The Vault Reviews: I Am Rastafari by Harry Mo

Old friends. During our several year hiatus from writing about music, unfortunately I missed quite a bit of things that I would have, otherwise, definitely talked about normally. I've always prided myself on being someone who seeks out the experience and the challenge of covering things that either no one else [at all] does or that very few people were likely  to, in addition to the more obvious works that are more widely appreciated and examined. Because of that, one of the things I'm happiest with in regards to this blog can be found in the Labels section: Aima Moses, Ambush, Empress Cherisse, Fefe Typical, Jah Defender, Jah Turban, Jahmings Maccow, Nahyubi Joseph, Mischu Laikah, Revalation.... and I could really go on and on [Little Guerrier] as examples of names that, in no way, are of the 'household' variety but are well talented individuals who we've metioned [Sydney Salmon] at least once over the years. So sure, I missed writing for projects from the likes of Akae Beka, Jah9, Damian Marley and all of the other big names who released projects while we were away, it was even more the case with that next other group who may've produced BIG material and the internet hasn't done its best job of keeping track of such things. I don't have as much time as I once did (well I kind of do) and I'm old as hell, so writing these things isn't as easy as it once was but, somewhere in the back of my mind, I'm thinking that if I stick around for another year or two, I can at least somewhat make up for lost time, while managing to stay at least relatively current. I distinctly made it a point to write about an album called "Break The World", which was Fay-Ann Lyons first (and, subsequently, only) album for VP Records that I THINK I could recall waiting for while I was still active. I'm sure that album got a decent amount of attention (going to tell about the one she did last year, too, one of these days), for what it was, and I'm just as sure it went completely around the attentions of msot Reggae heads who're more likely to spend any time around here. I made a similar point for Lutan Fyah's "Music Never Dies", "Rebel With A Cause" from Pressure Busspipe and, over that same span of time, works from the likes of King Lorenzo, The Arkaingelle, Lloyd Brown and others which would have definitely gotten my excitement up as something being just a little off center and slightly out of the spotlight (with respect to Lloyd Brown, who probably doesn't belong in that group, but I'm including him anyway) and attention of most fans. Today, we not only take a look at someone who most certainly does fit into that group but is also, personally, a favourite of mine and someone who's always been very nice to us throughout the years. 

While your listening travels may not often take you to Dominica as a Reggae fan, when you do get there, you're likely to recall what you heard. Surely the biggest name to ever emerge from the Nature Island is the EXTREMELY well-regarded (and extremely well-retired) Nasio Fontaine. I never fully got on board there --though I will say that I appreciate his music more now than I ever have-- but, once upon a time, Nasio had some of THE most passionate and loyal fanbases in the entire genre. It wasn't quite there, but calling it "Benjamin-esque" wouldn't be terribly out of line, in my opinion. You also have the aforementioned Aima Moses, Nelly Stharre and, whether you realize it or not, the great NiyoRah was also born on Dominica. Still, when we talk about Dominica and Reggae music, it is IMPOSSIBLE for me to do so without mentioning a longtime and grizzled favourite of ours, the well esteemed Harry Mo.

The wonderful works of Harry Mo

Harry Mo is a very curious one. On one hand, you could definitely do him justice by saying that he makes Roots Reggae music - plain & simple. There's nothing wrong with that at all and I'm going to tell you about some of that in just a moment. Still, if you wanted to tell a more complete story, you'd also say that Mo, at his absolute best, embodies some of that colour and diversity that his homeland is most well known for (and if you don't know anything at all about Dominica, you should know that it is, EASILY, one of the most diverse places on the planet. If you are looking for a race of green people, I'd tell you to start on Dominica because, if they exist, SURELY at least one of them would be there). So his brand of Roots can come with a 'flare' or a 'drift' from what you will often see in the genre. I would compare his style, somewhat, to that of the great Tuff Lion and, again, Harry Mo goes on to add his own, special blend to things (as does Tuff Lion who is, of course, a genius with the guitar). While we were out, in 2020, Harry Mo would release his latest creation, "I Am Rastafari", which would follow excellent sets "Runaway Slave", "On My Way", Roots & Lovers" and "Back To Africa". Although all were/are of a certain qualiy level, 2008's "Back To Africa" ["Jah will help me find my way!"] reminds his opus in my opinion and Mo would also give us the VERY interesting "Thank You Jamaica" which I don't want to mention too much of because, I will hopefully getting around to dealing with it in a heavier level someday (I may actually just start writing that one with I'm done with this one and save it for later), a decade after "Back To Africa", also during our hiatus. I chose to focus on "I Am Rastafari", specifically, because of its fairly unique sound and this.... ultra-impressive sense of a humble-confidence that I heard in it. I'm making it sound complicated, I'm sure, but it really wasn't. The album seemed to often make its bread on the very basic thought that when one is doing the right thing and THINKING the right things that "one" has very little to worry about. That's where the confidence comes in and it was DELIGHTFUL to hear in this form. I'm probably not going to go through the process of ranking this one in direct comparison to what came prior to it from Harry Mo but I can tell you right now, "I Am Rastafari" was pretty much excellent.

I alluded to it, briefly, but we have actually had brief contacts with Harry Mo back in da day. I believe he once sent a message telling us of his new album (which may've been "On My Way" (could have been "Roots & Lovers" though) and I even remember giving him a critique on one of the albums (which actually may've been "Back To Africa") and he agreed with me (Zacheous Jackson did the same thing in regards to his most recent set, "Levite"). He's just a very nice person and he even thank us in the liners for "On My Way" if I recall correctly. I should probably return the favour and the thanks for "I Am Rastafari" which animates with its MAMMOTH title track. 'I Am Rastafari' is about as simple and basic as it could possibly be.... and it's also kind of brilliant.

"I am Rastafari

I chant for Jah Most High 

I man hail King Selassie I

All might King of Kings and Lord of Lords

Said I am Rastafari 

I & I work for Jah Most High

Defend what is true and right 

What is true and right in Jah Most High sight

With Jah love will our way

When Jah call, we must obey

The pain and joy, yeah, it's really worth a bag of love & righteousness

And we spreading through the earth

Got no time for the timid

Hotta fyah pon di wicked

We've got to clothe up the naked

Let the hungry be fed

The aged be protected"

If you've heard five or six Roots Reggae songs in your entire life [like, literally, EVER], there's a pretty solid chance that 'I Am Rastafari' isn't going to say anything with which you are unfamiliar at all. What differentiates this one from the thousands of others built on a similar foundation is how well it is situated. It reaches not only a personal level, with Harry Mo just talking about himself and his views but, in doing so, it also touches in a way which personifies (and BEHAVIOUR-IES) the teachings of Rastafari. Essentially saying, 'I am Rastafari... and this is what I do. This is what I stand for'. It is very subtle but it stood out clearly for me and it also is a fine example of what I was referring to when I talk about the "humble-confidence" of "I Am Rastafari" as a bona fide GEM gets it started. Things head in the direction of social commentaries with 'Trouble on Jah Earth' and does so, again, with a very attractive simplicity. Mo writes a lot of his work in a way that is very matter-of-factly. He says things that may be opinionated but they're very difficult to disagree with or to find fault in. When you do something like that, it makes your music very easy to identify with and also, DELIGHTFULLY, allows your to do more things musically when you know the core of the work is so solid. 'Trouble on Jah Earth' is a fine example of that (and it also SOUNDS REALLY GOOD!). Next is the first sign of flames, in the form of highly infectious 'We See Dem Coming'. I never expected what would become of this tune as, following the fairly terrestrial beginning, 'We See Dem Coming' ascends into this... almost Dancehall type of delivery which dazzles. 

