Best Case Scenario: A review of Sibusiso by Perfect Giddimani

Roses. I'm not talking about the very first time that you hear a song from someone that you think is talented and has something about them that you want to hear and learn more of; but maybe after a few songs, a hit or even a full album from someone new to you, I tend to start projecting -- entirely incorrectly -- on just who they might turn out to be, musically. Almost immediately I'm thinking about them working with this artiste or that producer and going on some riddim from back in da' day. You can liken it to sports, where someone comes up and you start thinking of what they may do and, specifically, where they may end up or what they could do if paired with a certain team or coach. All of that stuff is going on in my mind, somewhere. Musicians are like the rest of us and many won't reach their full potential for one reason or another, some will and others still, will even "overachieve". While I don't think that I can make the case, fully, that today we're dealing with an overachiever (because he did show so much promise around his nascence but we're definitely going to look at someone who, as we examine it these days (or at any point over the past decade or so), has seemingly gotten every OUNCE out of his potential and capabilities. Keeping bona fide super stars out of the equation (because that's just too damn easy, isn't it?), I think of individuals who've charted similar courses with regards to their talents. The name, oddly enough, that immediately came to mind was Tiwony. Whether or not you've paid him much attention at all, at this point TIwony has had a FANTASTIC career. He's made some exceptional music and, at least in my opinion, has well established himself as one of the greats in all of modern Reggae music but on the French and FWI scene, specifically (and he's continuing. Check his new album, "Reggae Frequency"). Tiwony's was a name that came to mind especially because there hasn't been a point in his career since I've been following his work (twenty years now) where he has NOT demonstrated a high level of ability and though there may be levels of popularity that he will not touch, there is no one in Reggae today who enjoys a noticeable gap over him in terms of what they are capable of. Others such as Bugle and, of course, Lutan Fyah have CLEARLY made the most out of what they've been given, though each and every thing that they do may not have the widest reach (and the result of that is that you can HAPPILY find yourself going through their catalogues and finding EXCEPTIONAL work that you missed at released). 

Someone else who not only fits into that group and that I ABSOLUTELY LOVE writing about is the always compelling sitting King of the Chalice Palace, Perfect Giddimani. I've spent years describing Perfect as a kind of a volatile Roots Reggae chanter and I stand by that, still. What I mean by "volatile" is that he can be damn unpredictable in terms of what he's going to do with a song. You never really know what Perfect is going to do from verse to verse and he does have the aptitude to FLAME without notice and he is at least proficient with everything he tries. What results is an often thrilling brand of the genre and, even when he keeps thing toned down, still a very solid display of his skills. When you take that and put it with how I think most people probably initially came into contact with Perfect -- a little tune called 'Handcart Boy' from about two decades ago now -- I do not see how this gets much better on his end. Were you to have told me, back then, that I would be, in 2025, HAPPILY writing a review for album #whoknows (I really don't feel like counting). And while they haven't all been roses ("Karma" might just be THE worst album I have ever reviewed on this blog), Perfect has produced some BEAUTIFUL projects over the years and, apparently, the end of his reliability is not in sight. 

Remember this one???

Most recently was the lovely "Ah Mi Yard" from 2023. That set, surprisingly, came via the also ultra-reliable I Grade Records & Zion I Kings, but if you take a minute and go through the type of work that Perfect has done.... you run into gems and just SOLID pieces such as "Journey Of 1000 Miles" ["DON'T WORRY NOR PANIIIIIIIIIIIC"], "Back For The First Time", "French Connection", the debut, "Giddimani".... "Better Off Dread"... I could go on... "Over The Top"! One of the biggest and most satisfying products of writing reviews like this is that I have to do gather 'ammunition' to write them. I have to do some research and remind myself of certain things and, in doing so, I go back and listen through some of an artist's previous work and IT HAS BEEN SO MUCH DAMN FUN doing that in this case - refamiliarizing myself with some of Perfect's, perhaps, overlooked output (you'll find some DIAMONDS, buried on some random album from a dozen years ago ["RIDE OUT! RIDE OUT! Natty Dread ride out! With a big, fat, high-grade spliff inna mouth"]. Now, at the end of the first quarter of 2025, Perfect adds to his more than respectable lot with the latest addition to the catalogue, "Sibusiso [Blessings]". Like almost all of Perfect's recent work (in one way or another), "Sibusiso" comes via Giddimani Records, though production is handled by Sinky Beatz, with whom the chanter has been working extensively in recent times. Like much of the world with good sense, Sinky Beatz caught a  deadly case of Reggaemylitis ("it is incurable") (biggup Peter Tosh) and the Spanish born ace has made an outstanding contribution to the music, particularly finding a good level of chemistry with Perfect and, though I'm not sure about this at all, it would seem as if the plan was always to build towards releasing an album, given the amount of work they have done together over the last couple of years or so. Perfect has been afforded (and deservedly so) the opportunity to work with many of the finest in production in Reggae during his career but he has clearly struck a chord in working with Sinky Beatz. How do I know that? Let's talk about "Sibusiso".

Going through so many of those old albums in research for this review - and it occurred to me JUST HOW MUCH I've actually written about Perfect's music over the years. Off the top of my head, without reading some of those reviews, I don't even remember writing some of them (evidence of my senility??) but once I actually dive into the material, it gave me this BEAUTIFUL nostalgic experience, going through some of the classics. Perfect Giddimani now attempts (....he succeeds) in adding to that lot with his brand new release, "Sibusiso", which comes out swinging with a pair of its heaviest hitters. The first, 'Another Marcus Garvey', SOARS. I absolutely loved this tune because of the types of 'ground' it covers. It does things both specifically and broadly, using the umbrella-ing theme of Garvey to not only honour the man but also use his teachings and ideologies in ways which are applicable today. Perfect also places this in a GORGEOUS package (one which is forty-five seconds longer than any other on "Sibusiso"). The opener is just an all-around satisfying offering. It's probably been a minute since I've said this about an album, but the very next song, the second on the entire album, hits the highest mark altogether in my opinion as you will not find the equal of 'Africa Mother Land' on this album.

"Africa, bless Africa, mi Mother Land

A weh mi sister and mi brother from

Africa, bless Africa, mi Mother Land

Hail Emperor Selassie I, no other one

Africa, bless Africa, mi Mother Land

A weh mi great-great grandmother from

Africa, bless Africa, mi Mother Land

Never give away and continent

Babylon you invade Mama, with your English grammar

Trick many with cotton and silk

And then you took my ancestors on a ship named Jesus

And nuff a dem drowned or sink

And to make it through the middle passage, saltwater mi drink

Dem separate us, a eyewater mi blink 

NO MATTA WHAT NO SLAVEMASTER THINK:

MI CHOP OFF DI CHAIN, BUT MI NAH CUT DI AFRICAN LINK

A mi yard

For those at home and those of us abroad

No matter if you have a yellow or green card

America- dem ah dream hard

Now dem turn inna nightmare, watch dem ah bawl

So right ya now, ya back against di wall

Look from how long Africa ah call

Mi tired of di prejudice war

Every black man a star

But if you don't know where you from, you don't know who you are

Remember dung a Ghana, Senegal and Dakar

I man deh yah inna di west but mi travel from far because of slavemaster boy Caesar

DEM DRAIN DI SWAMP AND LEAK OUT DI RESEVOIR 

Police shoot mi bredda with an old slr

And di ghetto youths ah draw bad card"

Perfect does not put A TOE (forget about a foot, NOT A DAMN TOE!) wrong lyrically on this MAMMOTH track which if you are of African descent... of if there is even anything on the continent that you REMOTELY find enjoyable, is sure to give you a jolt of pride. 'Africa Mother Land' is one of the single finest songs that I have ever heard from Perfect. Period. 'Ethiopia Sunshine' is kinda/sorta what you might be expecting with such a title. Its presence helps to make an atmosphere on the album but it doesn't do much (it doesn't even try, really. I'd be surprised if there was much planning behind it. It sounds like a vibe for this beautiful riddim). It's just a nice way to spend a few minutes. We head back to the stars courtesy of previous single, the rocketing 'Selassie White Horse'. I'm going to say something further about this one a bit later but the riddim on 'Selassie White Horse' is BEAUTIFUL! It is otherworldly level material (it's literally perfect) and Perfect uses it to to deliver a message of imagery and perception of how we identify certain things IMMEDIATELY and more progressively ["Jah no dead... The Lion Of Judah is doing well"] on one of the finest moments "Sibusiso' has to offer. Again, the tune does something in its latter stages which we'll get into a bit later, but you will listen to this entire thing in the name of enjoying one of the most unforgettable recent selections from Perfect altogether. The wholly golden 'Worthy For Jah' might also be familiar to your ears as it released as a single a year ago or so. This one was just RIPE of discussion items but what I ultimately took from it was the idea of having standards (if not for yourself, then for The Almighty) and at least making the attempt to be a better person.  

