Respect. FULLY: A review of Power Shift by Dezarie

Rotation. Respect can be a very interesting thing to consider for and endless number of reasons. Something I find most captivating about the concept is the fact that, though it is entirely immeasurable and subjective, it can also be very easy to spot as well. You may see a tiger on a very hot day walk up to a little lake and, very carefully, take a drink and go about her day. Why not just go into the water? Because alligators live in that lake and she doesn't want those kind of problems. Maybe she has her cubs with her as well - she has just taught them that RESPECT can be as powerful and as clear as the stifling heat they're seeking relief from. Specifying things, let's take a look at respect within Reggae music. You know a guy named Moses and you know another one named Rodney. Moses is, universally, more well know. He's more popular. It's a matter of fact and not opinion: More people know BEENIE MAN, than BOUNTY KILLER. Who is more respected can be another case entirely but, if we're talking about more hardened fans and people who actually produce this stuff, the answer is probably Bounty as evidenced by the countless names of artists who came after him (those who made strides in music and those who did not) crediting him as being a major influence in their careers. Bounty Killer was a bad ass. When you were a kid, that's the guy you wanted to be. Getting even more specific, I can recall a time... maybe a quarter of a century ago at this point, when I knew the name Midnite but I wasn't much of a fan. I've talked about it quite a bit in the past (and will certainly do it again in the future) so I won't delve into it too much but "MIDNITE" was something I didn't particularly understand. What was crystal-clear, however, was their appeal. By comparison, they were nowhere near as POPULAR as some of their Jamaican peers like Sizzla and Capleton but the Virgin Islands outfit enjoyed such a powerfully dedicated, loyal and FAITHFUL fanbase. To me -- at the time and still today, looking back at it -- that was a sign of RESPECT. That the Benjamin bros. and company, in their ascension had, perhaps in a way that we had never seen before or since, gone from the 'underground' to being something very difficult to ignore... even for a young, naive 19-20 year old like myself. And I can actually recall later hearing from some of their Jamaican peers (like Lutan Fyah, for example, if I recall correctly) how their work had traveled and just how appreciated Midnite had become. That is a DEEP level of respect and admiration. 

2025

And Midnite came bearing gifts. Along with indirectly opening doors for forthcoming talents from out of the Virgin Islands (and directly via putting some of them on their songs and live shows), including Pressure Busspipe, Midnite DIRECTLY had a hand in introducing a downright monstrous talent by the name of Dezarie to the foreground as well and her rise to prominence IMMEDIATELY resembled their own. You could very well make the case that the level of esteem that Midnite had earned by the early 2000s had put Dezarie in a fine position to succeed as they began to lift her up and that would be more than fair but that wouldn't explain why we're STILL talking about her today. Having a hand in producing and/or releasing much of her early work such as the "Fya" and "Gracious Mama Africa" sets were strong introductions but the work that she did on her end and, CLEARLY, the work she's still doing has allowed the Queen of VI Reggae to maintain her most unusual and distinguished.

like 15 minutes ago

So it's kinda awesome how we're talking about her in 2026. I haven't finished it yet but the mini-review is coming where I'll tell you about her most recent release (well... not anymore), "7th Heaven", a BEAUTIFUL EP release courtesy of Tikur Anbessa Records. Something that was quite remarkable about that release, even prior to listening to the music that was actually on it, was the fact that it even existed in the timeframe that did. If you have been following along, you probably know that Dezarie isn't the most active of artists (I think I've probably called her "reclusive" at some point). It takes her a little while to get her thoughts together and bring a release forward but that was not the case with "7th Heaven" as, JUST LAST YEAR, she had a full album in the absolutely SUBLIME "Guardian". That album was fantastic and took #2 on our Best of 2025 list back in January. So the very fact that Dezarie had something to contribute to 2026 was icing on the cake... but apparently she was not done. The official release date for "7th Heaven" was the 30th of July; on the 4th of September -- which my magic calculator tells me is thirty-six days later -- she now... returns, SHOCKINGLY, with a brand new album, "Power Shift". I was completely surprised to see this one as, though I had heard what turned out to be an initial single for "Power Shift", I didn't know of/make the connection to it being anything related to a fuller project as it was somewhat odd (more on that in just a minute) and definitely seemed more like a one-off. "Power Shift" comes through a Goddess Frequency imprint (I could make some assumptions given its name but I'm not going to but you probably know what I'm thinking about a label called "GODDESS FREQUENCY" in regards to a Dezarie album) with production being handled by ZionLab. I've always known Dezarie to have a fairly large following in South America particularly and ZionLab has its roots in Brazil. Dezarie is releasing a Brazilian produced album in 2026 (...or in any other year at all)?? GIMME! I'll take two! The album not only continues a suddenly prolific run for Dezarie but also a TORRID release schedule for Reggae music in 2026 as a whole; coming the exact same day as a new album from the great Anthony B as well. Respect is like a muscle. It must be exercised and it must be fed. Is Dezarie still fit during this "Power Shift"?

Of course she is. Part of the attraction to Dezarie, I think, has to do with her very interesting style. She alternates between using a more straightforward (and beautiful) singing voice and an often strange kind of... hypnotic chanting. She literally sounds like she's in entranced at times. She also possesses a more straight forward type of chant which often hits more on the aggressive side. If you require an artist to be able to do something - Dezarie does it and does it well. FOR EXAMPLE, check the first tune and title track from her brand new album, "Power Shift" from ZionLab. The song finds Dezarie, literally, putting her best foot forward as 'Power Shift', by the slimmest of margins, is the single best tune on the album named for it, in my opinion. It is just BRILLIANT! 

"DELUSION COME TO A CONCLUSION"

'No one gets to stay on top forever' is the sentiment behind 'Power Shift' and Dezarie is noticing some slow (and some not so slow) changes in the world. She spends much of the track somewhere between the hypnotic and aggressive chants that I just told you about and utilizes them both to a DESTRUCTIVE effect: The best on this album and one of the best in recent memory from her catalogue, altogether ["Genes of Gods & Goddess - lasting. OUTLASTING CONTRADICTIONS, CONTRACEPTIVES"]. And it should go without saying (and yet, here I am saying it anyway) that you'll lose a great wealth of information should you choose not to really tune 'Power Shift' in, lyrically and you can keep that thought for the next eleven songs that I'm going to tell you about as well; though it is especially true on the unrelenting opener. I suppose that, directionally, 'Rise Higher' sticks fairly close to the title track as it's also talking about a change in power as one rises and one falls ["Di uprising stepping up, so they're capsizing"]. There's a giant issue with 'Rise Higher' and it comes during its second verse. Dezarie ABSOLUTELY LOSES IT! She goes somewhere else. She leaves the studio both (or wherever she recorded and goes somewhere else) ["Basement of the basement - relocate"]. Thankfully we're there to hear it and she SCORCHES 'Rise Higher'. Afterwards, the song catches up to here and ascends as well with a slightly more open sound that she continues to disturb. Entirely, 'Rise Higher' is this beautiful, almost Persian sounding offering and, strictly from a sonic point of view, is not to be missed. When you add the drama that unfolds atop it, you get something pretty damn special! The duty of maintaining the high opening of "Power Drift" falls to 'Run Dem' and... if you want to call it even stronger than the first pair of songs, you go right ahead. You won't get much of a fight out of me as Dezarie IMMEDIATELY comes out torching everything within her reach specifically those who keep one foot in the church, while the other is.... somewhere else. 

"You a dirt, a inequity worker

AT NIGHT, HOW YOU SLEEP ON YUH SERTA?

