives me that inclination that it best stands as a "victory lap" type of set and... hell, he's earned it. While you will neither find Beenie Man at his best or anywhere near it on "Eminence", consistently, but what you will find, in spots, is the handiwork of an undeniable, bona fide legend and one who is, OBVIOUSLY, at a point in his career (and has been for years) where he is well aware of his stature, and he should be.... but you knew all of that already. 

Rated: 2.65/5

Billboard King Records

2026

It's Not Too Bad: A review of Too Too Bad by Buju Banton

Lineage? It is a beautiful thing that each and every case is different, as my expectations and anticipations going into every album that I listen to are never the same. Some are the realization of years and years of waiting; while others get here before I even knew they were on the way. TIME definitely helps to build hopes. Maybe that particular individual hasn't released a project of any type for quite awhile or, if they have, maybe the latest creation is with a certain producer who they haven't worked with in a long time or is of a certain style that they haven't touched in some time. As of right now, the last review that I wrote was of an album by the name of "Heights Of Fire". "Heights Of Fire" was the first album Capleton had done in SIXTEEN years. Absence definitely does make the heart grow fonder. Another thing that might help the water boil is a little thing called TALENT. Once upon, not long ago, Sizzla Kalonji and one or two of his peers would release three (and sometmes FOUR) albums in any given year and... I REALLY looked forward to each and every one of them. Every. Single. Time. Sizzla was my favourite (historically speaking, he still is) and I'd been thrilled by his work enough to the point where I had no problem sitting through and sifting through some of his less than stellar work because the golden carrot of a generational type of release was always out there for him (and, at his best, he rewarded me for my loyalty). Also, given Reggae's hesitancy for promoting itself, something else that tends to catch the eyes and ears is when you actually do come across a release that has a solid amount of publicity behind it. This can work in a few different ways: You can have the unthinkable, which is an actual label doing their job and propping up an album and giving it a nice buzz prior to its release; you can also have the more usual word-of-mouth type of hype surrounding an album which, obviously, will exist both and ahead and well after its release date. Take all of these things and you have a situation where I'm struggling to wait to wrap my brain around a record an... you could even throw in something like... oh, I don't know... maybe even the album's title will make me eager to hear it as well. Any one of these things can do the trick (I'm not too hard to please). 

2006

Now, hypothetically speaking, what if we had an album which, in one way or another, actually checked off every one of those categories? It hasn't been a very long time sense Buju Banton last released an album. Three years ago was "Born For Greatness" and three years prior to that was "Upside Down" (there was a decade-long gap between it and "Before The Dawn" just ahead of it but let's not talk about that today). So he's been fairly active and productive. HOWEVER, we're going to back TWENTY years for the last time Buju pushed a project that was billed as a full, heavy Dancehall oriented set. It was very well regarded and is probably best remembered for carrying 'Driver A'; while also featuring GEMS such as 'Hey Boy', 'Try Offa Yuh', 'Your Night Tonight', 'Jig' (which I just listened to for the first time in who knows how long and I do not recall it being THAT good) and personal favourite of mine, the absolutely slaying 'Til It Bend'. Oh yeah... that album was called "Too Bad". 

Time-X. 

Anyone sitting down to read a review of this length is probably going to be familiar with Buju Banton's work to some degree so I will not stress just how talented he's been but I will say that it is COMPLETELY fair to make the point that his has been one of THE biggest names in all of Reggae music (and I would even go as far as to say in all music made by people of African descent) for the better part of the last THIRTY-FIVE YEARS or so. The industry has responded accordingly and his albums are uniquely promoted. They tend to land, in my opinion, somewhere between some big international release (think Sean Paul, Shaggy etc.) and the aforementioned Capleton or Sizzla at their best (think "More Fire" or "Da Real Thing"); his releases seem to simultaneously grab an appreciable level of respect from both music scribes and mroe hardcore fans (and, in Buju's particular case, he seems to get quite a bit of respect within the Hip-Hop community as well). Evidence of this can best be found in the fact that Buju Banton has been nominated for the Reggae Grammy Award for Best Album on SEVEN occasions, having won it in 2011 for "A New Dawn".  Buju's also worked with a number of big labels; most recently his work has been released through a relationship with VP Records and his own Gargamel Music. (and I just mentioned "More Fire" & "Da Real Thing": Both are VP projects). who've done a find job in getting the word out for his new albums.