"Finally

Clean up the temple inside of me

Jah loving is primary

Never put your trust in vanity"

In general, however, 'Worthy For Jah' is IMMENSE music. It is of extremely high level and at the risk of sounding redundant (...and you know I don't give a damn), it also ranks amongst the album's finest offerings. The first half of "Sibusiso" wraps up with a pair of solid pieces in 'High Grade Mi Love' and 'Automatic Sibusiso [Blessings]'. The first is the album's ganja tune [DUH] and although it most certainly is not great (Perfect has done much better on the subject which is one of his favourite), at this point I think Perfect might, literally, have to try to make a bad tune on the topic for it to be something subpar. 'High Grade Mi Love' is not such a crack. 'Automatic Sibusiso' also doesn't hit the highest levels here but what it does have going for it is it sound. It may not do much and it isn't the best written piece that Perfect has done but there is a charming... almost 1980's style R&B appeal to this one --somewhere in there-- which my ears heard in its midst and stuck to. What results, very subtly, may actually stand as a changeup for the project and just a nice touch, in any case.

While perhaps not as glaring as its antecedent, the album's second half does have quite a bit going for it including a pair of BIG combinations, featuring a two BIG names as well as some otherwise STELLAR efforts. 'Zion House' would have taken a bit of time to grow on me but I was glad that I didn't just pass on it as average or such because it is stronger than that. The sound here, at least in my opinion, is a little odd. The tune is quite skeletal (a term I used to often use to describe Vaughn Benjamin's music, meaning that there is a lot of SPACE in it) and while it doesn't do a great deal, what it does manage to accomplish is provide a nice vibes. 'Zion House' is a nice listen and I will mention it again, shortly, in celebration of something even stronger. Perfect nearly returns to set form of "Sibusiso" with the following 'Him Presence'. The chorus on 'Him Presence' sits alongside some of the most infectious and well done on the album and the rest of the song benefits greatly from the course that it sets. Built on somewhat of a biblical structure, this one has an air about it that might give it a feel slightly exceeding its actual quality, but it won me over, ultimately. 'Him Presence' is lovely. The well traveled first of two aforementioned combinations is in, 'Champion in Action', tapping increasingly oft Perfect collaborator, the great Lutan Fyah. This one is just a good time [!] with the two linking up in vivid celebration and exaltation of the Dancehall and Dancehall culture. Part of the attraction here is the atypical nature of things. You have two GRIZZLED, turban-clad Roots chanters doing this type of piece, showing that, in there somewhere, is a little kid dreaming about being the baddest in the Dancehall when they grow up. Later joining is superstar, Anthony B, for the more predictable but absolutely delightful 'Rescue Me' [biggup Original Nine Fingers, Xkaliba] (Xkaliba's best tune ever is called 'Jah Rescue Me'). I do wish there was a bit more of Anthony B through 'Rescue Me' (after the beginning, he's only really heard on the chorus) but in judging this one on what it is, it is sublime, reaching across a theme that is, again, predictable but no less potent and well presented here. The legendary Nesta does NOT make an appearance on "Sibusiso", but Perfect brings him in via another way, via tribute (not really) 'Bob Marley Reggae'. In a kinda/sorta way, this is the Roots side to the Dancehall that was 'Champion in Action' and it scores, arguably, even heavier.

"Everybody move, everybody get ready

This a Jamaican music wi call it Reggae

Remember Bob Marley - mek a sacrifice fi dis

That's why Giddimani nah stop fight fi dis

Rumour dem ah spread

Who ah tell lie bout Reggae dead?

Shut up yuh little crazy baldhead

A REGGAE PUT DI BUTTER PON GHETTO YOUTH BREAD"

Check the cool closer, 'Joburg', a loose ode to Johannesburg, South Africa. This is a track which just displays a very nice sound and does so with more of an easy foundation but it well finds a home on a set such as "Sibusiso", both in terms of sound and direction. Finally (until that other thing), 'Jah We Pray' is golden in more ways than one, as high sonic appeal and heavy message link up on common ground in the name of reminding the masses that no matter what or who may stand against you, living a good life ensures that you will always have someone in your corner. 

And then we have a [good] [VERY, VERY GOOD] problem. Two weeks following the release of "Sibusiso" (just two or three days ago by the time you read this), Giddimani Records sent out its dubbed out counterpart, "Sibusiso In Dub".... and you could make the case that "Sibusiso In Dub" is even stronger than "Sibusiso"! Featuring dubs for all fourteen tunes, it is an OUTSTANDING version of the album and if I didn't have an instrumental album on my plate to write a review for sometime in the next few weeks, I might've actually slapped a review on this one. Standouts are numerous but I'd tell you to pay a special attention, in particular, to the track that I alluded to, 'Selassie White Horse Dub'. EASILY it ranks as one of the finest of its kind that I've heard recently and, again, it is not alone here. Also riding high are the likes of 'Another Marcus Garvey Dub', the GHOSTLY 'Him Presence Dub' (THAT ONE is better than its vocal version. It isn't even up for debate in my opinion), 'Automatic Sibusiso Dub', 'Worthy For Jah Dub' and one that I was really looking forward to hearing that turned out even better than I thought it might, 'Joburg Dub'. However, with that being said, from beginning to end, "Sibusiso In Dub" is a significant winner and I would expect any fan of Dub music of any experience level to find ample material here worthy of their time. As I've said in the past (and recent cases includes albums from the likes of Norris Man, Akae Beka and Horace Andy), things like this REALLY show that the producers behind the music had a great deal of confidence in their work and wanted to put it in the spotlight. In this case, they were right to do so.

Overall, the fact that a dub version of "Sibusiso" does speak to a point that I didn't want to spend too much time on during the review because I could use that album's existence to express it more vividly: Sinky Beatz' work on this album is very high level. Musically, "Sibusiso" is one of the more impressive Roots album that I've heard over the past couple of years or so, without question. For his part, Perfect is in fine form, although he isn't as explosive as we've come to expect at times (which isn't a first). I do thoroughly enjoy the kind of 'freer' way that the album centers, directly, around Africa --and I know what you're thinking, they ALL kinda center around Africa-- but with tunes such as the title track and 'Joburg', the impression is definitely that Perfect had it in his mind to make Roots Reggae album about Africa: Mission accomplished. "Sibusiso" is another log on the burning fire that is Perfect Giddimani, one which has been scorching since it was ignited many years ago. 

Rated: 4.35/5

Giddimani Records

2025

Haile Unlikely?: A review of Ah Mi Yard by Perfect Giddimani

Structures. Despite all of the blabbering I may do -- and am about to happily do more of -- there is a certain special something at the core of it all when it comes to music, at least in my opinion. It is the most basic of questions we, as fans, subconsciously ask ourselves each and every time we hear a new song: Does it sound good? Of course what exactly qualifies as "good" varies (and vacillates) between individuals, but that is the bottom line. Is it an attractive song? On top of that, depending on the genre, we can get into other things such as themes, meaning, significance and such, but even if you don't go that far, when the music is truly good, you're able to listen to it casually and THOROUGHLY enjoy yourself. To that end (it's no actual end, it NEVER ends, but that's the expression), I try to make a concerted effort to give credit to things when they do come in with a very pleasing nature. A riddim alone, for example, can bring you a great deal of joy playing continuously sans a vocal artist and, perhaps, even an artist who can go on it, despite not being terribly gifted lyrically, can also do the same thing if they're capable of finding a nice melody and pacing of their words. It's music. You should be able to enjoy it and demonstrating that capacity in even the most basic sense is commendable.... sometimes. HOWEVER, if you are to take a next step and go beyond what is basic and begin the process of linking that which is pleasing to the ear to that which is fulfilling and challenging to the mind, there is when you arrive at something potentially special. Even before there, still (and we will there in just a bit) (trust me) (....or don't. I don't care), is the very fascinating case we take a look at today as, within the scope of modern Roots Reggae music, we have a matchup today which brings together undeniably two of the most ENTERTAINING 'structures' that we have ever seen. While one of them brings a flare, dynamicity and an UNRIVALED level of unpredictability for the genre (you may look at a song title and be able to successfully predict what it will about; but you will have NO SHOT at guessing how it will actually sound), the other brings a level of professionalism and attention-to-detail that we have rarely heard. The producer in this instance has made some of the finest Roots Reggae compositions that we have ever heard --and I do think that we have arrived at the point where we can begin to place their work onto some type of historical context-- and they have steadily churned out these beautifully DEEP and refined diamonds of riddims that many fans such as yourself and myself continuously find so much joy in listening to, regardless of the vocalist. So much so is that the fact that this same label has also become CONSISTENTLY one of the most powerful names in modern Dub and, at least for me, have become a personal favourite on that front as well. Now what happens when that firebreather and these scientists link up???