Cah you hurt young boys, never nurture

Preacher impose indecent exposure

You inviting di devil make a churcha-

To increase yuh membas and yuh stacha [stature]

You got di sheep caught up inna yuh rapcha-

Of lost, predatory nacha

DISGUST, monster behaviour

How you coveting di wife of yuh neighbour

You don't practice what you preaching neither"

"Man a condemn a faker

All-star perpetuator

Disaster leech, dem a preacher

Inferior preach be like Issa

Ministers being sinister

Reverend reverence di dollar

Di shops be shopping for power

MELCHEZIDEK ORDER, WI RATHER

Superior age and ulterior

THE MOST HIGH IN OUR INTERIOR"

The song instantly reminded of both Jah9's vicious 'Preacher Man' and 'Inna Dem Purse' by Reemah (Reemah is a damn genius. I just listened to that song for the first time in awhile... PROBLEMS!) and it is on the level of both as Dezarie continues her EXHAUSTING start to "Power Shift". I've got bad news for you if you were hoping for a rest with the next tune, 'With The Enemy', as it offers no such respite. Apparently we are undeserving of a breather. Were "Power Shift" a movie (there is no way there isn't a movie with that title), 'With The Enemy' would be one of its action scenes. From the second it drops in, it provides an urgent feeling as well as one that sounds very important. You might get a little nervous as the beginning of this one! In this fight for power, unfortunately, we have certain ones who will cross from side-to-side and they've grabbed Dezarie's attention and she is not letting them off easy ["HUGGING, SNUGGLING WID NEGATIVITY. HOLD HANDS AND CARESS WID CALAMITY"]. I don't want to start transcribing lyrics on every single song on "Power Shift" but, TRUST ME, when I say that you REALLY NEED to pay attention to what Dezarie does with this song, lyrically. Doing so offers the listener one of the greatest rewards available on this album. BOOM! I've previously alluded to 'Petty' as it was the song that I heard before even knowing that Dezarie had, yet another, new album forthcoming. I also called it "odd" as it just so happens to be a combination and.... Dezarie just doesn't do too many of those. In fact, I'm sure I'm missing SOMETHING but 'Petty' may just be the very first combination that she's done on an album, altogether! The song features her working alongside big Trini star, Kushite (and there's another "Trini star" that, someday, I would LOVE Dezarie to make a song with) (biggup Queen Omega, of course) and I was very curious as to how it would all turn out. SURPRISINGLY (not at all), it works very well. If you took Kushite off of 'Petty' and just kept Dezarie's portions (which is almost all of it anyway), you'd have a STUNNING tune. 'Petty' is really nice. However, with her kind of delightful ruggedness, Kushite adds another texture to it and takes it from this kind of airy vibes and gives it an edge that the subject matter would deem most appropriate. I'm not surprised it was chosen as a single, it is attractive on paper but the actual song also stands amongst the album's finest. If 'Petty' is the very first combination to appear on one of Dezarie's albums, #2 is also on "Power Shift" as the Cruzan empress also links with another VI standout, Tizzlah, on 'Hater'. Like Kushite, Tizzlah is also slightly more on the aggressive side which makes for a nice contrast with Dezarie who, again, varies her work on 'Hater'. The two enjoy more interaction than on 'Petty', directly marking their sound differences as, just as Midnite helped Dezarie along her way, she returns the favour, to Tizzlah, introducing him, SURELY, to his biggest listening audience via appearing on this album. 

I usually save this for just ahead of closing but I'll take care of it right now. "Power Shift" is twelve tracks long, spanning across fifty-two minutes. By my [surely incorrect] math, that means the average song length is A LOVELY four minutes and twenty seconds. There is a six minute + long piece which makes up for the difference made by the TIMELY 'Leave In A Rush'. If your actions are not positive and if you intents are not righteous, Dezarie has no time for you at all (SHE CANNOT SPARE THREE MINUTES FOR YOU!), so the fact that 'Leave In A Rush' is so brief, is perfect for it ["Shoo! Shoo, fly, don't bodda wi"]. Check 'Won't Kill Joy' with its fun and inviting sound (almost here like... a mix of old school soul music and maybe a Spanish guitar??).

"Cool, calm, collected, keeping an upful perspective

Foes ah come round like detective

Mind people prerogative, meditate

WOLF AN SNAKE UNIT WILL BE SOLO

WHEREVER THEY GO, WE'RE A NO-SHOW

Dem frequency low" 

I woke up in a good mood today. Therefore, I don't give a damn how negative you are or how much you try to bring me down, you're not doing it! And you know what? You're not doing it tomorrow either! 'Won't Kill My Joy' has a very practical point to it. I think everyone knows a really negative person or two who never has anything nice to say and just carry bad vibes, in general, most times. There is a MUTE button for people like this and Dezarie wants us all to attempt to use it just a bit more. On the other side of that, maybe YOU ARE THAT PERSON. I can't imagine such an individual would be interested in reading so much of a review like this one but, in case you are that one, you are not dead and gone. You have time to change your ways. Listen to "Power Shift" - maybe it'll cheer your ass up. 

I do want to skip ahead to the album's closer, 'ToGether' because it's very interesting and I've spent quite a bit of time listening to it. What you'll notice about it first is that it's a song on which Dezarie employs her BEAUTIFUL singing voice almost exclusively. She uses that sweet (and maybe somewhat underused) voice to push a unity anthem which is anchored in love. Yes. I made it sound it not so good but 'ToGether' is much better than my descriptors here are ["They don't want me to love you. They don't want you to love me"]. The vibes are nice and serene and it is a lovely way to end matters on "Power Shift". The penultimate effort, 'No Love' is even better than the song behind it. It's also what I was previously alluding to when I mentioned that this album carried a song over six minutes long and the anti-war set makes proper usage of every single second. You  get a standard song in the first four minutes or so and then the final third of 'No More' becomes a lovely display of pretty much everything including, most notably, a speech from Dezarie before things wrap up in an instrumental style. Prior to that, she does everything you might expect on such a song but what really stands out here is just how SPECIFIC 'No More' is at times. She names names! She hits places and situations ["Police vicious when dun gun down protesters. Brutal against melanite dem pull over"]. Anywhere you may be promoting war in the world -- currently or historically - Dezarie has something to get off her chest regarding your nastiness.

Finally, Dezarie serves up a cleansing fire with a couple or literal burners, 'Playing With Fyah' and 'Fiery'. While the latter is probably the slight stronger of the two, 'Playing With Fyah' is really strong as well. The tune is a call to caution and safety when dealing matters of SUPREME importance. In typical Dezarie fashion, the way we arrive at that point is nowhere near a typical road. This drive has many twists and turns in it and we must know our limits within it ["Some Judas calling demself Judah. Chamelon calling demself Lion, dem lyah"]. For its part, 'Fiery' is pretty much flawless  from beginning to end. 

"Some ah tek bribe to bring bad vibe

Fulltime being found to fault

Yuh money to man-ipulate man mind

And success will regress lives"

A GOLDEN musical display (there should be a teeny-tiny paragraph beneath this one getting into that a little more), 'Fiery', again, is quite detailed as it deals with negative things people do to put food on their table. Some of it just ain't worth it and but listening through "Power Shift" is WELL WORTH your time.

Full, beautiful credits to ZionLab. with the work they do here, musically. I'm going to make a larger statement about the entire album in closing but, just in terms of the riddim tracks on this album, "Power Shift" is EASILY one of the best of its kind that I've heard this year. The players of instruments, whomever they may be, really provided Dezarie with a big platform for her work and she, in turn, provided them with a GEM! Also credit goes to the artiste who did the cover. I can guess who it may be but to him/her, WELL DONE! 