"So now you know wi nah go par wid dem

Wi nah go sit down, nah go reason, nah go blar wid dem

Wi nah go ride inna no van, inna no car wid dem

WI NAH GO CLOSE, WI NAH GO NEAR, WI NAH GO FAR WID DEM!

Wi nah go eat, wi nah go drink, wi nah go bar wid dem

No tek wi chalice, nor a spliff, wi nah waan draw wid dem

Inna no dance, inna no show, wi nah waan star wid dem

And if it was another day, wi woulda war wid dem!"

Call it a bit of SPICE while we're still warming up on "I Am Rastafari" but you don't see 'We See Dem Coming' coming (yep, that's what I'm sticking with) and it sneaks up on you in a FANTASTIC way. You have to bookend it, so also check out, fittingly, 'Deh See We Coming', which puts the listener on the opposite side of 'We See Dem Coming' which forecasts the coming of negativity. 'Deh See We Coming' sees POSITIVITY and RIGHTEOUSNESS in the offering and, unfortunately, some don't like that. 'Deh See We Coming' gets the language flip as well with Mo colourfully showing off something distinctly Dominican to fine display. Sandwiched in between the two Comings is, EASILY, one of the best songs on the entire album, 'Son of a Brave'. This fine creation takes several courses with, perhaps, the most prominent being the pride route. Harry Mo is directly and indirectly proud of his heritage ("indirectly" being even the perception of his ancestry. He's proud of how they are viewed) and it becomes crystal-clear here. The song also provides "I Am Rastafari" with one of its many signature lyrical punchlines to my ear:

"I am just the son of a runaway slave

Freedom songs in my head"

I took something GRAND from that. I don't know Harry Mo's story. I don't know his family. I don't know if he's the first musician or anything. That statement, to me, says that his work is, essentially, putting instrumentation and form to songs and ideas that have been in his bloodline for generation. THAT IS GORGEOUS and a powerful aspect to one of the most beautiful songs he has ever made that I've come across. 

In order to not end things on a low-point, I'll mention what I do NOT enjoy about "I Am Rastafari" here as it is, wholly, centered around just a couple of tracks, 'Running From Love' and 'Caught up in a Blight'. The former is... tough. I can hear a decent song in there but it's hard to overlook that it isn't the greatest delivery and there almost seems to be a disconnect between the vocals and the riddim (which is quite nice, actually). It just isn't very comfortable and such a trait is imperative when it comes to a love song, in my opinion. For its part, 'Caught up in a Blight' is much simpler - it just isn't very good. It's kind of a Hip Hoppish type of tune, featuring a rapper, Mundo (who I know nothing about), and it's really just not for me at all. I do appreciate people, on albums, making songs that change up the vibes and not always doing the same thing and this is definitely one of those instances, but they do not always work well. If you want something to steer you back in a nice course, definitely head in the direction of 'Push on Thru'. The riddim on this song...... it is a DIVINITY! It is a gift straight from the Most High! Sounding like he's singing right in front of a live band in recording this one, Harry Mo absolutely dazzles with a delivery on 'Push on Thru' which registers somewhere between singing and almost Spoken Word at times. What results is definitely one of the finest offerings that you will find on this album, altogether. And have I mentioned how nice that riddim is??! The very next selection following 'Push on Thru', 'Singing Songs for Jah', keeps the music here exquisite and adds to it a message that, once again, shines for its simplicity. 

"Who protect I for the night, wake me up this morning to see the light of a new day?

A Jah

Who bless I with love, strength and light - same one who always hear me when I pray?

Jah Jah

And who is gonna guide my steps, clear my way, trodding through this wicked babylon today?

Jah Jah

And who do I turn to when the wicked set their devices and traps and ah run dutty play?

A Jah

That's why I sing a song, I sing a song for Jah

I'm always singing songs and singing songs for Jah

Rastaman sing a song, come sing a song for Jah

We're always singing songs, we're singing songs for Jah

Who bless I with the most loving friends, bredrens and sistrens, blessed children?

Jah Jah

AND WHO SHOWER I WITH BLESSINGS SO BOUNTIFUL BADMIND COULDA NEVER COMPREHEND?

Jah Jah

And who expose the folly, show me the true friend from the frenemy dem?

Jah Jah 

NOT TODAY OR YESTERDAY, WE PRAISING JAH JAH FROM WAY BACK WHEN!"

'Singing Songs for Jah' is pure 'message music'. It is a vehicle to deliver a point and even with Roots music, as plain as that may sound, it isn't always the case and it can be refreshing, as it is here, when you come across it in its most 'primitive' form (and I mean that in a good way). I wasn't crazy about 'Running the Track' the first few times that I heard it (and I still wouldn't say that I LOVE it, even now) but it has grown on me somewhat, LARGELY due to the riddim. As is the case with several of the songs that we've discussed from "I Am Rastafari", the musicianship on 'Running The Track' is soaring. This one, in particular ( at least to me) has an almost... 1980's sound to it?? There's something very old-school 'flashy' to its delivery but that riddim behind is TIMELESS and Harry Mo uses it for a solid moment but one which might require more effort on the part of the listener full absorb. The vocals on 'Burning Bridges' aren't the greatest (not in terms of how they're sung but as far as how they're recorded) but that is my sole complaint about that tune. This song has a very fascinating aspect to it because, on one hand, it has an element of being exactly what you think it is from its title -- don't burn your bridges; be careful how you treat people, because you may need them in the future -- but on the other it MOST CERTAINLY DOES NOT.

"What if it's gonna take you to a place named Malice, near the Vampire Palace?

I say let it burn to the ground..."

Some bridges are not only useless but their existence is a negative thing. In a more applicable/tangible setting (presuming there is no bridge from your neighbourhood to the Vampire Palace) (if there is then you can just ignore this part here) - if there is someone in your life who you have some type of connection to but they're negative people and they bring no good to your life, let it go! If you're working a job that you hate and it's draining your happiness, you find a new job! Things like that, I think, are examples of burning bridges in a good way and I think that's the very powerful sentiment behind this very interesting take on 'Burning Bridges'. There's the downright hypnotic 'Work to Do', which finds the singer lacing up his boots, rolling up his sleeves and getting down to business. It also comes with this excellent.... almost rapping style just to change things up, but it's also very melodic and very pleasing to hear. On top of that, Mo's form of work to be done is a general one, from doing a better job in raising children, to helping those who're down on their luck and struggling and doing better in spreading the word of Rastafari, Harry Mo is ready for it all and, hopefully, we are as well after hearing 'Work to Do'. Finally, unsurprisingly the album ends with the nyah drum heavy CHANT 'Do Good' (this used to be a fairly active practice on albums, if I recall correctly). 'Do Good' is not only LOVELY and expected, for what it is, it is a fantastic way to end an album like (and titled) "I Am Rastafari", sending the listener out with a very special and upful feeling going forward. 

Okay, something I really would like to mention in regard to this album because I find myself being more and more critical of it in regards to other projects we review: "I Am Rastafari" is very FULL. It's very satisfying. With its thirteen tunes topping out at nearly fifty-eight minutes (by my surely incorrect math), that puts an average song as nearly four and a half minutes long which is LOVELY! Part of the reason, in practice, why this is the case is because Mo and company definitely give their MUSIC an opportunity to shine and they should. They often give these nice stretches of instrumental or extended choruses to really add to the complete experience of enjoying the album and that is a wonderful touch and one which, again, stresses and highlights a legitimate strength of the release.