Well, they make sweet, sweet music together. DUHHHH! To put names behind labels, of course I am referring to the most honourable Sir Burnhard Spliffington himself, St. Ann'z native [!], Perfect Giddimani as the artist and the Laurent 'Tippy I' Alfred and the wonderful folks at I Grade Records with the Zion I Kings as the label (I should probably come up with a cool way to call them artists as well) (...so we'd have 'vocal artists' and 'instrumental artists'? That works for me). In the case of the former, it's really gotten to the point where I not only look forward to their work, in general, but I'm always so interested in with whom they end up working in terms of full releases. Besides their usual roster which includes the likes of Akae Beka, Pressure Busspipe, Danny I and other staples from the Virgin Islands Reggae scene; I Grade has also branched out and worked alongside The Nazarenes from Ethiopia ["Meditation"], Yahadanai from out of Guyana ["One Atonement"] (a downright PERFECT release nearing twenty years old from someone who has probably become one of THE most mysterious artists in Reggae history), US born & based Toussaint ["Black Gold"] and most recently, the great Lutan Fyah ["Music Never Dies"]. Within that lot, though the music has been of a similar nature (meaning the same genre), as you can see the backgrounds of the artists have been incredibly diverse and, to my opinion, the label can lay a significant claim to having consistently made THE best Roots Reggae music over the past quarter-century or so. 

And the work continues. Unless I'm overlooking something (and I'd be quite disappointed if I am), I don't think that I Grade released a full project in 2022, but they certainly didn't go exactly dormant either. They released a big new tune from longtime collaborator, NiyoRah, by the name of 'Scatter Dem' and they also released a remix of 'Black Carbon', a tune featuring the legendary Akae Beka alongside Jamaican star, Chronixx (how crazy is it to think that, with as long as he's been around, Chronixx is still only thirty years old! He has a birthday coming in a few weeks from this writing, but he's assembled TONS of experience for such a young age, definitely), by Eric Hilton ["My son, your son, mi son"]. Also, WONDERFULLY, IGR has been in the process of reissuing much of the great Vaughn Benjamin's earlier work -- done as Midnite -- under the name Akae Beka, which he assumed later in his career; a practice which they continued in 2022 (and are still at work on this year with "Rule The Time"). They're also the "I" in the Zion I Kings, so anything you've seen from the ZIK also features the handiwork of Alfred and company. For his part, Perfect has been as active and as durable as ever. Just this year, he's released a very steady stream of singles (check out the cool herbalist tune,  'A Little Different', from the recent Sanity Riddim, as well as a couple others in the MASSIVE 'Third Eye' ["Third eye! I ah watch dem through mi bird-eye"]and 'Bless Me', a big combination featuring Ras Attitude, in particular). 2022 would deliver his latest set, in the form of "Wait In Pain", an eight-track EP release. While musically varied, "Wait In Pain" would bring a few nice moments such as 'LiLLY' and 'TGIF' featuring Anthony B. Perfect's last full album, the solid "Live My Life Again", came back in 2017 via the venerable House Of Riddim from out of Austria (and, apparently, "Live My Life Again" was very successful). Perfect also isn't a stranger to the ZIK ecosystem as way back in 2011 he did release "Back For The First Time"with the "Kings", Lustre Kings Productions ["I gotta picture on my wall with Selassie I smiling"] [BOOM!]. That set is probably best known these days for carrying 'Hold On Buju', Perfect's tribute to the then very troubled Reggae great and it featured quite a few very strong other selections ('HIM Smile', 'Eye Wata' and 'Lion Haffi Roar' amongst them) (also had a great interlude called 'Homeless' which just makes you feel good when you hear it) and it stands in fairly good standing in regards to the quality of the chanter's entire catalogue to date. So, perhaps we might look back at "Back For The First Time" as an indication of what might happen were Sir Spliffington ever to return to the ZIK pack to work again. Well it may've taken a dozen years, but Perfect, alongside I Grade Records have given us "Ah Mi Yard"! I tried to illustrate (and I think I wrote it poorly) just how happy I was to see this link. I'm generally excited to see what either is doing alone, but you bring them together and you've DEFINITELY gotten my attention. Ultimately, after this release I'm left thinking one prevailing thing and I'd love to tell you about it if you have a few minutes (or a couple of hours, who's counting).

As is the case with just about everything Perfect releases these days, "Ah Mi Yard" does come as a product of Giddimani Records in association with I Grade Records. You see that more and more these days with artists attempting to take more control of their work and what becomes of it and the case could be made that Perfect has done it better than almost any of his peers as, like I said, damn near EVERYTHING he does either comes exclusively from his label or 'in association' with it (including the aforementioned "Live My Life Again" from six years ago now). Giddimani has also produced full riddims featuring other very talented artists including the usual likes of Lutan Fyah and Norris Man, but also favourites of ours such as the aforementioned Ras Attitude and even Rob Symeonn and Arkaingelle, so Giddimani Records are WELL established at this point in their own right. Perfect's latest project, "Ah Mi Yard" is constructed in a way (not too dissimilar from other recent ZIK records) where it features both original, voiced, tunes along with their dubs and we get seven of each, in full. The first of these is Perfect's pandemic response, 'Never Give In'.

"We were warned by the prophets

These days were coming

I don't know what has happened, but there is something

Wanna stick with a needle

Hurt I for nothing

But I never give up, never give in"

I have to say something about this song and I want to do it in a way that is respectful of the message: During 'Never Give In' Perfect talks about numerous things in regards to COVID, including where he feels its origins truly are and how he feels we should proceed and protect ourselves ["Commune with nature, turn off the smartphone"] and he makes a lot powerful and salient points on what is a very well written track. HOWEVER, the first time I laid ears on 'Never Give In' (and on each subsequent listen including the one I'm having right now), the thing which most stands out for me is just HOW DAMN SWEET IT SOUNDS! The sonics on this one require much more of fitting adjective than the "hypnotic" one which I would typically reserve for it. It is STUNNING and you know what I was thinking: I cannot wait to hear how its dub sounds. Big opener. The unifying title piece is in next and I was very happy when I heard in which direction the focus of it went because in saying, "ah mi yard", Perfect is saying THERE is my home. All of these beautiful, wonderful African places are HOME both literally and figuratively. Perfect goes onto delve into things such as the African Diaspora and where it sits today ["I hear the barbarians calling I & I a alien"] (a most brilliant line!) and it is packaged together in this lovely vibe which doesn't dominate the tune at all but, instead, backs it snugly - making for one of the most outstanding moments on the whole of "Ah Mi Yard". Perfect then goes on to channel the great Akae Beka with 'Same Boat' ["Imagine how significant the sentiment is!"], another lovely selection. This is another piece where one of my most immediate thoughts was to wonder what was going on with that riddim and how much I was looking forward to digging in on its dubbed version. Despite being fairly straight-forward and being and being based around a very serious topic, 'Same Boat' is FUN! It has a very loose vibe behind it and, again, while he does manage to push something that you very well should pay attention to, Perfect also seems to very much have been caught in the moment and here we see his often downright spectacularly free-flowing nature really ignite. 

"Travel over land and sea so far - 

And yuh caan forget bout who you are

No sell outside fi house nor car

No freak away yuh life a rum bar

BETTA YUH LIGHT UP A SPLIFF YAH STAR

Bless Africa, West Africa The Five Point Star

Marcus Garvey - the man popular

Black People so spectacular 

But if we all came on the same boat

Why aren't we on the same note?" 