Overall, yes. "Power Shift" is excellent and I probably didn't need to listen to much of it to be able to say that with any confidence at all. I cannot imagine that this sudden explosion of prolificacy by Dezarie will continue but we're REALLY enjoying it while it lasts (that's NINETEEN new Dezarie songs in one year!) (WHAT!) (oh and by "in one year", I mean like five weeks). I will say that I think it's a bit more OPEN than some of her other releases. Not that the music leaps much outside of the genre -- it does not -- but I think that music is SO good that if you are someone who hasn't typically found something in Dezarie's output that has been for you, this album is would be a great starting point in my opinion. For the rest of You: While you may have opened the door to the music of Dezarie initially at Midnite, FULL DECADES later and in broad daylight, she's now living in a mansion and still earning it. "Power Drift" is THE best album I've heard in 2026 so far. Period. 

Rated: 4.7/5

Goddess Frequency

2026

Completely Random Thoughts: Album of The Year

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. 

The Best Reggae Albums Of 2025

Let's do it! 

{Note: No compilations, no Soca}

#10. "Dub Of Serenity" by Marcus Gad & The Zion I Kings [Lustre Kings Productions]

I was debating on whether or not I would slap a review on this album prior to placing it on this list and I ultimately decided against it (although I did start to write it, so you may get it at some point in the first few months of this year) because I thought that it would speak more to the overall quality of it were (like one more entry here) the VERY first time I ever said a word about it declaring it one of the best albums of 2025. "Dub Of Serenity" is a dubbed out version of a five year old album ["Rhythm Of Serenity"] that, to be completely honest, I wasn't thrilled with. It was OKAY but absolutely nothing that I would call special or anywhere near special. HOWEVER, "Dub Of Serenity" STUNNED. Some of the music on this album was flooring and it's gotten to the point for me that "Dub Of Serenity", on the rare occasions when I'm not really listening to anything, is WHAT I'M LISTENING TO. If I need noise - this is it. It shouldn't come as a surprise, given the fact that the music comes via the lock-reliable Zion I Kings (who you'll see again here at a very high position), but what they were able to do here, with Marcus Gad's old album has to be considered some of their finest Dub work to date. You won't see this album on any other such list (and, normally, I exclude dubs and instrumentals from my list as well but I HAD to include this one), of that I'm sure, but I don't give a damn. This thing was gorgeous. 

#9. "Sibusiso [Blessings]" by Perfect Giddimani [GIddimani Records]

Much like the first entry on this list, the MUSIC on "Sibusiso" was fantastic and it, too, would spawn a Dub version (literally, like a couple of weeks later) and with good reason. The Sinky Beatz guided set spoke nearly as much to the power of its producer as it did to the most unusual gifts of its most peculiar star, Perfect Giddimani. The presences of top notch peers, Lutan Fyah (may or may not be hearing from him again, later) & Anthony B only added to the soaring vibes of "Sibusiso", as did Perfect reaching with tunes such as the fantastic opener, 'Another Marcus Garvey', 'Jah We Pray', 'Selassie White Horse', 'Him Presence' and the MAMMOTH, ALL-CONQUERING 'Africa Mother Land' ["Mi chop off di chain but mi nah cut di African link"].

#8. "Treasure Self Love" by Lila Iké [Ineffable Records]

Unless I'm really overlooking something here, Lila Iké's full debut release, "Treasure Self Love" would have been the most purely popular album featured here and that's no surprise. It's star has proven to be a compelling story both in and out of the studio and then there's the matter of the actual music... "Treasure Self Love" GLOWS. Iké's style, inherently is one that makes for a certain beautiful sound (I'm convinced she can probably make pretty much any type of genre and her results would be of high quality. Her singing in the shower is probably better than a few honourable mentions for this list). She did manage to incorporate a few different styles throughout the album but it never drifted too far away from Reggae. A FINE example of this would be 'All Over The World' which featured Protoje (who produces) and 'He Loves Us Both', with H.E.R. They were not alone on the high end. I don't know what the hell 'Sweet' was but it GOLDEN, so was 'Brighter Days' which is probably the best song on this album, 'Scatter' and the delightfully nostalgic 'Romantic' which brought in Masicka and Patra whose 'Romantic Call' was remade sorta/kinda to a towering effect. 

#7. "Star Of The East" by Yeza [Rorystonelove + Black Dub]

I semi-alluded to "Star Of The East" previously in talking about "Dub Of Serenity" because I THINK its appearance here will mark the very first time that I've ever mentioned it but the lyrical CLUBBING that Yeza gave to us all on "Star Of The East" was unignorable. Yeza channeled Jah9 (and did so, coincidentally, with Rorystonelove who also helped bring Jah9 to prominence) but turned up the aggression just a little. In doing so, she provided  2025 with its punch in the face. She kicked us all about a bit and we did not complain at all. The fairly straightforward project, basically, served as a platform for which Yeza to display her often devastating talents on and, in that, "Star Of The East" was almost perfect. Yeza SCALDED listeners with the title track, 'Road Runner', 'Ism Schism', 'Piss Up' ["Hotflashes like menopause"], 'Preacher Man' and 'Real Heavyweight' but she also cared for us a bit with 'Edge Control' and, in a strange way, 'Rude'. Yeza announced herself here to stay with "Star Of The East" and it's time we all got used to her being around. 

#6. "Just Giving Thanks" by Glen Washington [Tad's Records]

Certified and verifiable VETERAN Mr. Glen Washington essentially did what he always does with "Just Giving Thanks".... he just gave thanks, made some love songs, slapped a cover on it and called it an album and WE LOVED IT! His next album will be exactly the same and so will the one after that. If it ain't broke... "Just Giving Thanks", for as basic and expected as it may have [it was] been did a wonderful job of putting on a full, vibrant display of precisely what Washington does best. You won't find smoke and mirrors on winner such as the title track, 'Heart Attack', 'Dreadlocks Conqueror', 'Square One', 'Seeking Jah Love' and, of course, 'Oh, To Be Like H.I.M.' What you will find instead are quintessential and vintage vibes from one of the greatest to ever do it and someone who has earned their own stripes and, obviously, enough for more than one generation. One of Glen Washington's best albums EVER. 

#5. "Worthy 2 B" by Jah Myhrakle [Gold Den Arkc Records]

If Belizean chanter, Jah Myhrakle piqued my interests with his contributions to what  turned out to be the second best compilation that I heard last year, "Heart Of One", he full-on made a fan out of me with his album, the weighty "Worthy 2 B". This album, in retrospect, has two very large things in its favour. The first of them is also its most identifiable quality (for me) and that's the fact that it is, EASILY, one of the finest WRITTEN songs of 2025. Myhrakle has a very clever and colourful way of making his points. He takes the proverbial "scenic route" in his writing and absolutely EVERYTHING is available for the sake of analogies so we, as listeners, are best off having some form of knowledge before going in (and he clearly expects that of you, otherwise much of Jah Myhrakle's work probably won't make much sense to you). The other thing that you notice on "Worthy 2 B" that really sets it apart is that there is something SUBTLY and CAREFULLY important sounding about this music. The best of it sounds like exactly what you would think it is: Music for a King. 