Talent-X. Publicity/Word of mouth-X. 

Enter "Too Too Bad" [Album title-X]. I want to say that it was maybe later on in 2025 when I first got word that Buju Banton was coming with a new album (it may've been earlier, actually, but it was definitely before 2026 began), which was definitely good news on its own. As the information developed and we got an official title, "Too Too Bad" was hyped as basically a sequel for the aforementioned 2006 killer, "Too Bad", and not just in title, alone. Like its elder sibling, "Too Too Bad" would be a heavily Dancehall-centric release, featuring the handiwork of such respected maestros as Di Genius, Supa Dups, Ricky Blaze, the great Suku from Ward 21 and others and... that was it for me! I was COMPLETELY sold! The few early bites we got from the forthcoming meal were also legit and seemed to signal that, indeed, a worthy followup to "Too Bad" was in the offering. Not to dwell on it too long because you probably know the story to some degree but (much like Capleton, actually) Buju got his start in the Dancehall, where he was also one of the biggest names before shifting to more Roots focused material. (Also like Capleton) He has found HUGE successes working under both spectrums and, typically, his albums may lean one way or another but they'll feature elements of both subgenres. His most recent work, 2023's "Born For Greatness", also carried a bit more of a varied and open sound and it wasn't his best piece of output and, ahead of that, was 2020's "Upside Down", for which pretty much the same could be said. For me - if you want to hear the last TRULY GREAT release from Buju, we go back to "Rasta Got Soul" from 2009 (and I'm skipping over "Before The Dawn" from 2010 which won him his Grammy), so it's been awhile (again, respecting that decade where he was... not releasing albums) but, going into "Too Too Bad", I was FULLY expecting that trend to come to a halt. Does it??? 

Nope! It most certainly does not. While I can report that "Too Too Bad" is pretty good, I don't think that I can honestly call it a GREAT album. That's awful after all of that^ buildup and anticipation and I will try my damnest to make sure I don't make it seem like it's bad at all as, in the end, it proves to be a good, fun time of a Dancehall album. A PRIME example of my feelings of Buju Banton's new album "Too Too Bad" can be found on its very first track, 'We Nuh Play'. I think I was expecting something a little... maybe on the harsher side of things in terms of the sound but this tune, which checks in over a cut of the Diseases Riddim and is aimed at bullies and people who think they can intimidate and threaten their way through life, is far more lyrical and DEFINITELY has its moments ["To breathe in and out, dat a my daily trod. To survive these streets and no get no toetag"]. 'We Nuh Play' is also THE baddest moment that I found on "Too Too Bad"... but I don't know that I LOVE it, necessarily. The kind of bitterness that I was anticipating on the opener is found in spades on the second tune, 'FAFO'. An acronym for the increasingly popular (or maybe it's already peaked) "Fuck around and find out" saying, 'FAFO' definitely is more on the harsh side of things, although in a minimalistic way (that riddim has a golden simplicity to it) but it's almost not even there! Coming in at just over a couple of minutes, 'FAFO' probably could have been a bit more! What is here, however, is very solid and serves up a bit of an early BITE for the album. That vibe continues (pretty much everywhere) on the next tune in, 'Eye 2 Eye', but in a different way.  This one is a 'gal tune' and it's... okay but the star of that show, without question, is the infectious riddim courtesy of Silent Addy & Disco Neil. It should also be mentioned that 'Eye To Eye' is COMPLETELY in a rush or something because it's not even TWO MINUTES long. Speaking of riddims, the world famous and CHILLY WYFL Riddim (that thing is ICE COLD!) underpins one of the best tunes on the whole of "Too Too Bad", the KNOCKING 'X-Rated'. This one? You won't get a damn thing out of me in reference to. It is original "Too Bad" quality, EASILY, and likely the best song on the runback not named 'We Nuh Play'. Biggup collective producers, DJ Mac & CrashDummy for what they did on the mightily ambitious WYFL. It seems like it's been a long time (because it likely has) since someone has done such a project in Dancehall and it worked out (even got PAPA SAN involved!) (WHAT!) [BOOM!]! And SINCE I'M HERE.... I might as well mention 'Good Pum Pum' (not in general. it's an actual song title), a song that is MUCH better and more detailed than I was thinking it would be. 