So while it does take itself seriously in an effort, presumably, to maximize its effect, 'Same Boat' is sure to have heaps and heaps of people like me and hopefully You happily singing right along. 'Hard Ears' proved to be a winner, but it took a bit of time to grow on me in order to reach that point. On the surface, it is a solid selection with a nice vibe (and an extremely catchy chorus) but when I began to dig into it more and more, what grew on me, specifically, was the SOUND. Somewhere along during its middle portions 'Hard Ears' LEVELS UP. It goes from being slightly above average to considerably better. You will find better songs on "Ah Mi Yard" without a doubt (already told you about three of them, actually), but 'Hard Ears' is not to go overlooked, in my opinion. Maybe you [I] felt a little odd about enjoying the poignant opener as much as you [I] did, but you'll have no such concerns for 'Woosah' which is more lighthearted and intentionally so. Sometimes you need to stop taking things so damn seriously and kick back and relax and enjoy yourself. That is at the core of 'Woosah' and for your listening pleasure Perfect thought you'd like this nice song which comes complete on another of the standout riddims found on "Ah Mi Yard" and also serves as a more specific ode to music and its effect on us and the role it serves in..... just making us all feel a little better especially when we're a little down ["A likkle bassline nah hurt yuh. I man know dat fi certain"]. Much like what I heard from 'Ah Mi Yard', I delighted by what was waiting on 'Give Me My Flowers'.

"Give me my flowers

Before it is too late

Give me my flowers

Before my glory days

Give me my flowers

If your love for me is rare

And everytime I think about it, that's how I feel"

I'm so big on ideology like this. When someone is dead and gone, we pay a tribute to them and that's fine, but it's also for US and maybe those who didn't know/know of that person; but that individual who is gone can't do anything with it. They're gone. So, if you love someone make sure they know it. If someone does something for you, TELL THEM THANK YOU! You don't want to wait too long to show appreciation when you can show it and make someone who has done good by you feel so good RIGHT NOW! The final vocal on "Ah Mi Yard", 'How Many Mornings', is another slow burner but, in this case, it is a HUGE one. I'll surely give Perfect his credit for what he does here but there is just... something about 'How Many Mornings' that is so damn powerful in its feel. It is a praising piece but it's rather broad and Perfect goes on to eventually kinda/sorta turn it into somewhat of a social commentary as well to some extent ["Say a prayer for the ones in the ghetto, living in the heart of Soweto"] but what I took from it, ultimately, is the idea that giving praise and thanks makes things so much better and the more we do it, the more it could possibly help. With that being said, again, 'How Many Mornings' GLOWS, musically. The thing is hot! Whatever device you use to play it will be warmer when it is on!

And then there are the dubs. As I mentioned (or at least I hope I did), I was REALLY curious about the sound of the dubs of quite a few of the dub versions of these tunes and likely none more than the opener which is  now 'Never Give In Dub' and it did not disappoint. What is wholly gorgeous initially hits an even higher peak around two minutes in when this kind of stuttering sound (I am hopeless in attempting to describe this but the song should be right on top of this paragraph, you  go to two minutes and you'll hear exactly what I mean) chimes in briefly. It is DEVASTATING! I go back to that part so often when I listen to this track - it is absolute candy! When it does give way, what remains seems to be an ever so slightly more chilled cut of the early stages, making for one dazzling composition - my favourite on "Ah Mi Yard". 'Ah Mi Yard Dub' is built on a foundation best remembered by its lyrical impact for me, but musically it has no difficulty at all standing on its own and, in fact, it thrives. The vibe here is just so delightfully EASY just as you would hope it would be given the familiarity and comfort that was so crucial in backing Perfect's message. 'Same Boat Dub' doesn't do anything too special, for the most part (and that sounds bad, but hear me out) (well it doesn't sound "bad" (it sounds mediocre), but I'll make it better, give me one second) but what it does do is to IMMEDIATELY find its peak and remain there throughout. Even with what comes just ahead of it (and despite the fact that I favour at least one of them, if not both, over it) as soon as 'Same Boat Dub' comes in I get HAPPY. My head starts bobbing and I get this excellent vibe. It does hit such a nice level of consistency that I think its creators knew PRECISELY what they had on their hands so they just allowed it to play and what resulted was a piece over a minute longer than the vocal version! Again, you'll find more dynamic and catchy material here, but 'Same Boat Dub' may hit you in places that even stronger tracks cannot.

I hate to say it because of the fact that I so enjoy it on the original version, but 'Hard Ears Dub' didn't.... do much for me! Of course the musicianship is top notch (that goes without saying... even though I just said it) and it does have its moments -- especially when things get more streamlined -- but there seems to be so much going on with 'Hard Ears Dub' that I found myself struggling to find THAT one sound which I gravitated towards and stuck with, There almost seemed to be like three or four of them I had to sift through to arrive there. No such issues were present on 'Woosah Dub' (just as a said on the original. I LOVE when I can make parallels like this one! I'm a nerd!), however, which builds upon (and it sounds like it has a GOOD TIME doing it) the wonderful simplicity of 'Woosah' by just continuing that strong and simple vibe. Particularly during its latter stages (after it's nice and warmed up), 'Woosah Dub' SOARS and hits one of the highest highs that you will find on the entire album. 'Give Me My Flowers Dub' has to sacrifice the punch of the lovely ideology of the version with lyrics and it doesn't rank as a favourite of mine on "Ah Mi Yard" (it almost has a Country sound to it at times and it doesn't 'repeat' enough for me (almost surely that's a poor usage of that term, but it's close as I can get. It changes too much is what I'm clumsily attempting to say. Right when I enjoy it, it changes again)) but, again, what you will find is world class players of instruments which is a quality that shines through even when you do not LOVE what you hear. Sending us out is certainly another highlight in 'How Many Mornings Dub'. This piece has a certain amount 'firmness' to it and it is ABSOLUTELY SPECTACULAR! What an incredible vibe it produces and sitting here listening to it now (at 9:20am) and I'm feeling every bit of it! I also want to mention that I generally like to pay attention, on dubs, to specifically how much vocals they do use when it's like this - different versions of an original with words, because I think that, like different sounds, the words can also add to the general FEEL of the vibe and what they do with 'How Many Mornings Dub, is nearly perfect. You will hear from Perfect relatively consistently throughout the first half, but he is nowhere to be found later on and, at least for me, that is a very cool way of showing a progression or an evolution of the vibe.  

Overall, I WANT MORE! That's the "prevailing thing" I'm left thinking about in regards to "Ah Mi Yard". Technically, I suppose they did the right thing as albums which're twenty songs or so in length are almost always just too damn long and bloated, but not only could they have done that in this case, I think they should have. Had they gotten this one to ten original vocals and then ten dubs on top of it.... I mean.... that would have been a very nice thing to do. Judging it just on what it is, however, and we still have a very strong release here. I spend so much time in attempting to describe Perfect's spontaneity because I feel like it is not only one of his greatest traits as a musician, but it's also one of the coolest talents in the genre right now. You simply cannot be sure what that man is going to do when he goes into a track - I don't even know if he has an idea. Maybe he writes the tune and then decides how he will delivery it at a later point; but whatever the man is doing it is FLAMING for him these days and "Ah Mi Yard" is even more proof of that. Giddimani and I Grade Records and the Zion I Kings all come together produce a winner on the lighter side, but a winner without a doubt still. 

Rated: 4.15/5

I Grade Records + Giddimani Records

2023

A Vibe! Powerful Dread by Kenny Smyth

"Powerful Dread" by Kenny Smyth [JahSolidRock]

Okay so, if you hadn't noticed we kinda/sorta took a little break from writing consistently to kind of refresh things. I always have things that I'm working on (it's therapeutic for me after all of these years, even if we don't post them), but I was really looking for something that hit me to the point where I simply needed to tell all you wonderful people about what I was listening to. What I really needed was a VIBE. Do you know what a VIBE is? I mean REALLY??? A vibe, in this context, is motivation. It's a spark! It's something that not only creates an idea in your head but it also sees that idea to fruition (which you are currently looking at now); and to find this particular vibe, we would have to head to the highest region.

A few years ago I heard a SWEET tune by the name of 'Vibe' from an impressive younger singer by the name of Kenny Smyth, the 'Breadbasket Singer'. It was just a really fun and BRIGHT song and one which well registered and stayed with me and though I had come across Smyth's work prior to that, 'Vibe' was the track that established a bit of 'property' for the vocalist in my memory and I was delighted when we received a message from our friends at JahSolidRock (really, really nice people who I probably first linked with well over a decade ago now) saying that they had worked out a full project with Smyth and thought that I might be interested in it, "Powerful Dread"... they were correct. When I first laid ears on this set I heard just a touch of something truly special within a pair of selections in particular, but throughout the entire release, Kenny Smyth shows himself to familiars and new fans alike that his is a talent of immense consideration; powerful indeed. The way "Powerful Dread" is constructed is that there are six original tunes with each one being followed by its dubbed out counterpart. So, I thought that I'd give it the ole quick track-by-track rundown and, clearly, you have nothing better to do with yourself, so let's take a listen! 