#4. "Andromeda: Sign Of The Times" by Sydney Salmon & The Imperial Majestic Band [Irie Sounds International + Imperial Majestic Productions]

I'm going to reference #7 on this list in regards to how an album can have such an open and inviting sound to listeners. In that particular case, Lila Iké did combine a few different genres beneath the umbrella of Reggae music. Sydney Salmon & The Imperial Majestic Band, on the other hand, accomplished the same results without stepping a foot 'outside'. On "Andromeda: Sign Of The Times", Salmon & Co. charted a sound which was entirely Roots Reggae of a modern and old school variety - no question about it; but I'd make the case that, as a result, they also made one of the most OPEN and APPEALING albums of the year. Maybe I'm biased (I am, there is no "maybe") but I have a very difficult time imagining how someone is incapable of appreciating something on this album. This is what I would think most people set out to make when they embark on making a Roots album these days: For it to end up sounding like "Andromeda" and being able to find an audience amongst fans of the genre, new and old, and if someone who isn't at all a fan just happened to come into contact with a clip of it in some way, they'd also want to hear more. 'Africans Alive', 'Blessed', 'My Banner', the TWO eponymous tracks... I could go on and on. The entire album is brimming me with BEAUTIFUL 'best case scenario' Roots Reggae music.

#3. "Stay Up" by Spectacular [Carabeo Records]

When everything is finished and all of the scores have been tabulated, I'm not expecting to see Spectacular's "Stay Up" on too many lists such as this one, despite that I'm ranking it so highly. This album has a large and glaring issue and to ignore it would be irresponsible, AT BEST. "Stay Up" is too damn short. It just is. It's nine track and not even forty minutes long. So by the time you REALLY fall into it... that's about it. You've already heard the entire thing. What it manages to achieve in its brevity, however, is... yeah. It's spectacular. Spectacular's style can be one that's somewhat difficult to adjust to. He can be aggressive to an almost overdone degree at times (I'd reference UT Ras but there is no way in hell you're familiar with UT if you don't know who Spectacular is) (Jah Thunder would be another one). He can be HARSH but when you find a vibe that suits him, like the Forward Ever Band does throughout "Stay Up", you can mine gold! Try the brilliant opener, 'Jump Ina Fyah' or the downright exhausting 'Justice' ["I play Nyabinghi inna di middle of the street. Play Nyabinghi because it sound so sweet!"] (or both of them) as FLAMING examples of this. Want more? 'The System' might do it for you and so might the SMOOTH 'Hardcore'. More still, Lutan Fyah (who dat???) and Lymie Murray show with contributions and I haven't even mentioned 'Bag A Weed', which is the album's single finest tune altogether.... ALL OF THAT IN JUST NINE SONGS. Were it just a bit longer, no position on this list would be outside of the reach of "Stay Up" but that's just my opinion. 

#2. "Guardian" by Dezarie [Dezarie]

Dezarie brought her spellbinding and dazzling form of Roots music to 2025 in the form of her brand new album, "Guardian", and accordingly, awakened her legions of most passionate and loyal fans and certainly made some new ones as well. "Guardian" was as THICK and HEAVY as you knew it would be but, despite also being a relatively brisk (and for the sake of comparison, "Guardian" is one song and one minute longer than "Stay Up" and it is rated ONE spot ahead of it), this album has the feel of a much longer release. In my opinion, even scratching the surface of the gifts "Guardian" has to offer requires at least three or four listens, on the lowest of ends. If you want to receive EVERYTHING?... I'm still working on that and I'll let you know if I ever feel like I've accomplished it (I will not). Tunes like 'Back To The Future', 'Criminal', the EPIC 'Immortal Combat', 'Lion Is Lion', the title song and several others (I say "several others" after naming five songs on an album with only ten) (....so pretty much the entire album) develop more and more as you tune in what Dezarie is actually saying. In 2025, Dezarie demanded that we all step up our game and if you did, you realized the absolute GEM that she left for us in "Guardian". 

#1. "Strength & Resilience" by Lutan Fyah [I Grade Records]

It's the Zion I Kings who are bookending this list with Marcus Gad at #10 and crowning it with the second album they've done with the great Lutan Fyah, "Strength & Resilience". CLEARLY something is happening here as the first time artist and producers collaborated for an album, on 2017's "Music Is Life", the results were also special (and likely would have been the best album that year from us, were we not on hiatus at the time) but I'd argue that they even outdid themselves there as "Strength & Resilience" reached and IMMEDIATELY headed for the stars. I'm partial and biased in both cases. I've been a fan of Lutan Fyah's from, basically, the first time I heard his music and I've also enjoyed the work of the ZIK, collectively and individually for maybe even longer (coincidentally, the first time I heard the "K", Lustre Kings Productions, was probably on a compilation album by the name of "Culture Dem" and WHO HAD THE VERY FIRST SONG ON "CULTURE DEM"????) ["All man on earth should know, who is King Selassie I!"] (BOOM!) and I don't want to overly-dramatize the matter but years and years of chemistry was crystal clear throughout "Strength & Resilience".

Two guesting artists being two of the greatest of all time for me certainly didn't hurt things either, Queen Omega lent her monstrous talents to 'Days After Summer', while the immortal Vaughn Benjamin added to the infectious BOUNCE of 'Just The Time' ["BUT I CAN FEEL IT NOW!"]. Also present was a gentleman, in a very good form, by the name of Chronixx who delighted on 'Freedom Sound'. The album also featured extremely high caliber instrumentation (DUH!), which goes without saying on a ZIK release but (I have a point I'm making so give me a second. It'll all make sense) I don't know that I can recall a single album where the music was as.... all-encompassing as it is on "Strength & Resilience". There is a genre here. This is truly modern Roots Reggae music; but there isn't a centering sound, necessarily. It covers EVERYTHING. It's moody & brooding ['Pieces of Broken Soul', 'Strength & Resilience', 'Tomorrow From Today'], it's vibrant and lively ['Protect Your Energy', 'African Children'] and it's also everywhere in between ['Drain The Swamp', 'Leader Before Me']. In terms of an actual artist's album and not a Dub album, which they're very fond of making (as we've already established today), "Strength & Resilience", MUSICALLY, may be the single greatest piece of work that I have EVER heard from the ZIK, in retrospect. 

For his part, Lutan Fyah meets and matches the might of his maestros with a magnificent lyrical display (DUH AGAIN!) and, again, you have to qualify that because he's ALWAYS in a fine form, lyrically, for me (the standing critique of Lutan Fyah is that he doesn't have the greatest command of melody -- and he does not and he never will -- but his craft with words has long been beyond question for me) (not REALLY, if he started speaking nonsense, I'd say so). What he manages to do on this album, however, as a complete body of work has a seat at the table in the conversation of being his greatest performance as well. "Strength & Resilience" was also THE greatest performance from anyone last year and THE BEST REGGAE ALBUM OF 2025.... and all negativity banish from within. 

What I'm Listening To: Audio/Visual

 

'Hold On' by Dezarie Phoenix [Dezarie]

Okay so, we have a couple of ANVILS this week and the first up is from someone who many would already deem a legend, the great Dezarie (who is, apparently, going by Dezarie Phoenix these days), who has struck with her first video clip EVER for the song 'Hold On'. The songs ranks as one of the biggest winners from her 2025 set, "Guardian". I actually remember a couple of other VI standouts, Vaughn Benjamin & Ras Batch, going fairly deep into their careers as well before doing a music video, so perhaps this comes as no surprise. Regardless of the circumstances surrounding its creation, the visual side of 'Hold On', unsurprisingly, matches the beauty of its audio. It's an amazing song with an amazing video from a very powerful human being.