Overall, "I Am Rastafari", for the most part, is just a simple and excellent display of what Harry Mo does best as an artist, in my opinion. While it isn't the most challenging of listens, it also isn't one that I think is going to leap out at the newer fans but at the same time it won't be totally tucked away from them as well (the music here would be appreciated by absolutely anyone in my opinion). "I Am Rastafari" well follows into the line of quality set by its at least solid predecessors  and is precisely what I, as a longtime fan, hoped it would be. Harry Mo is someone who I consider myself lucky for having stumbled upon when I did (whenever that was, exactly). His music has found a home in my rotations and DID NOT CHANGE AT ALL during our time away. 

Rated: 4.25/5

Yellow Moon Records

2020

The Vault Reviews: Rising Sun by Niyorah

Stocked. Back in 'da day we used to do a feature 'round these parts which was called Discography. It was an incredibly basic look through all of the albums of a particular artist (or even series twice thrice) up until that point. What they did best for me, in retrospect, was to (allow me to listen to a lot of really good music) kind of me a wider perspective of just how impressive and consistent someone had been. In several instances, I can remember going back and thinking that I had even forgotten about a particular album entirely and then, again, getting to re-enjoy that release. As I've said recently, I do think that the music has risen to a point where we are able to give people a significant amount of credit for what they've contributed to the music, whether personally or in a further-reaching sense, there are still moments where material can slip between the proverbial cracks and can be lost. There were three or four cases -- thinking of people like Bunji Garlin, Turbulence, Natural Black and definitely Chezidek (definitely got a lot of feedback on the Chezidek post) -- where I was even a little surprised and just how MUCH someone had done to date and just how easy it is, even when you are a Fan to overlook and forget about certain things. When you go through someone's catalogue, it can be an 'eye-opening' journey, damn fulfilling (you should give it a shot) and just a lot of fun. By the time we'd began our hiatus, I had covered a great deal of Reggae's most active and productive names (Anthony B and Luciano were forthcoming (they might still be, one day) and I was THINKING about going on to someone like Sizzla Kalonji (which always would have been difficult, given the one or two kind of PHANTOM albums he's had through the years) (biggup "Hotter Fire" and two versions of "Burning Fire") and I'd even managed to ABSOLUTELY LOSE MY FUCKING MIND once or TWICE during Discography. It was recent, while I was doing research for "Rootz & Kulcha" by Ras Batch (who was the inspiration for the entire series, in hindsight, having an installment before it even had a name) when 'Discography' jumped back into my mind as, during one of my many musical detours, I'd ran into the unfortunately under-populated but FULLY amazing archives of someone who has been amongst my favourites virtually from since the very first time I'd heard his music.

If he retired today and decided to never record another song as of right now, I'd wish that he would have done more and been more active, but Niyorah would have had an excellent career. I initially took more of a cursory look through his work but then I'd gotten deeper into some of it and.... it is spectacular. The St. Thomas-grown, Dominica-born (biggup Dominica) artist has made some tunes which, personally, will always stay with me. I just needed something of a push to get back into it and now, good luck getting me out! When he was just three albums deep into his career, two of them, "Purification Session" from 2006 and 2010's "Feel Your Presence" were already full Modern Classics for me. The first of those, were we to create some type of distinction between "classics", would even be in the top half of those (it may be one of the best twenty-five or thirty-ish albums I've ever heard). And prior to that, his debut set from 2005, "A Different Age" ["If you feel a way about the herb, let it be positive all the time. If you feel a way about the herb, remember that its creation divine"], was also very strong and, listening to it now, it may've been even better than any of us gave it credit for being (there is a track on that album called 'Angry Mother Nature' which is just running my ass over these days!) (BOOM!). Niyorah's just had a great career and, again, though I wish he were a bit more active at times (I could go for a new album like right now, for example), what he has done has largely been of an unquestionable quality for me.

Perhaps (it did) that had something to do with the fact Niyorah kept very good musical company. Along with being tremendously gifted on his own, when you take such a talent and meld it with a label like I Grade Records, what you end up with is potentially special. All three of his first albums were released on the label and received an excellent push. "A Different Age", in fact, was part of IGR's 'Fyah, Earth, Wind' promotion which featured it alongside releases from the fiery Ancient King (biggup Aincent King) and the breezy Army (biggup Ras Army). Niyorah's talent received a proper chance to cultivate and, you can hear it between the albums as he grew and grew into the flamer that he is today. And with that development within the studio, he also, CLEARLY, began to diversify himself behind the scenes. With the release of "Feel Your Presence" came the debut of Niyorah's very own label, Denkenesh Records. If you follow Reggae music, in general, but specifically that coming out of the Virgin Islands, you know just how often it seems as if many of the top artists branch out and develop their own imprints. The gold standard is probably the aforementioned Ras Batch, whose Sound V.I.Zion Records has released full albums for himself (five of them, by my count), his wife I Ma and Ras Attitude, as well as two installments of the "Culturellennium" compilation. Other big names such as Akae Beka/Midnite, Pressure Busspipe (new album, "Heights Of Greatness", out now on Busspipe Records) and even Attitude, himself, have also done work for themselves, under their very own charges, respectively. In 2015, Niyo would step even further out onto his own and deliver his fourth album, this time completely out on his own, "Rising Sun". The album, apparently, would also be re-released just last year to reflect Niyo's shift from Denkenesh to his newly minted Rise Above Them Publishing (the same thing happened with "Feel Your Presence"), on which he has released his last few singles (including the sterling 'Love The Caribbean'). I can remember REALLY looking forward to "Rising Sun" in its day. It came on the back of a pair of scintillating releases and, while I wasn't expecting it to rise to those type of heights, I was definitely predicting that Niyorah would be flying on some level with its release. Did he???

Of course he did, he soared. He always does. "Rising Sun" very much seemed like a continuation of the first three albums from Niyorah, rather than exploring some different side of things (and by album #4, you might begin seeing some type of experimentation (particularly on a self-produced set) thankfully that was not here and I wouldn't foresee such a release from him anytime soon). In retrospect, it did so well in solidifying and re-establishing exactly who Niyorah as an artist and, I'll tell you right now, if you're relatively new to his music, you might want to make this one your starting point. Grizzled fans, like most of you and I, OBVIOUSLY, would find something truly substantial as well. For example? Check the first sign of light on "Rising Sun", which finds Niyo examining risk-management on the Cold Times Riddim via Danish label, IceDrop Records, with the golden 'Calculate'. First of all, that riddim was exquisite! Do yourself a favour and look up its album. It featured the likes of Lutan Fyah, Cali P, Warrior King, Little Hero & Natasja, Chezidek, King Kong, Jah Mason and even Ward 21 (big voiced Junior Natural also did very well with his effort, 'Rise') and was probably one of the best riddim albums over the last decade or so (might be nice to crack open the vault for it someday) (and I should also mention that Niyo and IceDrop have even worked since then on 'Stomp on Corona', a single alongside Oma Da Pro from just last year) . To his credit, even with that roster of vocalists, Niyorah managed to turn in one of the riddim's strongest selections. I think that one of the benefits of getting older and maturing is that things tend to slow down and what you get is an extra four or five seconds before you do something stupid. You're still going to do stupid things (you are human and, by definition, you are flawed), but if you live properly, when you get older you're likely to do a lot less of them. Here, the artist, essentially, tells you to make the best usage of that "extra four or five seconds" and weigh the pros and cons of what you're getting yourself into. Specifically I can't think of hearing any song on this subject, directly, which is as detailed as this one:

"Badman ah cause confusion

Living in their old world like dem disillusioned

LIMITING YOURSELF WHEN THEY'RE SEVERAL OPTIONS

USING FIVE PERCENT OF YOUR ITELLECT FUNCTION 

THINK BEFORE YOUR ACT, BUT DON'T ACT AND THINK AFTER 

STUPID IS THE MAN THAT CAUSE HIS OWN DISASTER

Be humble, be rational, realistic

Or you will have to face the judgment of the mystic"