'Stronger' featuring Earl Sixteen & 'Stronger Dub'

Kenny Smyth taps a legend and a frequent name around JSR circles to get things going as 'Stronger' features the venerable Earl Sixteen and the results, as you might expect, border on the spectacular. Though it has a very concentrated and focused type of vibes, there is also something quite OPEN about 'Stronger' (more on that in just a second) in its sound to my ears. 'Stronger', at least for me, is about self-improvement and self-esteem and how important it is to establish and maintain both, despite how difficult doing so may be made by outside forces ["Don't let them tell you seh you losing when you're winning"]. There's also a high attention to detail and CLASS paid to this one... but you knew that already when you saw "featuring Earl Sixteen"... and we could have done with a bit more of the immortal singer as well. As for the dub, it lays a significant claim to being THE single finest on the whole of "Powerful Dread". As I alluded to, though you'll never mistake its core sound for exactly what it is -- straight up Roots Reggae music -- the vibes on this one effortlessly lead it in so many different directions with a delightful electricity that bubbles throughout.

'Pagan Land' & 'Pagan Land Dub'

'Pagan Land' was the initial single from "Powerful Dread" and though my heart may favour another selection here, in every registerable and semi-measurable category, 'Pagan Land' is THE signature moment from this release and it is no surprise that it was chosen as a the first featured tune. How good is it? There is a feeling you get which is very hard to describe (if you've hung out around these parts for any length of time then you routinely have seen me say "BOOM". That's the word I generally use for it.... less is more) when you're listening to a tune that has the 'air' of being special and whatever that feeling is and whatever descriptor you choose to give to it they are CLEARLY applicable to 'Pagan Land'. The song comes through as a more broad call for change and social action (as well as ACCOUNTABILITY) and the message is wrapped up in this absolutely GOLDEN package. The sound on the track pretty much ends where it began without veering away from that point very much, if at all; but I guarantee you, you will not find a damn thing worth complaining about within that limited route.

You also won't have any problem with its dub as 'Pagan Land Dub' also doesn't detour from the course, but there is a section when this thing has warmed up at.... about a minute and a half in where these beautiful vocal echoes begin to shine that 'Pagan Land Dub' hits a level SO high that it threatens to even surpass the original vocalized version as far as demonstrating a purely PLEASING sound. YEP!

'Roots Girl' & 'Roots Girl Dub'

"I wanna know what you did to my mind"

You've been there (and if you haven't, I'm sorry for you). No matter if it's a brand new one or a relationship whose exact beginnings have begun to fade from your memory (whether you want to admit it or not), you hit a point when you're around someone who you TRULY are infatuated that literally leaves you in awe of that person. It doesn't have to be a big moment like when you're marrying them or when one of you is giving birth, but it could be something as simple as the visuals brought out by by the lovely 'Roots Girl' where Smyth talks sitting in the kitchen watching his woman COOK [!] when her favourite song comes on the radio. This woman has his complete attention and it sounds as if the singer wouldn't have it any other way if he could on a tune which is probably quite a bit stronger than I was expecting, honestly.

The dub here also comes as somewhat of a surprise as well as its sound is quite versatile. The riddim on 'Roots Girl' is quite big, actually and I was thinking that the dub would go onto to draw out that vibe especially and while it does, it doesn't remain there very long. Instead, 'Roots Girl Dub' seemingly comes through in an attempt to highlight every single one of the tune's finest details and, by its end, it does precisely that. 

'Feel It' & 'Feel It Dub'

When I heard the direction 'Feel It' took it made me so eager to hear its dub because it fits so wonderfully into the way "Powerful Dread" is built. They give you the tune and, at least from my (perhaps [SURELY]) overthinking perspective, they go on to CELEBRATE the music with the dub and what's even better than that is a dub celebrating a song that is.... celebrating music already! 

"Mi seh di message gonna turn up nicer than di pastry that you eat up with the gluten

Reggae reach up inna Russia Mr. Putin"

The horns also stood out prominently and I was, again, damn interested to hear what became of them on the dub. What is found on 'Feel It Dub' is fairly close to what I expected to find with this oft-downright TRIUMPHANT sound. Not only are we treated to a hefty dosage of horns, but the drums SOAR as well,  dominating portions of the instrumental. I'm probably going to call 'Feel It Dub' the album's finest dub altogether and even if you disagree, I'm sure you'll find it close to whatever you do feel is the best. This thing is gorgeous.... entirely too short, but gorgeous. 

'Roots' & 'Roots Dub'

Though not a musical celebration (at least not directly the very jovial 'Roots' is very much within the same spectrum as the tune it chases here and you could very well make the case that it is a celebration of sorts. This one, at least for me, is a observance of FEELING GOOD and confidence and motivation! Though done in a more specific manner (as you would expect), what I hear from 'Roots' can apply to anyone!

"But I don't wanna be nobody else

I'm comfortable being myself 

Seh I don't, I don't see you for your wealth

I'M COMFORTABLE WITH MYSELF"

Going into the dub, I think about how, right near its middle, 'Roots' seems to take a hypnotic step ahead in its pace (it literally sounds FASTER at one point and if, like me, you're a giant nerd, you will find yourself listening to that part over and over again) and I hear not the same thing but an equivalent in the dub (check how things change between eighty and one hundred seconds in) which is just as attention-grabbing.... and now, if you'll excuse me, I have to reconsider my choice of favourite dub on "Powerful Dread".

'Can't Say I Didn't Tell You' & 'Can't Say I Didn't Tell You Dub'

Smyth and JSR save one of their mightiest turns for the closer as 'Can't Say I Didn't Tell You' is MAMMOTH! It comes through with a fully ROYAL sound which tones down throughout the tune, but never actually relents even slightly. The song may just be the finest lyrical effort on the whole of "Powerful Dread" as well and words & sound combine to produce THUNDER! I was actually thinking that 'Can't Say I Didn't Tell You Dub' would be more vocal-heavy than it  turns out to be, but what they did come up with is nearly spectacular (and does include the better part of a verse). There's a slight touch of an organ here (at least that's what I think it is) that catches my attention and though I wish there were more of it, the fact that they don't overdo it probably helps the vibe altogether. You will not find a more powerful pair on "Powerful Dread" as a whole than these two which link to send us out in a dazzling way.

"Powerful Dread" is probably best recommended for more familiar fans of Roots Reggae but I can't close it off entirely. If you are a new fan, I think you're also likely to appreciate the pure sonic appeal of the set as well because the musicianship is of very high quality and if you've paid any attention to the work of JahSolidRock throughout the years, that should come as no surprise to you at all. So let's fix that! IF YOU LIKE.... IF YOU LIKE GOOD MUSIC, then I suggest you check out "Powerful Dread" by Kenny Smyth; just thought I'd let you know. 