'We Are One' by Arkaingelle & Fyahstone [Saj Moor Dub]

Next in is another big winner, courtesy a pair of old favourites of ours. The next [regular] review you'll read on these pages (there's an irregular one coming ahead of that) features work by Guyanese chanter, Arkaingelle who, as I have mentioned in the past, once made one of the greatest songs I have ever heard in my entire life (I'll remind you of that in the review). Now, Arkaingelle links up with a producer that we're well familiar with from out of Morocco by the name of Saj Moor Dub. You may recall his work on a label by the name of West Coast Studios, specifically (PROBABLY), with Ras Attitude. Back in 2014, WCS would set out the LOVELY Kif Kaf Riddim which would include offerings from the likes of Attitude, Perfect Giddimani and even Ras Indio. Also on the Kif Kaf was a tune called 'Rastaman Ah Chant' ["Kill dem wid di love, light shine so bright. Nyabinghi, no time fi no rewrite"].... from Arkaingelle, so this isn't the first time artist and producer have worked together and it doesn't sound like it from the level of musical chemistry we hear on 'We Are One'. Also present is gifted Trini veteran Fyahstone, with whom you are probably most likely to be familiar via his fairly recent work with Lion's Flow Productions, however (small world), about a decade ago, Fyahstone and the Arkaingelle made a song together by the name of 'Lion Can't Cool' so, again, to the surprise of absolutely no one given how well they sound together, the two vocalists on 'We Are One' also have some history with one another. Hopefully all three have some future together as well as 'We Are One' is excellent. 

"We are all children of The Most High

Put away your sadness, don't cry

So stand up tall, be wise and use your third eye

Rastafari go before I"

The song is a unity piece and I do these things and attempt to place meaning into words but, delightfully, that is done for us here. Watch the video to the end and you will see the lovely message at its end. Hopefully there is much more activity from Saj Moor Dub as the maestro has relocated to California and placing himself amongst all of the seemingly never-ending Reggae activity in the area.

'Fling It Up' featuring Davido by Machel Montano [Monk Music]

Didn't take very long to get into the visuals for Machel Montano's 'Fling It Up' (which are exactly what you would expect them to be) before I... suddenly had no problem with it, despite it seeming quite random.The tune is probably coming up on completing its first year in existence and here's a video! Why? Who cares! The actual song, which features Davido, is CANDY, it is GORGEOUS Groovy Soca with a little KICK to it (check the surge about two minutes in) and from, arguably, still the biggest single name in the genre and on his own Monk Music label.

'Ginger' by Sean Paul [Dutty Rock Production]

Dancehall superstar, Sean Paul, may have a legit hit on his hands courtesy of his new tune, 'Ginger', which is outstanding and very OPEN as is Paul's tendency (at his absolute best, he's capable of making songs which fit entirely in Dancehall but are as accessible as anything that you will hear). 'Ginger' isn't quite there but I do expect it do some real damage. The video? The video for 'Ginger' is Ai'd to the gills and make no mistake about it: This video is creepy as hell.

'We Da Do It' by Boyzie [Wetty Beatz]

And lastly this week is a tune that is, easily, amongst the finest that I've heard from Soca in all of 2025, the delightfully over-chaotic 'We Da Do It' by Grenadian supernova, Boyzie. I've said it many times before, Boyzie is one of the 'best kept secrets' in all of Soca and that isn't true from the standpoint of actual fans of the genre but if you're more on the casual side, it's fairly likely, in my opinion, that you probably don't know who he is at all. Be that the case, now is a PERFECT time to become acquainted as he drops one of his finest efforts in years with 'We Da Do It'. Great workout song. 

{Note: I don't know which label actually released this song. I know WB was involved, so I gave them the credit. Thank you and have a nice day}

More NEW from Dezarie!

Fresh off the release of her big and brand new album, "Guardian", Dezarie is already back with a brand new tune, via IzaYoung Boy Production, 'Snaking'... 

"Well our purpose in this life is much greater

Than to be caught up inna strife with a joker"

'Snaking' is kinda special.

Hallowed Be Thy Name: A review of Guardian by Dezarie

Her. I think that history does a pretty good job of doing many things and, as technology advances, it will become even better at covering things that may have otherwise been lost to us and our descendants. The information and, increasingly, visuals that we have access to from years and years ago is amazing and that will only improve. With that being said, however, I think that one of the very few things that is difficult to convey through telling or even showing someone who wasn't around to be able to appreciate it in the moment, is EMOTION. If you watch footage of an old sporting event or a concert or whatever it may be, you may be able to appreciate the excitement and the passion of everyone involved at the time but the DRAMA of the moment is lost on you because you know that the result of what ultimately happened is only a few key strokes away. Try as you might (and you won't), you cannot actually put yourself in that moment (if you do, actually, you are a very strange one). You can enjoy viewing it, but it is gone. Music can be a bit different in that respect; as I'd like to think that the best of it will be around and being heard (and APPLIED) thousands and even millions of years from now. It will continue to go forth and create vibes and feelings within generations of people as, you would think, its creators had in mind while they were working. Its reception, however, or THE PERCEPTION of it during its release is gone and that can't be recreated, regardless of how many longwinded reviews you may come across about a particular piece. I got on to thinking about this because of learning about the new release of someone who I've long considered one of THE most fascinating artists in Reggae music today, Dezarie. MAYBE someone, living hundreds of years from now, could somewhat appreciate the level of reverence experienced by Akae Beka/Midnite during a large portion of his/their career; with the thinking being, perhaps, that such a level of prolificacy would not have been had there not been a rabid and sizable fan base waiting to listen to and support it. I don't think that the same astute individual from the year 2625 would have any chance at all in realizing in just how high esteem Dezarie was held in her day or anywhere near it.

When I first started listening to/hearing about Reggae music from out of the Virgin Islands there were a handful of names that were grabbing the majority of the attention. Of course, at the head was Vaughn Benjamin and Midnite at the time, there was Bambu Station, maybe Ras Army and Dezarie (there was also a healthy group of others that were footsteps away from receiving a big shine such as Pressure Busspipe, NiyoRah and Ras Batch). Surely, the case could be made that the spotlight that was being given to Midnite, at the time, had a kind of gravitational effect in terms of drawing fans to other artists (much in the same way that Bob Marley would have been indirectly responsible for helping to bring several of his peers to prominence), but that would not explain the subsequent and REMAINING levels of respect paid to Dezarie damn near a quarter of a century on.

2014

What would help to explain that is consistently producing music of an extremely high level... I think that might work. As is the case with Midnite to Akae Beka, I have encountered some of THE most passionate fans out of anyone in modern Reggae music for Dezarie (she seems to be wildly popular in South America, in particular). Now, when you take the level of adoration the masses have for her and take a look at the size of her body of work - I think I may be of the opinion that the spots of inactivity that Dezarie has experienced through her career have, perhaps, even added to her popularity. While she hasn't been super prolific, Dezaries has DEFINITELY made the most of the opportunities she has had to impress and to continue to carry and BUILD her fanbase. Vaughn Benjamin's way was different: He was far more like some of his Jamaican contemporaries, who were good for three -- and sometimes FOUR -- albums annually, in the not too distant past, but it's now early in the second third of 2025 and Dezarie had not released an album in over a decade; but the drought is over (although there was a Greatest Hits compilation, released just a few years ago)! In 2014, the Cruzan singer set forth the well received "Love In Your Meditation" (that album had a song on it called 'Download De Criminal' which was absolutely ridiculous! It's probably one of the.... 100-150 best song I have EVER heard) and now she is fully back with a brand new album, "Guardian". Though I had, delightfully, found myself more often bumping into her work over the past year or so, the notion that she might have an album in the offering did not pass my mind (which is odd for me). As it would turn out, some of the material was actually singles from what would eventually become "Guardian". The album comes through Dezarie's own label and is produced and everythingelsed by one Kardelle  "Mr. Pr3z" President, an incredibly talented young producer from out of the Virgin Islands who, I predict, is about to become very busy as people began laying their ears on his work on "Guardian". Someday, I would LOVE to hear Dezarie work extensively with I Grade Records and the Zion I Kings but I am most certainly not complaining with what is to be heard here. "Guardian" is outstanding and I'd just love to tell you about it if you have a few minutes.... or like an hour.