BOOM! 'Calculate' strides to the heights of "Rising Sun", immediately establishing itself as one of the highest ranking tunes here. Next up, Niyo has a word for all of the lazy asses out there on 'Workday' which was his cut of another big track, the Rub A Dub Riddim from Irievibrations ["Dem ah gwan like dem a mi friend, but dem a bagga heathen. MI BUN DEM AND SCORCH DEM AGAIN (SCORCH!)"] (biggup Luciano). The point here was simple: You can either get up and do something and take care of yourself and your family.... or you can sit down and bitch and whine about what you have to do (and are not doing anyway). I like the kind of aggressive stance on this one, because you can really feel Niyo's disgust at the situation and he's kind of confused that people behave this way; but he isn't saying that all is lost. Even if you fall into this category, you can pull yourself up ["and pull up unuh socks and lace up unuh shoes!"] and do better. The album's downright STUNNING title track was the first of a pair of more than solid combinations, this one linking Niyo with Kiwi Reggae band, House Of Shem. Take this as testament #5,000,000,000 to the power of Reggae music as the House Of Shem and Niyorah -- New Zealand and St. Thomas -- find a BEAUTIFUL musical common ground in praising His Majesty on what is my absolute favourite song on the release and one of the finest from Niyorah's entire career. 

HOS makes a mighty impression and, later on, fellow Star Lion Family alum, Ickarus ["Mine who lime round, spend time round. They could be the same one that's putting you down"], does the same on the mandatory ganja tune from "Rising Sun", 'Medicinal Ganja'. I wish I knew the name of the backing singer/s because whoever she/they is/are also make a big contribution to the prevailing quality of the song. What I so much appreciated here, along with the actual music of course, is the WEIGHT carried by 'Medicinal Ganja'. So many times (sooooooooo many) (literally thousands at this point) you hear drops like this one and, I call them "obligatory" and that's because that is how they seem - like someone made them to fill a quota. This is not one of those cases. Along with being one of the best efforts here and just so well-done, you'll also notice that, WONDERFULLY, 'Medicinal Ganja' is the longest song on "Rising Sun" by forty-five seconds ('Calculate' is second). So it goes to show just how important it was to the artists to make their point and they definitely succeeded. Ickarus and Niyo go back many a year as do Niyo and the aforementioned I Grade Records, who supplied the vocalist with their Songbird Riddim in 2013 which he made big usage and provided one of its biggest moments, 'War Is Not the Answer' ["Manufacturing arms to market the killing of man"]. This one was a global examination of violence (you don't just throw around words like "war") and one which featured a damn impressive amount of detail. Nearly a decade on and that riddim still has an effect on me EVERYTIME I hear it, going to show the power of good work like this. It is timeless. IGR was also on board with Lustre Kings Productions and the Zion I Kings for the Jah Warriah Riddim  from Zion High Productions which carried the social commentary, 'Media Portray'. This one has grown on me just a bit over the years from its release in 2014 and it may still be to this day. It finds Niyo taking a look at just how influential the media can be and how what they choose to import can, literally, shape the views of the masses and how important it is for us to be truly informed and EDUCATED.  You may also recognize the frenetic closer, 'Dirty Streets', which was released as a single from West Coast Studios, also in 2013. Somewhat similar to the opener in its theme, 'Dirty Streets' is about making better choices in life and trying less to be a creature who acts purely on emotions and instincts. This one, more specifically, looked at violence and how incredibly easy it is for someone to completely throw away their life (and that of someone else as well) based on one bad decision. Because of its pacing and sound, it isn't the hardest thing to overlook what is being said on 'Dirty Streets', but tuning it in definitely is worth it.

If you missed DJ Frass' Diamonds and Gold Riddim in 2013, you missed some standout material from I-Octane, Jah Cure, Queen Ifrica, Ce'cile, Iba Mahr and Alaine (whose 'Jah Is So Good' is one of the best of her career). You also missed a rather surprising appearance from Niyorah who gave the riddim another of its many highlights with a cool love set, 'Love You Same Way'. Like almost everything on that riddim, this one will definitely get your head rocking and stay with you quite awhile after you've moved on. It's actually fairly straight-forward which is a good things in this case - just an lovely song about someone very special. While I do know that a big credit is due to Frass for the Diamond and Gold Riddim, I don't know whose genius to credit for that thing behind 'Let Love Flow' (although I would make a very familiar guess, but I don't KNOW), which may've been this album's very first single. It is MIGHTY! The song constructed around it is just as muscular as 'Let Live Flow' 'threatens' our title track as the very best offered by "Rising Sun". The course here is wise, as Niyorah seems to suggest a full-scale shunning of things which're used (and even created in some cases) ["Religion separate us psychologically"] to keep people in conflict and away from one another. At its core, 'Let Love Flow' is about enhancing simplicity, in my opinion.

"There are so many tribes inside of  Africa, Mama

May your principles be kept in her

No fighting over land-

SHARE IT WITH EVERYONE

May every family be blessed in her"

It's about cutting away the FAT and finding the unity which we should have with one another (hopefully I've illustrated just how fantastic that tune is) (probably not, but the wonderful video is likely in  here somewhere, take a listen for yourself). I was almost sure that I had heard 'Rain Forest' before it appeared on this release but (....and I still think I may've), from all I can tell, it made its debut right here. This one was a glorious tribute to nature, all of its beauty and how important it is to not only celebrate it, but RESPECT it as we move forward. If you know anything about Niyorah or you've seen a couple of his videos (take a look around), you know how essential it is to him in his actual life. It should be that way for all of us because, in the end, it was here before we were and will still be here loooong after we've gone ("Purification Session" featured another very eco-conscious piece, 'Globe All Warming') (big tune) (..."Purification Session" may be the best NAME for a Roots Reggae album I have ever seen in my liife). NIyorah throws up a big praise with 'Here To Serve You' ["From the dust I came. I was born. I was formed. I was shaped. I was molded"]. Along with its decidedly spiritual angle, 'Here To Serve You' does have a more terrestrial purpose as Niyo indirectly deals with the subject of HUMILITY and how people should not only look for the best for themselves but for others as well. He plainly makes the connection that we can greater serve The Almighty by helping others, which is a fantastic idea. Niyorah may not be a wealthy man, financially speaking (has a lot going for himself in other ways, however) (then again, he may be a wealthy man, I don't know), but he is grateful for what he does have. That is the sentiment behind 'Mosquito Ah Bite Me'. Yes, you may be lacking in some (many) things and yes, you are fully aware of that and you want many of the things you cannot afford; but all is not lost. There're still so many things (or at least one thing) for you to be thankful for ["Still I'm singing Jah, give thanks for life, for life! Not matta what di ups and downs around, tear dem down now"]. 'Mosuito Ah Bite Me' also has an underlying sense of humour to it, especially when you watch the video clip. It is entirely relatable, we've all been there and hope to never return! And finally is another of the true highlights of "Rising Sun", the thrilling 'Rastafari Is My Guide'. Niyorah WONDERFULLY changes the game and exhumes the classic Answer Riddim for what may just be the most FUN to be had on the whole of "Rising Sun".

"The system corruption dirty

No political boy can lead me

Tafari is my guide

Rastafari is my guide

I love Black people, yuh gifted

And your strength is so uplifting

Free up and hold a vibe

Rastafari is my guide

Politician bragga-like, swagga-like, grimey like a dagga-knife

Sell out all yuh people, now yuh feeling all piranha bite

DI BANNER RISE

RASTA RISE

Tired of disaster vibes

Treat di people equal, cause wi want more than a bag of rice

Get a life, sodomites, stinkin, dutty parasites

Frontin and  yuh stuntin, doing something all wi ahgo fight

Tek weh wah?