Royals: A review of Two Colors by Dean Fraser & Ernest Ranglin

Rarities. Though I like to think that it is an ever-shrinking situation and, perhaps, never as bad as we imagined in the past, we do unfortunately have quite a few individuals whose work has gone overlooked and un/underappreciated in Reggae music. Once upon a time, people like me used to use the word 'underrated' to describe, literally, dozens of artists. I'm sitting here thinking now.... pretty much unless your name was Kalonji, Capleton or Luciano in Roots Reggae or if you weren't one of the '3 B's' of the Dancehall -- Beenie, Bounty & Buju -- if you made Modern Roots Reggae music up until the last few years or so, someone at some point in time referred to you as "underrated". Think about everyone that includes. The first and most obvious case would be Anthony B who would have surely been the fourth name in that first group and, one could argue, has been as popular as any of them in the macro sense; and then, from Dancehall, the obvious name would be Sean Paul. Yep. In the not too distant past, before he asked the entire world for "a light", Sean Paul was looked upon as a talented young veteran who sounded like Supacat and probably didn't get enough credit for his obvious talents. That would have also included bona fide stars such as Vybz Kartel (who would, without a doubt, go on to shed the title), Lady Saw, Tarrus Riley, Etana and Spragga Benz and others who also enjoyed international success such as Gyptian, Baby Cham, Wayne Wonder, Spragga Benz and Mad Cobra (WHAT!).  Along with those names, you also had certain artists with whom it seemed that the term was physically attached. The Norris Mans, Bushmans (Bushmen???), Everton Blenders, Jah Masons, Mikey Generals (true in his case), were explicitly to have the undervalued nature of their careers each and every time their names were brought up. Oh and so was EVERYONE from the Virgin Islands, including (and especially) Vaughn Benjamin and even Pressure Busspipe and Dezarie, despite two of those entities having some of the most passionate fanbases the genre has ever seen and the other, Pressure, going on to have a giant, all-conquering #1 song. We called them all underrated and, from time to time, we still do. We were wrong then (and we still are) in most instances:; EVERYONE IS NOT UNDERRATED AND UNDERAPPRECIATED. It's impossible (I've always thought that we were guilty of comparing too many individuals. Bushman is very popular, though not quite as known as Luciano.... so he must be underrated). But that's dealing with people who have dedicated their professions and their lives to being in the spotlight. When you get to those who've made it their work to exist behind the scenes, the term "underrated" enters an entirely different class. 

If you've never found yourself wondering what the name of a particular riddim that you were listening to was and, subsequently, who produced it, chances are pretty high that you aren't much of a Reggae fan. Going a step further, if you have found yourself in that situation, you've probably also had it occur that you are absolutely, positively certain that you know a track from somewhere, only to find out that it is an entirely new composition and you've also been shocked to discover that something you were sure was brand new, was a remake of an older track and a couple of dozen artists had voiced it before you knew it even existed. It's the nature of this wonderful music we love and celebrate so much and, although things appear to be changing, it likely will be the case for at least the near future; and if we're honest about it, it's also fun for the nerd in us. Something else that's interesting to follow, if you're interested is the role that many of the people behind the scenes play in making what we come to here. Some of these people revel in their anonymity (biggup Dave Kelly) but, to them, we owe a large degree of gratitude (and many of them (Dave Kelly included) do receive that level of respect). Others, still, embrace a certain modicum of outward appreciation from the fans and put themselves in the position to receive it so, when they do, we need to make sure we give them what they deserve because, even in doing that, they're giving us even MORE great music.

The last review I wrote prior to this one (and it isn't up yet, surely) was for a random compilation done by my favourite label of all time, Xterminator Records. Along with, of course, the legendary Philip "Fattis" Burrell, one could well make the case that the driving musical force behind the outfit in its heyday was the equally esteemed Dean "Cannon" Fraser. The compilation I just mentioned, for example, has eighteen tracks on it and Fraser's work is present on all eighteen tunes. That's just one, I could go downstairs and reach into the boxes and bins where my physical music collection is these days and I am quite sure that virtually (if not -) ALL of the Xterminator releases I'd pick up would feature the handiwork of the famed saxophonist, writer, arranger, backing singer, director and producer in one way or another (AND, I just happened to have an old Turbulence album, "Words Of Wisdom" from 2004, nearby and guess who plays on that as well). Had he not been around, maybe a large group of people would have taken his place and done the work or, more likely, we would have not enjoyed the level of vibes that we have, given his tremendous contribution. That was just at Xterminator. Fraser, of course, has gone on to be incredibly instrumental in the careers of many who have come later, such as the aforementioned Riley, Etana and, of course, Duane Stephenson. Fraser has also been keen on furthering his own career and he's released quite a few projects of his own including "Flat Bridge" from just last year. Fraser would begin his career sometime during the 1970's, some THIRTY years following the musical beginnings of one Ernest Ranglin. As of this writing, some six days ago the master guitar player turned NINETY YEARS YOUNG. Having began as a teenager, he has made music his life's work and has been giving us wonderful output for the better part of SEVENTY-FIVE YEARS! While I'm not at all certain what would have happened had there been no Dean Fraser (maybe the music wouldn't have been so good (it wouldn't have) and maybe I wouldn't have decided to write about it in the first place and maybe you wouldn't be sitting there right now, reading this). Ranglin has turned in a career, both as a solo artist and an as a musician, which sees him with very little in the way of peers and, clearly, he is one of the music's longest serving and most decorated of operators (just to drive that point home even harder: Ernest Ranglin has been making music for around seventy-five years - were Bob Marley alive today, he would be seventy-seven!). I've always thought that when you have people like Fraser and especially Ranglin given his age, that is SO important that you honour them while they are still with us and capable of appreciating and seeing just how much they mean to you and, most thankfully, these two pillars have come together and given me and You and anyone else the opportunity  to do just that and they're probably celebrating us just as much.

"Two Colors" comes to us via the also well acclaimed and qualified Tad's Records (who also did the aforementioned "Flat Bridge" in 2021). If I read the press notes correctly (probably didn't) the project came about from Tad, himself, Tad A. Dawkins Sr., having the long desire to work with Ernest Ranglin and, in order to make that happen, he would go through Dean Fraser, a large fan of Ranglin's and someone who wasn't terribly difficult to convince (he actually said that he had wanted to make this album years prior), with.... that chunk of time we all spent in the house about a year and a half ago providing the perfect opportunity to get things in motion. Fraser takes head production credit alongside Tad A. Dawkins Jr. and, as you would suspect and to the shock of absolutely no one with at least remotely functioning ears, "Two Colors" is a dazzling, literal musical master class of an album. Let's dig into it!

Coming in with a solid twelve tracks, "Two Colors" plays out over the course of sixty-four minutes which averages out at about five minutes and  twenty seconds per tune. Things like that always get my attention on instrumental albums because I think one of the biggest joys on sets like these is hearing how the music develops, maintains and changes throughout its course. When you have a vocalist, they can do more sudden things that are easier to appreciate (if you have someone do that same thing on an instrumental, you're likely to end up feeling like you're listening to two different songs) in short bursts, but when you have the music alone, you really need time to FEEL it (or maybe that's just me???). That is particularly the case in linking together Ernest Ranglin and Dean Fraser on "Two Colors" (you'd hate for there to be two-something and three-something minute long songs all over the place here), which actually begins featuring the only vocals that you'll hear on the album, courtesy of Big Youth, on the initial single, 'De Ranglin'. If you picked it up and you were looking forward to the music (and you were), don't worry: Big Youth doesn't harm the vibes at all and he doesn't stick around long either (I get the imagine in my head that he wanted to do more, but then he heard it and he just did what we're doing, which is to sit back and enjoy). 'De Ranglin' is golden. It is GORGEOUS from beginning to end. With such a title, I expected the guitar to dominate in the sound. "Dominate" is too strong of a term for what happens here, but Ranglin's mastery is highlighted in a major way and, later on, it's Fraser turn to dazzle and he does not disappoint in the tune's latter stages (he does dominate the backend of 'De Ranglin'). EASILY one of the finest efforts and an easy choice for a single. 'Rangos' was another title which had me envisioning a guitar-heavy composition, but what happened in this case was even more surprising than a nod from Big Youth. This track has a very OPEN.... almost cabaret/Big Band-ish type of vibes to it but it settles into its groove in its early middle portions and you completely lose track of it (I have developed the habit of, when reviewing instrumentals, just playing the song over and over again while writing about it (it REALLY helps) and I probably got through 'Rangos' three or four times in just these two or three sentences). I would tell you, heavy Reggae head, to spend more time on this one before passing judgment because chances are that it's better than you'll think after your first or second listen. 'Papa R' is another one with a somewhat bigger sound to it (not as much as 'Rangos', however) and I'm going to say something in this case that I may not for the remainder of "Two Colors": 'Papa R' sounds HAPPY. It sounds like it was born in a happy place under happy circumstances (my Wife says it sounds like a Christmas song). Ranglin does truly shine on here (he shines everywhere) in a more pointed way. It's subtle and not very glaring, but a lot of nice things happen behind a horn leading the way. "Two Colors" finds a peerless vibes within its next two selections, 'Mi Nuh Know' and 'Sam-Fi', respectively. 