Dezarie's style, for the most part, can be fairly complex. She does "SING" in the typical usage of the term but she also spends much of her time in an almost hypnotic type of a chant. She's a very talented chanter and while her delivery may not be the most dramatic (although I may challenge that a little later), what you end up with -- in style, alone -- is a very compelling and fascinating artist, beyond this incredibly fascinating figure. That figure carries a heavy hand throughout her new album, which gets going with the tune for which it is named. 'Guardian' is a very elabourate intro and a prayer, setting the table for what is to come. It's also downright gorgeous, hearing Dezarie absolutely lose herself in the track. One of the heaviest hitters, 'Back To the Future', rolls in next and though a semi-electric vibe brings it in, you'll want to pay a closer attention to fully tune in the ideas here. What I took from 'Back To the Future' is that it is a warning of just how easy it can be to lose oneself in the changing of the times and within just how quickly the world is modifying in so many different ways ["Can't wait to get chips installed - in your body, like somebody else in control"]. It's all put together exquisitely, making for, as I said, one of the definitive highlights to be found on "Guardian". 'Criminal' immediately efforts to also put itself amongst the class of the tune ahead of it and it not only succeeds but it also, arguably, goes ahead.

"Attempted murder with intent to kill

Dem food ah want to slow poison

Dem kill more as dem shoot to kill

Vicious, voracious firing

Armed & dangerous shooting

Pointed shot, shooting

Hate pon babylon

Hit and run, genocide and gone

Hate homiciding-

DECIDING TO KILL JOY WITH PAIN

Get out and get practicing

ON INMATES EXPERIMENTING

So...

You got the right to remain silent"

Sometimes the actual criminal isn't the one behind the bars is the heart behind this MASSIVE set as Dezarie sets flames to a most specific brand of oppression. Musically, it should also be mentioned that 'Criminal' soars (it has a very nice feel around it and if you listen to it, you'll know exactly what I mean by that. It isn't just a song playing that you happen to be listening to) and if you wanted to call it the single best song on the whole of "Guardian", you'd get not much of an argument out of me against it at all. BEAUTIFUL song. The familiar 'Breathe In Strength' then comes in and.... PROBLEMS! 'Breathe In Strength' ["breathe out stress"] is downright destructive and it is the single finest moment that I hear on the whole of "Guardian". The tune goes through the matter of de-stressing and de-cluttering the masses from years and years of heinous and unhealthy treatment. She deals with things on both complicated ["Complex and complexity to make man uneasy"] and more simple ["Dem waan exit yuh oxygen from outta existence"] while never veering too far from the centralizing theme of BREATHING and drawing in life while some seek to either interrupt or completely STOP that process, altogether. It is lyrically spot-on throughout and, simply, one of the strongest pieces of music I have ever heard from Dezarie. Wrapping up the first half of the album is another big winner, the LOVELY 'Hold On'. Here, the singer preaches both patience and perseverance (among other things ["You must hold on to your faith, just you holding your phone"]) to stunning results. 'Hold On' is golden! It shines from the second you hear it and by the time you're on to the next tune, it still isn't done with you. Also, though it may go without saying, I do feel compelled to say to pay special attention to what Dezarie says there as she stands up with some GEMS of information and ideas that are the genuine star of this show.

...speaking of things that shine; the second half of "Guardian" is brimming with them as well as, ridiculously, you could probably make a strong argument that it is even stronger than the first. In full, I'll also say that the vibes of the latter half of the album CLEARLY set out to provide a bit more in the way of a BITE and some FIRE, so if you thought she'd let you out of the door this time without slapping you around slightly, you were woefully mistaken (she's not sending you on your way with bruises and cuts, just a bit extra on the brain to think about the next time you cross her path). I'll skip ahead to the final two selections which do reverse course back to more of the moods from the early stages of "Guardian" and do so excellently, 'Snake Charmer' & 'Who Is Who'. The latter is VERY interesting when you contrast what you immediately hear with what is actually said. Everything is very light and were someone not paying a great deal of attention and they were to come away thinking that 'Who Is Who', on its surface alone, was a love song, you couldn't blame them for it, BUT IT MOST CERTAINLY IS NOT. The track is actually quite challenging and, lyrically, even bordering on harsh at times ["Haters and traitors and instigators"] as Dezarie says that not everyone is who they appear to be. Not too dissimiliarly routed is 'Snake Charmer' which comes through with this damn near DIVINE bounce of a riddim, which Dezarie pushes to its full capacity. Although this one does have more light elements to its sound -- and maybe it's just me -- but there is something very strict about 'Snake Charmer' and in finding my way around has been one of the most rewarding experiences that I've had in listening to this album. 

On the other side of that are the three other songs that comprise the second lot of selections on "Guardian" which, as I said, definitely add some petrol to things. Check the first of them, the MAMMOTH 'Immortal Combat'.

"War 'gainst the woman melanin

Fight 'gainst fertility with sterilization

They bring drugs in the hood to bring down population

Guns in the hood to bring down population

Planned Parenthood to bring down population

Poison the food to bring down population

FREQUENCY TO CONTROL YOUR MOOD with dem babylon song

Men in prison to bring down population

Medical apartheid bring down population

MAKING MONEY DOING SO, AND GETTING DONATION

How much dem waan earn?

Several million

Plan already set in motion

GENETIC WEAPONRY FIGHTING GENEOLOGY

Like they want your penny and gone to pay a penalty

LOOK HOW DEM SCAM DI COLOUR OF SKIN OPENLY

Wi caan tek di energy, dem got no lobby

How wi looked and wi searched 

THEY WERE EMPTY

PLOTTING TO SHORTEN OTHERS LIFE TO MAKE THEIRS LENGTHY

And want to try life first to try extend theirs

One thing for certain: DNA cannibal hungry

Spiritual war like Battleship Galactica 

No afflection from none of the earth's afflictors"

The song is an older one that I've heard her perform in live settings once or twice so, as I was listening to it, it started to come back to me that I knew this tune from somewhere but this is almost certainly the first time that I've heard a studio version of 'Immortal Combat' and DAMN! Brilliantly put together as Dezarie drops several things (namely films) from popular culture ["Spiritual war like it is The Clash of Titans; as if dem waan mek di world a big boxing ring"] to make her point about this never ending war (people, literally, fighting over EVERYTHING) that we have been fighting and will likely continue to fight. I could happily sit here and keep talking about 'Immortal Combat' for hours but I think you'd also enjoy hearing about previous single 'Lion Is Lion' and its destructive chorus. It takes a second (more like around twenty), but when this thing really gets going, 'Lion Is Lion' is MASSIVE!

At its core is a huge sense of PRIDE instilled in the masses from all walks of life to the point where, should you NOT feel something from this tune, you're either living a REALLY FUCKED UP life or, I regret to inform you that you are actually deceased. Lastly is another one which is going to slap you around a little if you are not prepared, 'No Failure' (even if you are prepared, you might still catch a few).