The tune is a... just not what I was expecting and, to that end, I suppose it's actually better. It comes across FAR stronger as a kind of a relationship piece rather than a sex song which is what I (and You) were thinking it would be. And while I won't call it one of the BEST selections on "Too Too Bad" its simple curiosity angle is definitely amongst the highest here. 'Like You', despite its thinness, on the other hand, is EXQUISITE. Let's talk about this one for just a second. If you take away the little 'lead-in' portion and the 'let-off' at the end... there're probably 80-90 ticks worth of actual lyrics in 'Like You' in full. That's it! It's all over SO damn quick that it's almost jarring. However, as I said, Buju makes the best of the moment (as tiny as it is) and delivers a real winner across a damn colourful track via DreDay. Longtime Buju Banton par, DJ Khaled unsurprisingly makes an appearance on "Too Too Bad" as he lends his services to the very familiar 'Wild Woman' (and TECHNICALLY Notch is also here) (biggup Notch). This one has an inherent extra interest to it given that 'Wild Woman' is a kinda/sorta remake but it's just okay. I did like the sound (biggup Tony Kelly) and it is definitely good time though. Considerably better would be 'House Call'. Having just covered Tony Kelly, 'House Call' actually sounds like something out of Dave Kelly's catalogue (it has GRUMBLE to it which has convinced my ears and brain that 'Boom Boom', a tune by Baby Cham and Rihanna, is about to break out) but it is a BEAUTIFUL creation of Di Genius, actually. 'House Call' is both the type and quality of song I was expecting throughout "Too Too Bad" and I was damn happy when I came across it. I'm going to ahead and pull up the similarly licked 'Heavy Hitters'. I'm not too fond of the beginning of 'Heavy Hitters' and the chorus is a bit awkward. EVERYTHING else about it, ESPECIALLY the delivery, is candy. It is delightfully old school Dancehall pitched and, when I sift through it all, a potential gem of an offering rests within. 

The balance of "Too Too Bad" is on somewhat of a different vibe and, within the four tracks, they register with varying levels of success in my opinion. Check the almost Stephen Marley-ish 'Be Good'. I do not love 'Be Good' but I do enjoy it quite a bit more than I did initially. Early on, I think that I was trying to overcomplicate it and attempting to draw something out of it that was too damn hard to find (because it wasn't in there) (I'd still be sitting here looking for it, wondering why I couldn't find it). Taking it on a more surface level (not COMPLETELY but more than I was), 'Be Good' is simply nice to listen to and it brings a lovely message. It's pretty easy to be good to people and when you find that it's hard to be good to someone - maybe it's time to move on. American Soul singer, Ari Lennox, has a name that I don't think that I've come across before and she does have a very nice (and INTERESTING) voice to her which she puts on display via 'Satisfy Me'. Unfortunately this is my least favourite song on this album; I don't like it at all. It's harmless, standard R&B fare and it just doesn't do anything for me in pretty much anyway. 'Butterflies' most certainly does do something for me. The previous single is a large standout on "Too Too Bad" and obviously Buju and co. knew precisely what they had on their hands with it. 'Butterflies' is all sorts of compelling and not just because it's a beautiful song. It's also unusual in being somewhat of an aggressive love song and it's gone on to provide "Too Too Bad" with something of an early signature. 'Butterflies' is worth every bit of acclaim that it's gotten and will get in the future. Lastly, Buju taps another frequent friend of his, the venerable Gramps Morgan, to join in on the festivities with 'Power'. Try as I might --and I tried and tried and TRIED-- I couldn't get into 'Power'. Certain aspects of it sound like a vibe; like it was created on a spur of the moment but the sound is STRANGE. It never really accelerates or takes a step back. The song plateaus fairly quickly and it just kind of stays there. Full credit on that riddim, however. That thing is excellent musicianship. 