The former is the best tune I hear on the album. It is STUNNING! Following more 'assertive' material just ahead of it, 'Mi Nuh Know' calms things down into this golden bout of serenity. I often listen to things like this and find myself thinking about (and hoping for) a vocalist taking on the music that I hear, but when I heard 'Mi Nuh Know', the conclusion I came to it that it was the exact opposite: Had you put a singer on top of it (even a really good one. I'm thinking Luciano in this case for some reason), it would be the type of song where I would wish I could hear a clean instrumental of. So beautifully slow-paced and perfectly steered, 'Mi Nuh Know' may just be the chunk of music I've heard in the first half of 2022. 'Sam-Fi' may not quite soar to those heights, but it doesn't come close to having a foot on the ground either. It's Fraser who gives the strongest boost to my ears, but Ranglin compliments him outstandingly (it's almost like he has a 'verse' on the song) when he does chime in.

It is 'Clara's Heart' charged with both keeping the quality high from the previous selections as well as putting a bow on the first half of "Two Colors" and it does adequately in those cases. Fraser, for his part, kind of 'sings' on the saxophone (and you'll know immediately what I mean if you've heard it), while Ranglin provides such a COOL backing that you don't even notice it for the most part, but I guarantee that were it not there, you'd think something was missing. As it stands, nothing is missing from what is the longest tune on the album at six minutes and nine seconds. The other six minutes + giant here, the absolutely delightful 'Joshua', also has its moments (thankfully. It would be terrible having to listen to NO MOMENTS for six minutes and six seconds). If you're looking for something with just a bit more fire to it, 'Joshua' is definitely one to get you up and moving just a little and its fits the bill. I also must mention (I'm contractually obligated!) a nice interspersed drum in there on 'Joshua'. A drum is constant, but a pronounced one comes in very infrequently, yet you well notice it when it does. The meat to the bread of 'Joshua' and 'Clara's Heart' is our title track (that is a WONDERFUL way to start a sentence and you know it!) and I got here and, for some reason, I was thoroughly convinced that I knew this tune from somewhere. As it stands, however, I'm pretty sure it's new although I wouldn't be surprised if it was a remake/take on an older track. Regardless of its origins, 'Two Colors' is lovely! What sticks out here, as the title would suggest, is how evenly played things are. It almost seems as if the point was made to have one solo followed up soon thereafter by the other early on and later on we get a sound which I can't describe (it almost sounds like a xylophone). Whatever it is, it comes in as a very nice addition, particularly complimenting Ranglin's work extremely well. You take a full listen to the title track because it goes in a few different directions. Speaking of being varied, check 'Lighting from the East' as well. I want to say that this was at least inspired by the Satta Massagana Riddim, but I don't know that for sure. It is MAMMOTH and I almost hope that it was (and I wouldn't mind a sequel where Ranglin & Fraser did mine some classic riddims together in this style). I'm currently thinking that many a more deep Reggae fan will hold 'Lighting from the East' as their favourite and my ears definitely jumped the first time I heard it and they still do.

I was wrong back when I mentioned for 'Papa R' that I may not call another selection on "Two Colors" 'happy' because that is also the first word that comes to mind when I dive into another big highlight here, 'Playing Twins'. Though it isn't quite as joyous as 'Papa R' (but it is better, actually), this song brought a big smile to my face after its big beginnings and then when it kind of sits down and spreads out - developing into this COMFORTABLE one-drop, with both players touching around it. The dizzying 'Unknown Melody' is the only set on this album that checks in at less than four minutes long (only by a second though) and, after listening to it about five times or so, I'm convinced that they got the length just right. That isn't to say that 'Unknown Melody' isn't nice (off the top of my head, it's no worse than my fourth favourite song on this album), it's just the opposite. Listening to this piece, I almost felt like I was listening to a vocalist who had written lyrics and it took them EXACTLY that amount of time to make their point. They put it all together, gave the music its fair time in the spotlight and wrapped it up in this DELICIOUS package, calling it 'Unknown Melody'. Sending us on our way from "Two Colors" is another of its finest efforts, the kind of old school and Blues washed, 'Nuh True'. This is a situation where Fraser and Ranglin (who I have typed as "RANGLINI", frustratingly throughout this entire review for some reason) each take 50% of the time in the spotlight: They both THRILL. What results is one COOL piece of vibes and, again, one that I'm anticipating will get a major reaction from more passionate Reggae fans. Oh.... and if they wanted to put a vocalist atop 'Nuh True' at some point (like maybe Duane Stephenson), I ain't complaining!

Overall, I just told you all that stuff ^, but you didn't need me to because you knew precisely what this album was the moment you were aware that it existed. "An entirely instrumental set featuring the work of Dean Fraser & Ernest Ranglin" is going to speak volumes for itself for anyone familiar with the work of the duo (and when you also add on that it is for Tad's Records, that means even more in terms of the amount of CLASS you should be expecting), but that is not to say that "Two Colors" does not offer a surprise or two. In retrospect, one of the most pleasant surprises that I found is just how 'broadly specific' it is (if that is possible) (and it probably isn't). What I mean is that a release like this is obviously not only going to after Reggae fans, but it also is likely to find an audience in that fortunate Jazz head who finds themselves having clicked an extra two or three pages out of their comfort zone. That person, whoever they may be, will be damn pleased by what they stumble upon and, perhaps, they'll continue on and find a reason to stick around with us. Regardless of who may find their way to "Two Colors" and which course they may take to arrive here, what they will find is a union of two bona fide masters of the art who have been so crucial in making the music as we know it. This is an opportunity to celebrate the contributions they have made and do so in a most BEAUTIFUL fashion. 

Rated: 4.25/5

Tad's Records

2022

CD + Digital 

A Place Of His Own: A review of Melodies From The House Of Levi by Addis Pablo

Construction. I look around at these pages and, the older they get, I find myself very hopeful that someday, someone besides me can find wealth in them. I already use them as a form of research for myself in terms of seeing maybe how my opinions have developed and changed over the years or what I thought at a particular time and, if I'm successful, for as long as they're up, others potentially will have the ability to find some research material here on the critical side (meaning, something other than just looking at track lists and such things which you can find anywhere). That's just me: Teeny, tiny insignificant me - attempting (and hoping) to do my part. Were I an actual musician, I'd like to think that my attitude would be the same. I'd be hoping to have made my contribution and done something for someone at the end of my career. All of that goes into the idea of how artists can begin to build a legacy for themselves and how/why they will ultimately be remembered long after their days are over/ Of course, without the perspective of time, it is a question currently unanswerable in any case (you could have someone put together an excellent career and then have some controversy emerge which will go to on trump anything they may've done musically) (I believe there's a fellow by the name of Alcock who would be a good example of that), but in some cases we can begin to see in which direction things are trending. I'm going to intentionally bring up the example (normally I just write these things with what I'm feeling at the time, when I'm pulling up comparisons) of the Marleys. Anyone named 'Marley' making music of any kind is sure to draw attention on the value of their name alone. This is magnified to an almost infinite degree when the genre of music is Reggae. The progeny of the legendary Bob Marley have made an undeniable mark on the music, regardless of their name and its origins but, first and foremost, they will ALWAYS be the descendants of Bob Marley. You can run down the line of names which includes Ziggy, who has won EIGHT Grammy Awards (including seven for best Reggae album) (and is, REALLY, won of the most successful artists Reggae has ever produced), the brilliant Stephen, Ky-Mani and personal favourite, Damian who has, so wonderfully, brought his music into a wholly modernized style. It doesn't. All of them will always be the offspring of Bob Marley and it is situation they have obviously embraced (if they didn't, they probably would have found something else to do than pursue an artform for which your father is the face of). If you look at similar situations, however, it isn't necessarily the same case. For example, if the Marleys are the 'first family' of Reggae music (they are), the Morgans may very well be its second. When you hear "Morgan" in regards to Reggae music, you immediately go to Morgan Heritage and then draw the line back to their father, Denroy Morgan (biggup Denroy Morgan and congratulations on a life well lived) and you're likely to do similar things with a few others such as Tarrus Riley and Queen Ifrica, so it definitely works both ways.

2014

I bring those examples up because (that's just what I do) what they show are situations where offspring of former greats have not only walked the same road as their elders, but have also embraced the journey. They knew, for better or for worse, that they would immediately be compared to their parent and, in many cases, it would be a situation of spending an entire career in the shadow of someone else. To do that and still manage to build some type of a legacy of your own is truly remarkable. It is one thing to maybe remake some of your parent's old songs or maybe do them in performance (or maybe even a full album), but we've seen certain individuals take it even a step further. Such is the case of one Addis Pablo. Addis Pablo's father is an undisputed, unchallenged king in a very specific area of Reggae music. The legendary Augustus Pablo popularized (within the capacity of actually making music, professionally) a relatively obscure instrument in the melodica which was, perhaps, best known as a child's toy prior to his work. The elder Pablo would clearly not only fall in love with the melodica but instead of doing what you might imagine he would have and held it as something of a hobby, he played it straight into immortality.