Nuff yuh tek

Feel yuh full of intellect

UNDER YUH CORRUPTION THINGS HAVE CRUMBLED, SO WI INTERJECT!"

BOOM AGAIN! 'Rastafari Is My Guide' came as somewhat of a surprise and I'm now hoping we hear more Dancehall from Niyo in the future. Surely it won't become his norm (and it hasn't), but if it sounds like this, once in a while would be a beautiful thing! 

Overall, what I was left thinking about "Rising Sun" was of just how SMART and MATURE of a project it is. Niyorah recently celebrated his forty-first birthday about a week and a half ago as of this writing, which means he would have been not quite twenty-five when "A Different Age" reached in the summer of 2005 and thirty-four for "Rising Sun". So if you've been on board from that time you've, essentially, listened to him grow into and settle into adulthood and it's reflected in his music. He'd always had this astute edge to his music (go listen to 'Light of Jah' and 'Perfect Timing' from "A Different Age" & "African Chant" with Pressure on "Purification Session"), but what I heard on "Rising Sun", specifically in that respect, was even greater. I heard someone who sounded as if he had done a whole heap of research on the topics that he was dealing with and then combined that knowledge with his natural passion for addressing them. The results, unsurprisingly, was another GIANT set. "Rising Sun" has become the fourth, of four, outstanding musical contributions from a talent in Niyorah who has probably  done more already than you realize.

Rated: 4.75/5

Denkenesh Records/Rise Above Them Publishing

Digital

2015

'In Special Places': A review of "Roots & Lovers" by Harry Mo

Keep it coming. Whether you realize it and appreciate it or not, a very large part about being a [good] music fan is being able to make emotional attachments. Those links are what make looking forward to something -- be it an album, a new song or a performance -- nearly indescribably exciting at times. They are also what make lifelong fans out of people and, in many cases, you end up growing up from a child into an adult and are still just as passionately following the music of particular individuals who you may have never met at all but they exist as a relatively large part of your life. Certain songs and even certain sounds and voices remind you of a particular stage of your life and help to add 'colour' to moments as well. Personally, of course, I make these attachments as well and today we're dealing with one who, indirectly, tends to remind me of just how much I've changed as I've gotten older. Other people do this as well, with the most noted figures likely (and coincidentally) being Ras Batch and Midnite. The former makes a brand of Roots Reggae which I maintain is simply ahead of its time and though I was a fan when I was a younger person, these days, Batch is probably somewhere in my top five musicians going today and is never too far from such a list. In the case of Midnite, it hasn't been as firm -- 'they' have thousands of fans more passionate than I am -- but as I have gotten older, I've 'inherited' the experience to be able to appreciate the journey to comprehension of their music which has, obviously (I think I've probably written more about Midnite than anyone else), brought a whole heap of satisfaction. In both of those cases, just becoming more of an educated person as well as someone who has more familiarity in dealing with life (I hesitate to use the word 'maturity' because I know that I still have a very far way to go) has helped me in a major way to hear, with a 'new' ear, some of the best music I have ever heard. I also equate others such as Mark Wonder, Glen Washington, Tuff Lion (more on him later) and Yami Bolo (via GIANT album, "Rebelution") with that moment I had just noticed that my tastes as a fan were developing. The Dominica born, St. Croix based Harry Mo is someone else who has really helped me realize the change and though I consider myself the world's oldest thirty-three year old (sometimes I feel like I'm in my late nineties), I am fortunate that I ran into his work when I did. 

"Back To Africa" [2008]

Why is that? It was years ago that I picked up a copy of what I Harry Mo's debut album, "Runaway Slave" and though it would not resonate with me in a way in which his later work would, it would DEFINITELY set the stage for what was to come. "What was to come", exactly, was simply one of the strongest albums that I have ever heard from anyone at any time, Mo's 2008 opus, "Back To Africa". This would arrive at a point where the changing of my tastes was in its nascence and it made a fan out of me! That album was a straight-forward and absolutely BEAUTIFUL piece. And it was really a blessing because, again, had it come any earlier, it may not have resonated with me as much and because Harry Mo is not a name you see attached to every riddim. Instead, he loads and stocks up for his album releases and had "Back To Africa" reached any earlier, in my youth I would have almost surely missed out on the true power of not only one of the best albums I've heard but also one which has personally helped me through a lot of bad times.

"On My Way" [2012]

And it did not stop at "Runaway Slave" and "Back To Africa". Just a couple of years back now, Harry Mo would bring forth his sensational third album, "On My Way". That album was, in retrospect, my first opportunity to 'try out' being a fan of Harry Mo's and while, if I recall correctly, it didn't have much of a build-up (by the time we knew about it, it had already been released), it was an album which was wholly what I had hoped for and, as you can see, I'm still a fan! "On My Way" was crucial and listening to it today for the first time in a minute, I'm still stuck on songs such as the title track, 'Selassie I Name', 'Creator' alongside Army and so many more. So, with as strong as 2014 has been for Reggae albums… why not have another new one from Harry Mo. Even within the scope of Virgin Islands Reggae, we've already had a pair of VERY strong releases from Pressure Busspipe and Midnite (two from both!), it has been outstanding and it's looking even brighter as Harry Mo brings forth his FOURTH album to date, "Roots & Lovers". This was another situation where we had no idea that Harry Mo was hard at work on a new project but in a week where we also get new sets from the likes of Norris Man (who, obviously, CANNOT stop making albums) and Lady Saw, "Roots & Lovers" comes as a wonderful surprised and I'm not complaining about it at all. If you are not familiar with the work of Harry Mo, what I will say that is that his music is very mature and very straightforward. And I have to explain that just a bit - it is a colourful and vibrant brand of Roots Reggae. If you do enjoy the genre, I'm going to have a very difficult time listening to an argument about how you don't like the music of Harry Mo. By comparison, in many ways he does remind me of someone else who I always look forward to hearing from, the great Ossie Dellimore from out of St. Vincent (would love a new album from him as well) as both make music in a very intelligent and clear-cut manner and when at their best, which is almost every time, they SHINE! And as his past would portend, "Roots & Lovers" is another sterling release from someone who I don't know if he could disappoint, even if he tried to. Let's talk about it. 

Two things really stood out in regards to this album even prior to listening to it. First of all, just like its predecessors, the new release comes via Harry Mo's own Yellow Hill Music. I don't know the label from doing anything else besides his music but, in listening to his work, I can't help but to hope that at some point in the future they begin to take some of these amazing tracks and invite more vocalists on them because in four albums now, they've made some STUNNING backdrops. In addition to that, handling production duties alongside Harry Mo here is the esteemed Dion Hopkins from Midnite fame and what you hear here, unsurprisingly, is an exceptionally produced and arranged set. Also, as I said, Harry Mo's music is "straightforward" and "clear-cut" and with the record being named what it is, you know PRECISELY what to expect. Harry Mo's new and fourth album, "Roots & Lovers" is a mixture of… modern Roots tracks and love songs. And while I hesitate to throw out a phrase such as 'concept album', I suppose that is what this set is. It's also fantastic and that becomes apparent from the very first song on the album, the gorgeous 'His Majesty's Palace'. This song and a few others carried here features the handiwork of the aforementioned and most incomparable Tuff Lion and, as expected, both he and Harry Mo shine. This song, for me, struck me really nicely as what it kind of comes through in a doubled style. On one hand, it is about a trip Harry Mo took to Ethiopia and everything that he saw and how much joy it gave him. Also, however, it could be considered autobiographical in terms of really being about someone's journey to realizing that Rastafari was the path of life for them! You can hear a smile on his face as he sings this piece and he talks about how it made him feel and how he wanted to tell everyone he could just how powerful it was. An amazing start and one which also put a smile on my face (it's a new Harry Mo album!) [WHAT!] [BOOM!]. Things get really nice and serene as the second tune, 'What You Gonna Do' rolls in. This one is a social commentary aimed at the powers that be asking what they are going to do to improve the condition of life in the world ["What is your aimed, we're feeing the pain"] and it is backed by one of the nicest riddims on the whole of this album. It is a standout for me here and I'm sure that I won't be the only one of that opinion. The next two selections from "Roots & Lovers" go towards the lovers side of things and the first of them, 'Baby Don't Go' is golden.