I have a ton of things on my mind before I close this out and I'd like to take a look at one or two of them, quickly. The first is definitely the LENGTH of the album. "Too Too Bad" has thirteen songs which, collectively, take just THIRTY-FIVE minutes. That's it. From the time you start 'We Nuh Play', to the end of 'Power', it's just over half an hour (and they knew it, I think, because the physical disc has another couple of songs on it). OF COURSE I wanted much more, even if "much more" in this instance would have meant tacking on a few other (likely short) songs, I would have been happy with that. Secondly, despite the fact that it is so short, I really wanted to spend time listening through this one intently because, as I said (or at least I think I did. I don't feel like going back to make sure), I wasn't thrilled with where my opinion was headed in regards to "Too Too Bad" and I REALLY wanted to LOVE it. Having scrutinized it now even more than I usually do and seeing my thoughts of certain songs and aspects go up and down, I think I've arrived at a place where I'm most comfortable about how much I truly like this release. 

Overall, I've used the word before, surely, "Too Too Bad" is FUN. It is most definitely a good listen and damn entertaining; a suitable followup to the original "Too Bad". How good it is actually is another question. Unsurprisingly, fans have reacted very well to it early and the impressions (for the most part) have been positive but I can't help but to feel that it could have been even better. This will not be the last Buju Banton album and I don't think it'll be the final Dancehall album he makes either; they'll do this again but I think that if you come here looking for that landmark next release, you will not get it. What you will get is a set that is compelling from beginning to end and ACTUAL DANCEHALL MUSIC (which is both always fun and increasingly rare as hell) from one of the greatest we've ever seen after a buildup that forecasted something SPECIAL might've been in the offering. "Too Too Bad" isn't quite special but you also don't want to miss out on what is going on here. 

Rated: 3.5/5

Gargamel Music + VP Records

2026

Lion D is a Rebel With A Vibe!

"Rebel With A Vibe" by Lion D [Bizzarri Productions - 2026]

Okay so, do you remember Lion D??? A ridiculously long SEVENTEEN years ago the flaming Italy based star (born in the UK to an Italian mother and Nigerian father, the story goes) would come out of virtually nowhere to take our top honours with 2009's album of the year, "The Burning Melody" (pretty sure he didn't even make the list of anyone else that year which, of course, means that EVERYONE ELSE WAS WRONG) (ALL YUH!). Since then, we'd also talk about him in regards to subsequent releases, all of which were at least pretty good -- one of which was EXCELLENT -- and I've at least tried to make an attempt to keep up with his output. Well, Lion D's been 'outputting' in the first half of 2026. After dropping a pair of singles in the past couple of months or so, Lion D has now tacked on four other tunes for a full EP release, "Rebel With A Vibe". Like much of his work, the EP comes via Bizzarri Productions (biggup Bizzarri) who've always provided Lion D with a luscious mixture of modern Roots and a slightly more older era Dancehall (like... 90's Dancehall) and, as usual, he shines. Let's talk about it a little. 

{Note: Typically do things like this track-by-track.... but I didn't feel like it. I just finished a tbt so, let's mix it up today. Here's a mini-review}

Getting things going on Lion D's brand new EP release, "Rebel With A Vibe" (great title!) is one of the previously alluded to early singles, the all sorts of fun 'Tun Up The Sound'. This song is likely exactly what you're expecting it to be. It's just a good time to be had in the celebration of sweet Reggae & Dancehall which is the Lion's precise area of expertise, so you know what you're getting into in terms of quality... and even if you don't, the actual song is probably in here as well, so you can just listen to it! I'm going to skip ahead to the very similarly vibed 'Sound Murderah', another selection whose title definitely speaks for itself. Just like the opener, 'Sound Murderah' is also very good (may even slightly rank ahead between the two, actually) and it's a good time. I don't know if this is what they were building towards in its day but 'Sound Murderah' actually dates back a couple of years or so but it fits perfectly on this release as. With that being said, however, though both 'Tun Up The Sound' & 'Sound Murderah' are both very good, it speaks to the total quality of this set that every other tune on it is at least a little better than both of them. 