"Who think wi soft and wi quiet make a mistake

When wi deh pon di battlefield, a kinda risk take

All who nuh down with depression, make a fist, make

Ganja is our vaccination weh wi inject

Judgment come snip-snip

Duppy dem get wings clipped

Devil is a liar, so wi bun a fyah quick-quick

Expect wi to sit with zipped lip

In injustice sit with-

On submission's guestlist

It's freedom and wi wish this!"

'No Failure' is another track that is trying to get you to get your pride together and, in this case with the words ESPECIALLY, you are certain to find something that brings something out of you if you are.... at least a halfway decent person. 

I do want to go back and elabourate just a second on something that I mentioned earlier in regards to Dezarie's style. While she will never been confused with being THE most expressive of vocalists, I don't want to make it seem as if her music is devoid of bereft of drama or a very basic level of entertainment because it is not. Dezarie's method of conveying that isn't through yelling or pushing her vocals a great deal (though she does have her moments); instead, what she does is to seemingly enter a very comforting place where it almost comes off as if she's in a trance. She's either sang these words SO often or they mean SO much to her that delivering them is almost instinctive. I find joy in that and CLEARLY I am not alone. 

Overall, though "Guardian" may not be the heaviest piece of music that we've encountered, coming in at just shy of forty minutes in total, it more than makes the most of its time. Like pretty much everything she does these days, I would expect the VAST majority of people who come into contact with this set to not only be more established fans of Reggae music, in general, I would think most of them are already going to be familiar with Dezarie's work. HOWEVER, if for some reason you are not either one (though I'm going to have a hard time completely believing that you aren't at least a fan of Reggae music to get this far into a review this long), "Guardian" is EXTREMELY digestible in my opinion. I think there is enough here for newer fans of both the music and Dezarie's to enjoy and, hopefully, open the door to the rest of her beautiful catalogue. It stands in line with everything that she has done to date and, with a legend as grounded as her's as, Dezarie digs her roots even deeper with another gem of an album... but you knew that already. OUTSTANDING.

Rated: 5/5

Dezarie

2025

Trample Di Beast With Dezarie & Ras Elyment Records

Here's a question: When's the last time you've heard a new Dezarie song???

Maybe your mind is working better than mine is and you can recall a song the wildly popular Cruzan songstress has done from her last album, 2014's "Love In Your Meditation", but I am STRUGGLING. She's seemed to be quite reclusive in terms of new music in recent times but, most thankfully and increasingly reliable outfit has gone and found a star and brought her back.

Ras L and co. at Ras Elyment Records continue to do major work as they now bring forth a brand new tune from Dezarie, the scathing 'Trample Di Beast'. The track finds Dezarie looking for soldiers for the fight that is to come and doing so, largely, in a kind of a deejaying style, which was very unexpected although just as welcomed. With as active as RER have been in recent times (doing full albums for both Akae Beka and Ancient King), YOU KNOW what I'm thinking right now.... but that remains to be seen and I don't want to get my hopes up (or Yours). Until/unless/even after then, take a listen to the latest from one of the genre's most respected figures, 'Trample Di Beast' by Dezarie.

It's The Return Of The Queen: A Review of Eaze The Pain by Dezarie

Several years from now I believe that we will look back at this current era of time in Reggae music as the development and emergence of quite a few different trends. Of course, the one which critics will most likely point to will be the level of violence in the Dancehall and, by extension, it’s influence on society and everyday life, particularly in Jamaica, by artists such as Vybz Kartel, Mavado and Aidonia. Some, perhaps will also point to the increased levels of sex and slackness, heightened by the ‘daggering’ sensation currently sweeping the Dancehall (and Soca) world. However, me be the optimist that I am, I would look at more positive situations: Such as the globalization of Reggae music. The fact that the number of ‘popular’ countries in the world without somewhat of a Reggae scene, or a beginning of one is dwindling by the year and with that comes, of course, an increased level of commercial viability as the number of Reggae fans grow with it. That being said, however, perhaps the most significant occurrence in Reggae music over the past few years or so has been the increased presence of the once not so in demand female artist. Both in the Dancehall (and not just in the ‘typically’ cast role of over sexed and money craven vixen, although sometimes) and in the Roots Reggae arenas we’ve seen a virtual explosion of feminine talents taking to the mic and doing so receiving much more attention and successes than they have CONSISTENTLY at any one single span than I can recall in Reggae history. 2008 in my opinion was a landmark breakout year for the women of Reggae, despite the fact that she who is STILL probably the best known of them all, Dancehall Empress Lady Saw, had what was pretty much a quiet year, as did her closest contemporary, Dancehall poet Tanya Stephens. The Dancehall wasn’t altogether barren, however, as Dancehall diva Ce’cile continued her wonderful streak from 2007 by dropping two more albums (just as she did in ‘07) this time in the west and both of them, Waiting and Worth It are reportedly amongst the best selling Reggae albums in the world right now. She was joined by [Lady] Spice who also had a breakout year mainly on the strength of Ramping Shop, her MEGASHOT with the aforementioned Vybz Kartel but she was just generally on point throughout the year (lyrically VERY impressive). The biggest development happened on the Roots side though as young Roots Princess Etana, marked her arrival on the scene with the release of her debut album, The Strong One, the Reggae album of the year. And, of course, she was joined by Queen Ifrica who announced a deal with VP Records of her own, to release her forthcoming sophomore album, Montego Bay. Simply put the ladies were ruling all over in 2008.

Even outside of Jamaica. In French/Creole Reggae, following a 2007 where WICKED Gwada DJ Lady Sweety was in control, Malkijah from out of Reunion (getting back to the globalization I was talking about) took over, ‘erupting’ on the scene in a major way. And Trini Reggae monarch Queen Omega released an album, Servant Of Jah Army (and even in Soca, a woman, Faye-Ann Lyons, for the first time took a Soca monarch title in Trinidad), which is always a good thing. One of the most significant occurrences for women in Reggae for 2008 also took place outside of Jamaica, but in the far more familiar Virgin Islands. Besides just this, however, there were also smaller pieces of accomplishments for women in the region as well, such as Mada Nile releasing an album, On My Way, on her very own label, also The Positively Nelsons checking in with not one, but two full length studio albums for the masses. And there was development for some of the younger and up and coming VI female Reggae talents, such as Omo Lioness and Empress Nyingro. The single largest revelation of female artists in the Virgin Islands in 2008 and one of the single largest, period, across the Reggae board was, of course, the long awaited return of the most popular woman singing His Majesty’s music in the Virgin Islands, St. Croix EMPRESS, Dezarie. I don’t even know in what category or to whom I can draw a comparison to match the popularity of Dezarie, perhaps the best (and fittingly here) would be to Midnite (and by ‘Midnite‘, of course I mean Vaughn Benjamin). Just like with the top ranking group, I could probably find you thousands of fans worldwide who would have absolutely no problem in proclaiming Dezarie not only the top female in the Reggae game, but the top artist, ALTOGETHER. I find her popularity comes in some of the strangest forms as, although she isn’t very popular in Jamaica, the few people I’ve talked to who know of her revere her and her bountiful talents. That being the case, one of the year’s most anticipated releases was the return of Dezarie, with Eaze The Pain, her third album and first in over five years, since the Gracious Mama Africa album which helped established one of the most curious legends and reputations in modern Reggae history. Gracious Mama Africa followed her debut, 2001’s Fya for I Grade Records which I’ve heard called, by people whose opinions I respect, simply the finest Roots Reggae release from ANY female in Reggae history! So what is the attraction to Dezarie? My thought would be, again, somewhat in the same way as Vaughn Benjamin: Her style. Where Benjamin can be this ultra-cryptic rolling wordsmith, Dezarie simply doesn’t sugarcoat ANYTHING. She is very much so a ‘what you see is what you get’ type of singer. That’s first. Now, you take that and you combine it with the fact that she has one of the sharpest pens and deepest bag of lyrics in the current landscape of Roots Reggae, which she uses to write these really COOL, yet powerful, tunes which has made her fans worldwide. She has been arguably THE most popular touring female Reggae artist since the turn of the century (although in actuality either Etana or Queen Ifrica may match her in that fairly soon, probably Ifrica most likely) and her Eaze The Pain certainly came at a time to ease the pain for fans all over the planet who had been waiting to here some new material from her for a long time. No, it did not disappoint.