"Baby don't go, when are you coming home?

For it's the fifth time now this year, I'm going to be alone"

Harry Mo deals with, what I imagine, is a very real problem for the nomadic life of a musician, having to leave their love ones with not a whole heap of prior knowledge and, in the process, turns the situation into one sweet tune. The other offering, 'Don't Want To Love Again', also has a golden composition around it (with the work of the Tuff Lion) and it is one of a pair of combinations from "Roots & Lovers", this one featuring Harry Mo alongside the lovely (and very easy-to-look-at) Cherise King. The two perform a fully Reggae-fied duet style of a tune which is definitely not to be missed and biggup King who, when she forces it, demonstrates one of the more underrated voices in the entire genre.

Though the "Roots" of "Roots & Lovers" dominates, Harry Mo does give us three more top-notch love song throughout the remainder of the album. The first of them, EASILY, is amongst my very favourite songs on this album, 'Keep It Coming'. This song is one really just celebrating a nice relationship and, at least for me (as an over-thinker), it is a composition about appreciating the good times and noticing when you are loved and have it well before trying to change or reorganize something. Later on we get the most wonderfully familiar 'Love You Bad'. When I heard this song for the first time, I knew I had heard something about it previously and that was ultimately traced back to the "On My Way" album which ended on a piece called 'Mama Dominica'. I loved the vibes on that song as it had a particularly different sound than most of the other work on that album and the same could be said in this case. And right after that is another 'love song’, this one of a different type and featuring Dutch artist, Kenny Weed, 'Bring Back Love' . This one is about spreading love throughout the world and though, certainly, such a song is generally given more to the Roots spectrum, the way this one is set, in my opinion, it's a little bit of both. It's also DAMN NICE to your ears and Kenny Weed turns in a very nice effort as well. 

"Love has run out of this world

RIGHT HERE, IN THE HILLS OF ST. CROIX, WE'RE GOING TO LAUNCH ATTACK!

Remember when we used to love it up?

Sit down and cool and just ah bun it up

Under the moon the pot ah bubble up

Now pure gunshot come mash it up"

"Roots & Lovers" dazzles even more on its Roots side as, along with its first two selections, it provides the listeners with some giant moments on that side as well. One of them should well be considered 'Go Far Away'. This is an excellent record about spreading the music and the message of His Majesty to any and every corner of the world where the people want to hear it. This was another song that really put a smile on my face and you REALLY need to tune it in, especially in its latter stages, to hear the Tuff Lion do what he does best on that legendary guitar (… though he's also a very nice singer). BOOM! 'Feeling High' is the ganja song from "Roots & Lovers" and it has somewhat of unusual sound to it. This is kind of a Spoken Word type of selection. Harry Mo does his traditional vocals at times but it really seems as if the riddim played and, spontaneously, 'Feeling High' is what emerged. 'Easy Yout Man', the album's longest track, has a very subtle but golden old-school type of vibes coming from it with an almost Peter Tosh-esque intro as well. This one is, as its title suggests, is about calming down the mentality of certain youths (and older people as well) with the hot temper who don't stop and think about their actions before acting. Mo provides an alternative, Rastafari, to be considered on another song which very much has a kind of a loose style around it. This one, to my opinion, is very strong and it is still growing on me. 'In Jah Time' is also experiencing a similar growth on my affections as well (though it's starting out on a higher level). This is a powerful tune about PATIENCE! Essentially Harry Mo says that whatever is coming to you, good or bad, is coming when it is coming! You cannot choose when it arrives, it reaches in Jah time (and biggup Cherise King once again, who glows as a backup vocalist on this song). 

"You see, a year is like a day in the sight of Jah

So when you think it's far away, to Jah it's not so far"

The final two offerings on "Roots & Lovers", along with its opener, really represent the class of this album and help to outline what I think is its lasting signature. The first of them 'Jah Alone', is about asking for forgiveness when you've done wrong and I also think that the point that Harry Mo was ultimately attempting to make was in letting things go, in general. So many people (including myself) have accrued regrets and complaints which can weigh us down at times and I think Harry Mo was, directly, speaking to those moments when you find yourself wholly confounded and HALTED in life by something that happened like a decade ago or something like that. It is a very relatable set of circumstances and I'm happy he dealt with in a song like this which only gets better every time you hear it. Finally (this review will probably end up north of 2800 words but it was so easy to write), is my favourite song on "Roots & Lovers" and one which IMMEDIATELY became one of the best songs that I have ever heard from Harry Mo. TEARS! 'Rastafari Chant'… made me cry. That's the best way that I can put it. I heard a clip of the tune and it pulled at emotions and when I heard the full piece, it YANKED them! But it was a great cry (crying for being happy is something you need in your life at least once or twice every week in my opinion) and one which I'm sure I'll be repeating years and years from now after listening through a song like this one. It is exactly what its title says that it is and it is one of the best songs I've ever heard from Harry Mo as he puts a beautiful bow around his fourth album. 

Overall, when you actually open the rest of that package, you'll love what you find. As I said, I don't know how you, as a fan of Roots Reggae (newer fans as well but particularly more experienced ones), could find something about this album, or any of the three that Harry Mo has done to date, which you do not like. You may not LOVE every song (and that's fine) but he makes music of an ilk which is such a wonderful display of the genre and it is very positive and uplifting and I can tell you from nothing but experience, if you continue to listen to his music, the next time Harry Mo releases an album, you will make that connection to quality and it’ll be a GIANT deal for you. So while I may lament getting older in many aspects (I recently discovered that I had a back, never knew that before), one which brings me no problems at all is being able to fully appreciate an album like "Roots & Lovers" and all of the beautiful others from someone whose name I always look forward to seeing, Harry Mo. Very well done.

Rated: 4.25/5

Yellow Hill Music

2014

CD + Digital

Review #532

Modern Classics Vol. XXXVI: "Feel Your Presence" by NiyoRah

"Feel Your Presence" by NiyoRah [I Grade Records/Denkenesh Records - 2010]

NiyoRah is easily one of the most talented artists currently on the scene in all of Reggae music. Throughout the years, from first hearing his talents as part of the Star Lion Family, up until now, the Dominican born, St. Thomas grown singing chanter has developed into an absolute powerhouse of a talent, capable of doing anything necessary on a track and, at least for me, is currently in a very small group from whom greatness should be expected every time he does something musically. 

Fortunately, he's yet to disappoint. Now three studio albums deep into his career, Niyo has, as far as I'm concerned, already turned out two classic releases. The first was 2006's colossal "Purification Session", which was such a powerful and wholly unforgettable piece that had he not even come close to equaling its levels throughout the rest of his career, it would have been strong enough on his own to have anchored a still very solid catalog. However, four years later, NiyoRah would finally deliver its successor and, once again, make many people happy by serving up another potential classic. Previously, all of NiyoRah's album work came via I Grade Records, who were once again on board of the new project, but musically the new album saw the artist working much with the venerable Jamaican producer and musician Andrew 'Bassie' Campbell, as well as displaying his own label, Denkenesh Records. The album would be fully comparable with its predecessor and even, arguably, exceed it in some aspects. NiyoRah reached golden levels again in 2010 when he pushed the second of what just may prove to someday be an entire catalog of albums packed with undeniable classics. "Feel Your Presence"

The Music

#1. 'No Guts No Glory'

I've had so much fun throughout the last nearly three years in listening to this tune and going through and coming up with various purposes for it and every time I hear it, even still, I think I find myself not only finding yet another 'route' to its meaning, but enjoying it as well! These days, I look at 'No Guts No Glory', the opener for "Feel Your Presence", as being a song which really is one which is a praising tune, but of an extremely clever style. What I think Niyo is saying is that no matter who you are and what you have done in your life and with your life, if your intentions are righteous and you want to make a change, there is a way and there is Someone, who wants to help you. 