Want an example? How about 'Mind Over Matter'? This track, the other pre-release single from the EP is absolutely GLORIOUS and though serious challengers are to come (one in particular), by the slimmest of margins, it's my favourite song present here as the Lion THRILLS on this golden perseverance anthem ["Music mi use, mi nah fret fi speak up and dem caan cool it dung when mi tun di heat up"]. So many times we hear songs like this which may be very good (may be even better than this one) but they're done in more of a RIGID type of way. This isn't rigid at all. 'Mind Over Matter' is flexible, malleable, EXCITING modern Roots Reggae music and a fine lyrical performance as well. Check the first of a pair of combinations from "Rebel With A Vibe", 'Deliver Me', which taps the services of Mandinka. I've come across Mandinka's work a number of times over the years (probably most notably on a WICKED song he had with Skarra Mucci back in da day) but still know very little about the man. I should probably do something about that but until then, 'Deliver Me' is fantastic. It almost reaches a similar destination as 'Mind Over Matter' but arrives there in a far more spiritual vessel.

"Lord! Dem dutty heart and dem friendly smile

DEM BOY A FOES IN A FRIEND DISGUISE!"

Grrrr. For his part, the baritone voiced Mandinka casts anchor in the tune's second half which then begins to GLOW in its latter portions with an almost Dubbish type of an effect at times. I'd listened to this one several times before writing this review and I'll tell you - even though I'd held it a high esteem, 'Deliver Me' is even better than I initially thought. Also joining Lion D on "Rebel With A Vibe" and lending their talents is Mellow Mood, with whom I am a bit more familiar, also from out of Italy, who give a hand on 'Last Man'. 'Last Man' has an inherent flaw to it; there's something immediately wrong here: The song is just too damn short and what happens to it is that it almost ends abruptly and you're just... kind of really beginning to REALLY get into the vibes. For what it is, however, 'Last Man' is sublime. It's joyous and FUN and just a beautiful vibe for the soul... just wish there was more of it!

I could also go for a bit more of 'Pretend' if they wanted to make it but, with north of half a minute more body than 'Last Man', I'm relatively happy with what we get there. 'Pretend' is the second best track on "Rebel With A Vibe" in my opinion. It is absolutely outstanding. Coming through on some.... let's call it Conscious Dancehall, while the subject matter of 'Pretend' may be heavy (he's talking about dealing people and situations who may not be what they project themselves to be), the actual vibes are very LIGHT and pleasant. It is Lion D himself, however, who steals this show as he TORCHES this infectious vibe with a lyrical display and delivery which is somewhere beyond top notch for the full ride. 

 

"Man haffi stay alert, ah open up mi eyes wide

VAMPIRE DEM WALK OUT AFTER TWILIGHT

Inna dark, Jah Jah light still ah shine bright

Fadda guide and protect so mi alright, my Lord

Dem no waan si mi have mine

So dem ah fight mi, nah stop gimme hard time

MI AH SOCIALLY-DISTANCE MISELF FROM DI BADMIND

Stand alone like an island, alright"

"Likkle but mi tallawah 

Dem ah wonder how mi do it, mah ah lead, mi nuh follower

Some ah show dem true colour

Dem ah play hypocrite, dem deh ting mi get tired of

No respect nah no manner

Dutty heart just behave and ah smile fi di camera

Dem caan run dis ya marathon

Dem caan play mi like fool, mi move wise a Solomon"

"Nuff a dem no real, a gwan like dem a showman

Talk a bag a ting, dem a full up wid too much slogan

A Fadda God alone, a mi nuh fraid of no man

From mi a likkle pickney dem ah try fi diss di program"

Overall, we'll sit "Rebel With A Vibe" as EASILY one of the year's finest EPs thus far and not that the competition on that front has been tremendous in the first half of 2026 but I wouldn't be surprised if it took top honours at the end of the year as well. There's just something about Lion D's style that resonates with me and has from since I started listening to him There's a certain level of intellect and aptitude to his words so he gives you something to think about but, at the same time, he's very cognizant of the fact that he's making music and that it should be entertaining. Therefore the link between Lion D and Bizzarri has likely been one of the most effective and productive that I've come across in recent years. Sure... I'll take that next full album whenever it's ready but, until then, "Rebel With A Vibe" continues to demonstrate their winning ways that were established around here sixteen years ago. EXCELLENT. 