Just like with the previous album, Gracious Mama Africa, Dezarie taps Midnite producer/arranger/bandleader Ronnie Benjamin Jr. (Vaughn’s older brother) and Midnite’s Afrikan Roots Lab label for production and distribution. Benjamin has helmed many projects for Midnite and others as well and is widely regarded as one of the most talented producers on the VI Reggae scene (along with names like Tuff Lion, Laurent ‘Tippy’ Alfred and Batch). Getting things started on Dezarie’s third album, Eaze The Pain is a tune which honestly (and shamefully because it is beautiful) took awhile to start growing on me (besides on WONDERFUL stretch), the downright haunting Hail Jah. Again, as I said, Dezarie is very much a ‘no frills’ type of an artist and Hail Jah is a straight forward MASTER CLASS of a tune giving praise to His Majesty. Later in the tune, which is so sullen, almost like a funeral march, things pick up as Dezarie and company just start throwing “HAIL HIM” from the heavens across the board! HUGE tune which you’ll miss completely if you only spin it once through. Holding the unenviable task of following Hail Him is the more keyed in sounding What A Mornin’ (the one-drop kicks in on this one). This song definitely proves to be another in the class of the album as the tune begins to shift things in a more melodic direction, besides offering one of the sweetest mental images on the entire album. Completing the opening of Eaze The Pain is a tune in Always Remember You which doesn’t really appeal to me sonically speaking but is probably one of the best DELIVERED tunes on the album. Dezarie’s voice in normal circumstances is one which generally receives praise although you do hear the occasional critique that she doesn’t take many ‘risks’ with her tones (which she doesn’t but, if it ain’t broke. . .), yet Always Remember You finds her going all over the place vocally and not really sounding too stressed about it. It is a very natural LOVE tune and the music does pick up with the sax comes in later. All in all, a strong opening.

Despite the fact that the opening tracks on Eaze The Pain are pretty solid on their own, things REALLY pick up after them. The main attraction on Eaze The Pain the album proves to be Eaze The Pain, the song, which is downright SPECIAL to my ears and has been since the very first time I heard it. This tune has such a powerful vibes and the music is well on point setting the stage for Dezarie who attacks the riddim with a chant on RIGHTEOUSNESS and supporting righteous ways to spread healing around the world (and thus easing the pain) which is so beautiful, I had tears in my eyes the first time I heard it! MASSIVE tune and the album’s best. The other tune here which I find many people really love and is simply amongst a few of similar class for me, is the dazzling Set Da Flame. This tune has a BIG vibes in it which I’m sure fans are appreciating all over the world with a riddim that just ELEVATES the tune. Dezarie sprinkles in her usual brilliance and you just have one bonafide WINNER with Set Da Flame. That being said, after Eaze The Pain the song, the next best thing I hear on the album named after it is the closer, Ras Tafari. This one has a very nice old school vibes and Dezarie just begins to teach the virtues of His Imperial Majesty to the masses and this one, even more so than the title track is one which I feel should really (if it hasn’t already) have an impact. Definitely not a ‘throw-away’ tune there and a big vibes. Going back, there’s a tune earlier on the album name Real Luv which, outside of Set Da Flame, may just be the most ADDICTIVE vibe on the album. The tune really, at its core, is simply a piece about how to treat people, good and bad, accordingly and how to uplift the masses while doing the same for yourself at the same time which is a great message and one which isn’t exactly over used in Reggae, surprisingly. Concern is probably my choice for the best WRITTEN tune on Eaze The Pain altogether. It also doesn’t sacrifice much in the way of melody either. What Dezarie does is write a song in a way where she basically has all of these things and concepts like Concern and wisdom and people as well, calling out to the listener to live a more righteous and positive life. You really have to hear it roll out on that KNOCKING riddim as well. One of the album’s best right there. Angels, which follows Concern, isn’t quite as good throughout, but what it does have going for it is one of the SWEETEST vibes you’ll find in Dezarie’s entire catalogue in my opinion. I don’t know if it were the intent, but she literally sounds like an angel singing the tune in praise of His Majesty on another knowledge packed tune which has the sounds unlike most others (be careful listening to that one, I’m listening to it now for the first time in quite awhile, I forgot how Easy it grows on you). Heading pack towards the ending stretch, you get three really strong tunes before Ras Tafari closes up shop on Dezarie’s Eaze The Pain. The first is The Truth which definitely has quite a bit of an edge to it, perhaps the most you’ll find on the album, at least this side of Set Da Flame. I really like this tune, Dezarie pushes a pretty straight forward Roots DJ style (which she tends to do quite often) which is very impressive on the ROLLING tune. I hear something in Anotha Revolution which, unfortunately, just isn’t there, but I think Dezarie may have heard it as well in singing it. Had the riddim for this one been just a BIT faster, you would have REALLY had something special in the tune and it isn’t necessarily BAD as it is. I envision in my head, strictly in terms of the riddim, something to the effect of Collie Buddz’ Come Around, where that slight step up could have really made it WICKED! But the call to arms tune is definitely still a highlight here as Dezarie’s lyrics and delivery in general are rarely stronger on the album than on Anotha Revolution. Lastly, setting the final table for Ras Tafari is the LOVELY For The People, By The People tune. This one is just a simple vibes for the people of the world, the ghetto people of the world surviving in Babylon’s corrupt and nasty system. It doesn’t do much until midway through the first verse where it really picks up and stays at that level for the remainder of the track, proving to be a tune which although maybe easy to overlook, definitely carries a wonderful vibes which you, the listener, will miss at your own peril.

Overall, I could say how much Dezarie’s fans will really appreciate Eaze The Pain, but it pretty much goes without saying that the majority of them picked this one up IMMEDIATELY as her fans definitely tend to be amongst the most committed in all of Reggae. To the others, however, what you’re getting here, although I made the comparisons earlier, is something which isn’t much like Queen Ifrica or Etana at all and you have to take into account that Dezarie DEFINITELY personifies he VI Reggae sound where they have a far more traditional Roots Reggae sound. That being said, if you aren’t a normal Dezarie fan and you have a taste for modern Reggae with an old school twist, then this one is a REAL WINNER for you. For me personally, in retrospect, I could have very well ranked Eaze The Pain as one of the best Reggae albums of 2008 altogether, it was THAT good. What you have here is one of the most significant women in the game, at what is truly the highest level in her career returning to a scene which is much more full than last we heard from her. Yet, in the VI, Dezarie’s Eaze The Pain shows who the real queen is and maybe even beyond.

Rated 4.5/5 stars
African Roots Lab
2008