Best Lyrics: "It is the people who make the damn choices. Just voice your opinion, let me hear your voices. It is the people who have dem upful vibes yah, no matta how di government ah gwan wid all dem hype yah. It is the people who make the true decisions. We're not going to be no lamb to slaughtered through dem inquisition. It is the people who know about this poverty, so then it means that we are closer to, oh yes, His Majesty. It is the children weh bringing back di wisdom of the ancient day, of di ancient bass and skin drum. It is the children bringing back di power OF HOW BABYLON GO MELT AND FADE AWAY IN LESS THAN AN HOUR!" [BOOM!]

#2. 'Bruk Down Barrier' featuring Jah Mason

Even on paper, a tune featuring NiyoRah alongside Jah Mason still kind of makes me smile, even without thinking of the actual track. That "track”, of course, 'Bruk Down Barrier', was everything you hoped it would be and even a little more with such huge talents combining on a single tune. This song had such a great level of energy and intensity, but it wasn't just a show of fire and flames there was more than a little significance in the message as the Mason and NiyoRah came together to call for change on a massive scale in the world. Excellent.

Best Lyrics: "Dis ah nah uzi pon di lap ting-ting. Fiction acting ting. Poor have not ting-ting. This ah di youth dem pon di block ting-ting. Pon di spot ting-ting. Round di clock ting-ting. It hit dem hard when wi drop ting-ting. Lyric attack ting-ting. By di back ting-ting. A King Selassie got mi back ting-ting. Forward! Babylon caan stop dis ting!"

#3. 'Feel Your Presence'

Don't you know? My favourite tune on "Feel Your Presence" is and has always been the title track because it so wonderful builds an unmatched combination of the absolute heights of sonic appeal (this is a beautiful song), with an equally attractive message. These days I'm so interested in how plainly straight-forward the song is. Besides the chorus, which is always the case, there isn't one aspect here which so glaringly stuck in your mind. Instead, the ENTIRE SONG becomes that moment. It's something which stays with you, in full and it hasn't left me and remains, easily, one of the best songs I've ever heard from NiyoRah. A straight-forward masterpiece!

Best Lyrics: "Don't you know - Life is a blessing from The Most High! It is electro-magnetic, with The Father, I'm going to keep a close tie. From San Francisco to the big apple, changes will occur in the whole sky. So spread the info to every chapel: Loving from good people, no it won't die. Now I feel your presence again. Whoa Jah! Now I feel your essence again. Whoa Jah! So take me, liberate me, educate me. I'm asking you. Oh pleas Jah" 

#4. 'Capture The Moment'

'Capture The Moment' is, essentially, a song which wears its message on its proverbial sleeve because it tells you what’s standing behind it with its title. It is a wonderful tune about really taking advantage of what you have and making the best of a moment (every moment). It's not that simple, however, because of the way that we arrive at that conclusion is through a social commentary of sorts and it is one built in such a way to provide a forthcoming happy day and an opportunity for people to "capture the moment". I hear this song now and I really focus in one line in its chorus: 

"there is a way to go

BUT THE WAY IS NARROW"

I look at that and I don't hear exclusion. What I hear is actuality. I don't think NiyoRah is saying that everyone CANNOT go to this much better 'place' and this much better way of life, I think he's saying that everyone WILL NOT go. Some people would rather remain in the nastiness and the road is too narrow for them and they probably don't even care. For everyone else, however, "there is a way”. What a gorgeous song. 

Best Lyrics: "There is a way to go, but the way is narrow. Love today, love tomorrow. Capture the moment"

#5. 'Close Call'

I've grown to appreciate 'Close Call' slightly more than I did originally in the time from since first hearing it. The song is one outlining how much herb is fought against and mistreated and hated by the system and the course people have grown through in which to protect and preserve it. But it's much more specific than that and Niyo really puts together, well, different situations to illustrate his prevailing point and it's a great song. HOWEVER, and I'll go back to this later, surely, what now stands out, particularly in this moment with this song, is just how OVERWHELMINGLY talented the artist can be. There is not a thing you would want from a Roots Reggae artist that NiyoRah is incapable of, including this tune which comes off so naturally and effortlessly, but I'm of the mind that it probably didn't take a great deal of time for him to do. It's just an organic level of talent: Talent doing… what it does. 

Best Lyrics: "Close call, what a close call. Still mi have faith cause a Jah weh know all. Close call, oh what a close call. Marijuana must legalize after all"

#6. 'Turn Around the Garrison'

I've grown to take 'Turn Around the Garrison" as really being this nicely broadened tune which applies to so many different areas of life, which makes it a social commentary, with the pieces about the military really being wholly applicable to oppressive, society, in general. Because of that, this is such a lyrically impressive and accessible piece and I haven't even mentioned the sound of it yet. As soon as it comes in your head is moving, you're smiling and really feeling good. It has both of those areas covered and covered completely. 

Best Lyrics: "Turn around the garrison. Make it conscious! Make it conscious yeah. We are all Afrikans who were divided and spread out"

#7. 'Backbone'

Speaking of sounding good and make you smile and move, check the very clever 'Backbone'. NiyoRah declares his woman, and good Women in general, as the foundation [the "backbone"] of the family life and the household. It is somewhat expected, in terms of what it is, but you don't expect the song giving thanks and praises to the wonderful Women of the world to sound like this. 'Backbone' definitely has something extra to it making it expected, but far from excessive. 

Best Lyrics: "In our yard, youths are running bout, just playing in the trees. Unconditional love is all I have, giving I the sight to see. Royal I-ness, my love, my dear, you are worth so much to me. When the music play, let us dance all day and raise the frequency"

#8. 'Round the Track'

'Round The Track' is definitely another social commentary on "Feel Your Presence", but it is a bit darker and grimier piece which really gives it this very interesting and unique edge to the vibes. A couple of other really interesting aspects about this song (three actually) - The first is that the riddim may just be the single finest on the whole of the album. It is fantastic and, even more impressive, it so wonderfully matches the vibes of the tune standing in front of it. Clearly Bassie Campbell and company knew it so you get this dazzling continuation of the track long after Niyo's vocals have come to an end. Secondly the 'presentation' of this song is also excellent. I speak on it occasionally, but it is so nice and refreshing when an artist not only can sing or chant or deejay or do whatever it is that they do, but it is another entirely when they link up their projection and delivery, in terms of the mood, with what they're saying at the time and it isn't just the same emotion coming through when you're singing about atrocities going on in the world and when you're singing about… some woman who you met last night and will never see again. And lastly, 'Round The Track' just may be the finest lyrical effort on the whole of the project, which is saying a great deal. 

Best Lyrics: "They give us sneakers and jocks to build up their own stocks. Have us working on clocks, then they feed us rocks!" 