Signatures Vol. XIII: Vybz Kartel

 

I think I have a unique perspective on this one. Considering the fact that I, effectively, ceased being a fan of Vybz Kartel... maybe some FIFTEEN YEARS ago, the idea of doing a Signatures feature on him represents a classic run and, I'm predicting, A LOT of fun. When Kartel rose to prominence surely no one could have predicted either of the two main things that would follow him: The seemingly endless line of controversies and the heights that he would reach. To my opinion, those heights were made possible because of the tremendous level of SKILL he displayed so early on during his career; the likes of which (in one person), the Dancehall probably had not seen up until then. Today we celebrate a so very, VERY rare talent. Signatures: Vybz Kartel.

1.'Send On'

Heavenly & Celestial. While it is virtually impossible to remember the work Lenky has done in the music, in general (and still is), highlighted by the immortal Diwali Riddim; what immediately followed that track has remained in my mind as well. In 2003, the ace producer would set forth the Time Travel which would give birth to at least solid tunes from the likes of Ele, General Degree, Bounty Killer, Determine and Assassin [Agent Sasco]. The riddim was a damn joy as it changed and changed again into variations for several of the vocalists. With all of that being said, however, the sitting Monarch of the Time Travel Riddim was Vybz Kartel who blessed it with its MASSIVE herb tune, 'Send On'. TECHNICALLY 'Send On' was fairly straightforward in what it was but when you actually dug into it, there was nothing "simple" going on here. 'Send On' was kinda ridiculous. It was high-tech. It was out in the stars somewhere as Kartel sent on a brilliant torrent of words for the ages. It stands as EASILY one of the best he's ever done, having few in the way of peers. This was polished, refined and streamlined Vybz Kartel at his hypnotic best across one of the finest compositions that he ever touched. 

2.'Robbery'

This ain't serious. Vybz Kartel would have some rare, good-natured fun with some of his peers on this oft-hilarious track from the "Up 2 Di Time" album, 'Robbery'. This tune was the heights of creativity as Kartel took on both foe and friend as NO ONE, not even BERES HAMMOND (who was "first pon di list"), was safe from his bout of kleptomania. The true joy of this song was how he made his way through calling up well known phrases/songs/facts about his prey in the process. Bounty Killer, Beenie Man, Buju, Ele, Sizzla Kalonji, Don Corleon (who produces the song), Wayne Marshall... and so many others were forced to be careful where they sat their valuables as Kartel was out for EVERYONE. He saved, in my opinion, his funniest run for Roundhead (always did like Roundhead, very underrated, in my opinion:

"Rob Roundhead widout a gun

Tek him chain and run

HOW A 400lb MAN FI TRY RUN MI DUNG?"

3. 'Badda Dan Dem'

Mi no care. There was a backstory to 'Badda Dan Dem'... kinda. When Kartel came to prominence, he did so, largely, alongside Assassin (now Agent Sasco). They weren't friends (at least not as far as I know) or enemies but they came up together so, like Beenie & Bounty and Busy & Aidonia, they almost continuously drew comparisons to one another. 'Sassin dropped a tune by the name of 'We a Bad From' and, here came Kartel with a song called 'Badda Dan Dem' whose punchline was:

"MI NO CARE WHERE YOU BAD FROM"

So, CLEARLY, it was a response to Assassin's song, right?? I don't think that question was ever answered officially by Kartel but everyone took it as a direct reaction; to the point where Spragga Benz, Sasco's mentor, took offense and reacted with his own tune/s aimed at Kartel (some of which was VERY good) in defense of his protégé (I don't think Sasco, himself, ever responded). Not to pick sides (a hundred years later) but Kartel's first reaction/non-reaction, 'Badda Dan Dem' was fantastic. Gifted with the downright STRANGE (in a good way) Kasablanca Riddim, Kartel PLAYED. It isn't here just because of its covering a significant occurrence in his career but it's also... MAYBE top five here as well.

4. 'Slow Motion'

Put a smile pon mi face. The undeniable changeup here, 'Slow Motion', whether it was realized or not (and it wasn't) was special. Listen to this song maybe two times and you don't really need to play it after that because it becomes GLUED into your memory. The great Tony Kelly supplied his Street Bullies Riddim to Kartel (courtesy of Shaggy's Big Yard) and returned to him was an infectious DIAMOND of a tune. Its course was pretty different than most of the tunes that you're going to see here: No one was killed, no one is smoking anything (...well, they are but that isn't really the point here) and nothing X-rated is going on and 'Slow Motion' was still a major winner. 

5. 'Kill Dem All'

And dun. While the origins/inspiration behind 'Badda Dan Dem' may or may not be in question, there was no mystery at all as to who the intended victim of 'Kill Dem All' was. This tune was probably the best of the back-and-forth Kartel enjoyed with Mavado many years ago (which I now remember quite fondly. It was fun!). Many times, such interactions don't really produce THAT good of material (see Sizzla v Khago) but 'Kill Dem All' was scintillating. It was ridiculously aggressive. It was a damn movie scene of a song (it was the part where there's the crazy chase with everyone shooting at each other) captured nearly PERFECTLY by TJ on his epic Beauty and The Beast Riddim. Though he'd hit a point where he'd kind of swear them off completely (because anytime he made one, even one that was super generic, it would give birth to ten different counteractions from people who would not otherwise get that type of attention) Kartel's gun songs, for what they were, were mightily inventive. Whether specific or broad he almost always hit his mark and 'Kill Dem All' was not an exception. 

6. 'Nah Climb' featuring Ward 21

Rise up. While I'm not finished compiling this list just yet (I think this is tune #8 and I have two more already set, going to add another three or four), chances are fairly decent that 'Nah Climb' is probably going to be the only combination that it features. When I first had this idea, 'Nah Climb' was a definite for it as I can claim it to be, arguably, THE funnest tune Kartel has ever made. Joined by the loonies at Ward 21, and nestled SNUGGLY into Jam 2's GORGEOUS Amharic Riddim, 'Nah Climb' is one of the songs on this list at least in the discussion of being my favourite Vybz Kartel song, period and that is largely due to just how exciting and BEAUTIFUL it's been. I was hooked the very first time I heard it and, all of these years later, my addiction remains as strong as ever.

7. 'Up To The Sky'

Don't drink & drive.

"Dung inna Waterford

A that's where the ganja load

A cellblock ah press it til it flat like a board

Di next episode: Pon di plane on it fi load

Di pilot and di flight attendant dun know di code

And then, never hitch, lock off di x-ray switch

Dog nah waste fi sniff, cause a di plane time fi lift

And if mi hundred-thousand pound about a million spliff

Money high like di cliff

Man haffi shot di sheriff- 

Inna di sky

Don't drink & drive

Smoke weed & fly"

While 'Up To Di Sky' has largely gone forgotten, and that hasn't been unexpected, anyone who came across it during its day will surely attest to its prowess. Like several of the tunes you'll find here today, this one so wonderfully exemplifies what Vybz Kartel did at the height of his powers. He could be so PRECISE but it was done in a... GRIMY kind of way. It was polished and it was refined but it wasn't like he learned how to do it, it's just something that he came up with. 'Up To Di Sky' was almost messy in some respects but DAMN what a performance it was at the same time. 

8. 'Proper English'

Is it? SURELY a large chunk of my affections for 'Proper English' and why it appears on this list goes to John John who supplied Kartel with his blistering Nookie Riddim, over which the deejay would deliver this X-rated masterpiece. I listen to songs like this and hear lines such as:

"I'm poor but when I fuck pussy, I feel rich"

And I wonder/hope if/that people can appreciate the creativity (they can) that it demonstrates. It makes you chuckle when you hear it. It makes you smile and, if you really tuned it in, what you heard in 'Proper English' was next level material. Dirty as all hell? Yeah, sure; but also something that stuck with me.... twenty years on. 

9. 'Solomonic Chronic'

Big & iconic. 'Solomonic Chronic' found Kartel making his play for most dramatic weed song of ALL TIME. Something was wrong with this one... I mean seriously fucked up. You're not supposed to have weed songs that, literally, sound like they could be playing behind an action sequence in a movie. They just aren't supposed to be like that but that was EXACTLY what happened with this one. Essentially lost to time by only being found on an obscure 2008 album by the name of "The Teacher's Back" that was only released in Japan (and never went), 'Solomonic Chronic' has likely not been heard by many of his current fans and that's a damn shame because, within its TRULY ridiculousness, this song was had MAMMOTH chunks of genius. 