#9. 'The Day the Dollar Died'

As its title would suggest, 'The Day the Dollar Died', is very much an economical commentary on the state of monetary affairs of the world. This song, maybe more than any other on the album has really grown on me considerably from around first hearing it, because it such an all encompassing tune. Yes, it has a subject and it sticks to it (which is a great thing, of course), but it takes that subject and steers it in so many different directions and categories. One of the most interesting is NiyoRah adding in how the respecting and empowerment of Women is so important to the monetary system. He wasn't the first to make such a claim and he wasn't the last, but I don't know and I don't think that I've ever heard it expressed in a song to such a FINE detail. 

Best Lyrics: "Cool off beyond di hundred. Up inna di million and still nuh done dread. But mi nah go worry, prophecy dun said: Robber robbing loaves ahgo get di crumb bread" 

#10. 'Propaganda'

'Propaganda' is another piece which has given me nearly three of years of enjoyment in breaking down and analyzing. In its specific case, it isn't so much of an instance of trying to seek a single unifying statement of the song, because this one is just so 'free' that it has several and it ultimately goes in a many different directions. Some of those directions are entirely exact and some are broader, but when you stick them together, not only do they work as a unit, but they excel as well. Listen to this tune and notice the wonderful building of intensity and how the riddim, almost like it has a mind of its own, almost seems to KNOW when to back up a little and give Niyo more room to shine (the track is almost losing its "MIND" at the end of the song) (no behaviour!) (NONE!). In doing so, they both shine on one of the biggest tunes here. 

Best Lyrics: "Di ghetto youth dem powerful, can't you see? Farmers bringing food in from the far country. I see my people full of loyalty. The Emperors and the Empresses in royalty"

#11. 'Stolen Legacy'

I'm no longer of the thought that the single most prevalent idea behind 'Stolen Legacy' is the Afrikan Diaspora, although it is clearly a part of it and it may, in fact, be at the center of it all in terms of the intention of the song. The tune is more of a social commentary, but it is one with one ear firmly tilted toward the present and the other just all tightly pressed towards the past. They have a common ground, fortunately, and it exists not only somewhere in the resulting song, but in its quality as well. 

Best Lyrics: "Shot caller, tell mi what's the reason why you're not on the frontline, fighting yah war-a. Big baller, tell mi what's the reason why these fools take advantage of the poor with the dollar. Damn coward. The oil it is the blood of the earth, still you pump gallons out every hour. Eyes open. You tried to fool the people, but we know what's up, from you must be joking"

#12. 'World Jungle' featuring Sugar Minot

The next tune, just like everything else he touched, benefited so greatly from the presence of the legendary Sugar Minot, who joined NiyoRah on 'World Jungle'. The message here was a powerful one and an inspirational one at heart, at least in my opinion, but listening to this song now, it is SO entertaining. Between the two of, Sugar Minot and NiyoRah make a downright thrilling track which you can listen to the lyrics and get a very powerful bi of incentive and motivation from, and you can sit back and just enjoy for the sake of being great music. I've done both!

Best Lyrics: Sugar Minot - "Trodding through the jungle, got to find some fruits that’s good for the soul. Cause some things weh look nice fi eat a poison and will put you inna hole. Got to find the waterfalls and the cool, cool stream and pray that no alligator nah come pon di scene”

#13. 'From Since When'

Baby Cham (look at the connections I make for you people!) had a song from a few years back called 'Conscience' which was (MAD!) a tune which really just had so much common sense at work that it's remained one of my favourites from the DJ and a full-on masterpiece. At the core of that tune, and its intelligence, was an acknowledgement that people were going to nasty things. They've been doing from there were human beings to do it and they were going to continue. HOWEVER, what Cham said there was that for even those people, they had to have some type of line they didn't cross, but they did anyway, which made things all the more fucked up. Why do I bring up 'Conscience'? Because I now find 'From Since When' to be of a somewhat similar foundation. Do what you do, you're going to do it anyway. But if you endanger innocent people and especially YOUR MOTHER ("for money!"), well then I don't even think a song like this or any other piece of sound, manmade or naturally occurring can help you. 

Best Lyrics: "Shot a lick. Shot a bust. Man a scramble. Murdah! Through dem lost inna gamble. Now di whole district inna shamble. Was it worth it fi cut Mama circuit?" 

#14. 'Indigenous World'

I am 100% certain that I am the only person who hears this song and IMMEDIATELY begins to sing a song called 'Shake Babylon' from the most underrated Zebi-Lion from out of Grenada. The two were the big highlights from Bassie's excellent Drum Melody Riddim (also featuring Winston McAnuff, King David, Emperor Mangasha (big tune) and others) (in stores now) (pick it up) and have really become linked in my head. For his part, NiyoRah delivered more excellence on which to end "Feel Your Presence" and 'Indigenous World' finds him shunning the more modern occurrences and fully embracing and then praising the natural aspect of the earth of life. 

Best Lyrics: "Faith is the evidence of things not seen. Great is the precedence of King & Queen. Dash away calamity. Dash away that scene. EVERYONE, WITHIN THEMSELVES, IS A SUPREME BEING. Deep within your walk is a true entity. Life over death is the real reality. Try your very best fi come out of misery. Righteousness to Jah is satisfactory"

Synopsis

Listening back to this album now, I don't quite remember it as being as specific as it actually was. I do recall, however, being almost overwhelmingly impressed by it from a lyrical aspect and I now think that it may have been that specificity (I LOVE that word), precisely, what made that impression to me and I still regard it as being such an impressive and IMPORTANT album from a writing point of view. Throughout the album, particularly on songs such as 'No Guts No Glory', 'Close Call' and even the closer, 'Indigenous World', NiyoRah really grinds things down to a powder-like detail in order to really make his point as vivid as it could possibly be. 

"The youth weh buss dem gun fi fun and ah mek blood run, Jah carry dem home

The poor princess weh sell her body fi money, Jah Jah carry her home

For I have been a victim of -

My environment and ignorant thoughts

But my intent is genuine

So be a better man than I have been"

No guts no glory 

Become the fullness of the story

No guts no glory

I am the only one who knows me

No guts no glory

I'm a Rasta not an OG

No guts no glory

From the Black dust I rise

The elders weh no have nobody fi care dem, Menen carry dem home

The wife weh lose her husband inna war, Jah Jah carry her home

For we have been the victim of -

Mind controlling pharmaceutical drugs

But like a lotus growing through  the mud-

I & I rise from the thorns and shrubs"

That becomes a fantastic challenge for a listener! Obviously Niyo isn't speaking of these particular people in these particular situations, alone. Those are not the only people who "Jah carry home", but it is up to the listener, who may not be in one of those situations and may not know anyone like them, to find themselves in there somewhere and to use them as examples of the wide variety of people for whom there is help -- including You and I. 

All of that speaks to what I feel is THE, or at least one of the main points behind this album. It is an album hoping to increase a sense of self-awareness within the listener or, at the very least, fortify or reinforce what is already there. So many of the tunes on the album are pieces speaking of the ways and goings of the world, but just as many of them are of what WE can do to change or attempt to change those ways. I go back to the piece from 'Capture the Moment' that I highlighted in speaking of the song. 

"There is a way, to go

But the way, is narrow

Love today, love tomorrow

Capture the moment"

"THERE IS A WAY TO GO, BUT THE WAY IS NARROW", is such a wonderful thing to say in a song like this. What NiyoRah is saying, as I said, is that there is a place if you're intentions as righteous. It will require some work to reach and everyone will not go, but YOU make sure that YOU are there. And I listen to so many of these songs and that's what they have in common to a large degree: It is the examination of the role of the individual, the listener, the subject, the whoever, in society and what they can do to change things and help make the world a better place. So, while you can, and I still do, look at the album's title and think of a more spiritual point of focus, I very much now look at it, also as a statement: [You] feel your presence. I also look at the album behind it as an amazing one and a bonafide Modern Reggae Classic.