10. 'Murderer'

Hot coffee. If no one was harmed on 'Slow Motion' and took a moment to cease the violence and put the guns down, that time is over now. Pick up your gun and aim it at absolute anything in your sights and fire at will. Songs such as 'Murderer' have an outlook which is, of course, hellaciously violent; then you look (and listen) into it further and you arrive at realizing JUST HOW FUCKING BRILLIANT IT IS.

"Mi have gun weh work wid pin-number like Nokia chip

Shot contagious like disease, try don't catch it

Head buss like bicycle wheel, try don't patch it

Mi gun dem land plane and turn over ship"

What the hell is that?! Somewhere in this song, which came across the French Vanilla Riddim, is a word-perfect display that... maybe three or four artists in the history of the Dancehall (literally talking about Kartel, Papa San & Aidonia), ever, could have delivered in the way you hear it done here. 

11. 'So Me A Say'

Like Calypso. The wordplay, alone, on 'So Me A Say' is FLAWLESS. This tune, which featured on his opus, "JMT", and was produced by the great Don Corleon came with a downright ADORABLE riddim which sounded like something out of the 1980's, Beverly Hills Cop-style and was brilliantly crafted into Dancehall by one of its greatest maestros ever. For his part, Kartel did not miss a beat and the song, although kind of RIGID (and I mean that in a good way. It's almost he's following a pattern in his head. It isn't the craziness, you'll hear on... something like 'Murderer', for example), that kind of attention to detail almost helped to take it to another level in my opinion. 

"Don, how you wicked so?

You get props from DJ Wayne, Colin Hinds and Liquid so

How the gun pon yuh hip big so?

It make boy haffi jump and prance like Calypso"

"Perfect" is a word to be careful with (though I've found myself using it more than couple of times now today) (I like how I say "today", as if it didn't take me week or two to write this thing) but the lyrical display you find on 'So Me A Say' was wholly without blemish. It was perfect and it may just be my favourite song that he's ever made.

12. 'Kartel Reveal It'

Knock dem out like Riddick. From the very second 'Kartel Reveal It' jumps in, you just KNOW that you're about to hear something TRULY special and it does not disappoint. The KNOCKING composition behind it, nurtured to perfection by Jam 2, provides an enthusiastic backdrop over which Kartel aims at enemies far and wide and does so brilliantly. 

"Dem ahgo dead this minute

Sink dem like Titanic"

There was always something SINISTER about 'Kartel Reveal It' as well. You're likely to find other gun tunes on this list (one in particular I've already chosen) but they have an element to them where... the entertainment aspect is stressed. 'Kartel Reveal It' has that as well at its minimum but it also just seemed like Kartel was kinda pissed off! 

13. 'Wosen'

Girls like mine. I wouldn't think that you'd find this almost obscure now tune on many lists such as this one but there is just something about 'Wosen' that has stuck with me over the years. Maybe it's the very odd Diesel Riddim that it goes on? The Diesel was, just as its name suggests, kind of obese. It was CHUNKY! It didn't get around very much and, off the top of my head, I'm struggling to come up with anyone else who even remotely did damage on it (and now, after having looked it up.... no. No one else did). It doesn't get around very much and it would take someone TRULY gifted to produce magic on it (and that isn't to say that it is necessarily a bad riddim but it comes across as very difficult to ride in my opinion). Fortunately, they (I think Galaxy P made this riddim) enlisted the help of one Vybz Kartel who would BLESS the track with 'Wosen'. This song was everything that it should not have been. It MOVED. It was agile and it was so not in an uncomfortable way (if you do want to hear uncomfortable gal tunes on the Diesel (and you do not), check Galaxy P's own offering, 'Tickle Her Fancy' which is awful). 'Wosen' is not in the upper echelon of songs on this list and there're tunes MUCH better than it in his catalogue that I cut off of this list ( like 'Weed Partner') (and 'War Naah Talk Over') (and 'Ride In') but, given the circumstances, it ranks as one of Kartel's finest performances altogether... but no one knows it.

14. 'Badman Nah'

1. 2. 3. 4. And finally, if this list is meant to be a celebration of SKILL and TALENT (and it is) then it would be incomplete without the infamous 'Badman Nah'; one of the absolute FILTHIEST displays of ability that I have ever heard in the Dancehall.

The Vault Reviews: The Bellyas Riddim

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. 

Rated: 3.5/5

Greensleeves Records

2001