And his son has followed in his footsteps. As I think about it more and more, Addis Pablo's situation is even more interesting because if he does it just 'right' (and so far, so good) he stands a pretty good chance of DIRECTLY inheriting his father's kingdom. Because of the scarcity of the melodica, were someone to come around and, like Augustus, basically lay claim to the instrument, that would still go a very long way in establishing a lasting reputation for that individual. That might even be more the case because it isn't as if there has been a BOOM in the emergence of melodica players. I'm not exactly an expert on (anything. Anything at all. Not even an expert on myself) players of instruments, but despite the fact that it is more prevalent (thanks to Augustus Pablo), the melodica isn't the most 'active' of sounds that you're going to hear in Reggae music. If that isn't the case for you and you do pay that much attention then chances are excellent that you're a very big fan of Addis Pablo's work. When we last took a look at his output, it was way back in 2014 for his excellent debut album release, "In My Father's House" (and if that doesn't tell you all you need to know about his feelings about what he's up to, nothing will) (clearly he FULLY welcomes it). Wonderfully, "In My Father's House" would come through one of our very favourite labels around that time and one we haven't had the pleasure of running into since ending our hiatus, JahSolidRock Music. Along with their work with Pablo, the Dutch based imprint also gained our full appreciation largely through working with Chezidek as they produced a MAMMOTH pair of albums with the singer - 2010's "Judgement Time" and "The Order Of Melchezedik" from three years on. That was more than enough to get and keep my attention (the former is one of the single best albums that we've covered on these pages and if it isn't a modern classic, it should be... I don't feel like looking it up right now!) (....okay it is!) (thought so!) but the label has also done material with the likes of Brinsley Forde, Lloyd De Meza (there's a name you haven't heard in awhile) and others. So, it would only make good sense that, when there is a new album from Addis Pablo -- and there is -- that it should also come via 'the highest region' and he and JahSolidRock now deliver "Melodies From The House Of Levi". Between projects, Pablo remained well active. Though this is probably going to officially his second album, there have been quite a few singles and more than a couple of EP style sets as well. Most notably, perhaps, would be "Bright Star", a LOVELY eight-tracked EP from Evidence Music which arrived just a couple of months ago actually and last year he also linked with the Green Lion Crew for "Green Lion Crew Meets Addis Pablo & Friends Uptown", which featured contributions from Mr. Williamz, Jah Bami and more. So he's been busy and definitely been impressing and as I can well say that, eight years later, the name Addis Pablo, as his own musician, carries more weight than it did as an up and comer back in 2014 (when he was still dropping big tunes like the syrupy sweet 'Road To Addis'). That's what he's been up to, however, the question is how is the present looking for Addis Pablo and JahSolidRock??

Good. It's looking really, really good. Surely such a project isn't the work of one man alone and joining Addis Pablo throughout the new album is a very diverse and decorated set of musicians with the likes of Dean Fraser, Dalton Browne and Dwight Richards all lending their considerable talents to thiis release under the helm of Ras Denco with Marc Baronner. The majority of JahSolidRock's work (pretty much all of it, if I recall correctly) came with a distinct sound quality. Regardless of whether you liked the actual tunes (and you did), the actual quality of their work was pretty much not even a matter of opinion. It was always stellar and their latest work continues that. Like its predecessor, Addis Pablo's new album, "Melodies From The House Of Levi" features Pablo alongside a variety of artists handling the vocal duties, with this time a very clear line being drawn in the situating of the album: What you will get first is an instrumental version of the track featuring Pablo and then the effort from the vocalist. I really like this method, directly, and a credit goes to whoever came up with the idea because it almost comes off as like a compilation of sorts and is a streamlined form of what was present on "In My Father's House" (and that also definitely worked). It remains very fresh throughout. Getting this started is what I believe is the most recent single from "Melodies", 'Black Liberation Day'. Despite its title, this composition isn't one that I'm necessarily going to refer to as "joyous". This isn't a celebration to my ears. What it is, is WORK. This is not a congratulations for a completed effort, instead it comes off more as a call to join in for the preparations that must be made for the day. There is a bit of subtle urgency here as well (particularly during its building middle portions) that I feel, with the main sentiment, in my opinion, being that there is much work to be done. Most interestingly, handling the vocal duties for the first track is man of the moment, Spanish singer George Palmer. The Horace Andy-esque vocalist has an album, "Working Man", forthcoming on Irie Ites Records in about a month or so as of this writing, so you're probably going to be hearing quite a bit for him forthcoming. Until then, set your ears on his effort here, 'No More War Dub'. As its title would suggest, this one is PURELY for the Dub heads who should devour it! If you've enjoyed hearing Horace Andy at some point in Dub, you should feel the same way about Palmer's work and definitely looking forward to the album. Pablo returns with another single from "Melodies" (this one from a couple of years ago now), 'Narrow Road'. 'Narrow Road' is EXQUISITE. Were it not for one chunk of brilliance than comes later on, it would be my pick as the best composition on the whole of this album. It has such a FULL vibe to it and how it manages to progress throughout is damn impressive. I don't possess the vocabulary (I do actually have the vocabulary, what I lack is the knowledge of exactly what I'm hearing) to describe it, but about a minute in or so, 'Narrow Road' WIDENS. It begins to bloom and though I won't call it dynamic, it is just... COMPLETE. There is not a thing missing on this one. Pablo hands it off to a pair of greats in Earl Sixteen (who was also on "In My Father's House") and Mutabaruka who link up for 'Every Nubian Is A Star'.

"So wi haffi tek control of wi destiny

Remember our glorious history

Shine bright, see the light

With your melanin skin, find your Nubian truth within

Our armageddeon past long, long time

Don't let dem twist and turn your mind

WI GAVE THE WORLD CIVILIZATION

DON'T LET DEM INDOCTRINATE YOU AND CALL IT 'EDUCATION'

Light the torch and shine it bright

Remember our glorious history 

With your melanin skin, find your Nubian truth within"

The two deliver EXACTLY what you would expect from such an esteemed union on a MAMMOTH shot about instilling confidence and PRIDE in the children of Africa throughout the world. 'Every Nubian Is A Star' ranks as my favourite vocals on "Melodies From The House Of Levi" and it's definitely one which I think will find a very big audience if given the chance.

Later on, we see Addis Pablo joined by two very impressive up and coming vocalists in Kenny Smyth and Var, who provide "Melodies" with two of its heaviest hitters in 'Pagan Land' and 'Poor and Needy', respectively. The latter was a tune that appeared on JSR's Poorman Riddim from a few years back, which was released as an EP that also included Addis Pablo's golden cut, 'Blessed Are The Poor'. For his part, you may've heard a lot of good things about Var and his potential and, if you haven't, this is a nice place to start in making up your own mind. 'Poor and Needy' is an excellent social commentary with a spiritual root ["Jah Jah bless the poor and needy, because dem system designed to keep the rich man greedy. Every time the poor man feel it, dem seh poverty no real, cah dem neva yet hungry"] and, again, if you haven't paid much attention to Var previously, it is a fine place to become acquainted. 'Blessed Are The Poor' doesn't require much of a developing period. It latches onto the listener almost immediately, producing one of the most infectious and intoxicating moments on the album. Smyth also shines on the, arguably, even stronger 'Pagan Land'. Kenny Smyth comes equipped with a POWERFUL kind of dusty sound to his voice (probably not the best way to describe it, but I'm sticking with it), immediately giving virtually anything he does at least some level of appeal to my ears and 'Pagan Land' is going to be one of the best songs that I've heard from him to date (also check an older tune by the name of 'Jah Mi Gi De Glory', if you're curious about what else he's done on that level). Pablo comes through on that same riddim with 'Nineve', a highlight coming from his end as well. This one does have to grow for about a minute or so before emerging in total, but when it does - DAMN! 'Nineve' is almost stunning at times but in a very laid-back and chilled sort of way (there is a spell from about 1:44 to 1:58-ish, which just HAD me. It is so beautiful), making it very easy to take it all in. BOOM!

The final time we hear from Addis Pablo on "Melodies From The House Of Levi" is my favourite track from him here, the GOLDEN 'Jah Kingdom Come'. This one is EVERYTHING! It's laid back and dynamic. It simple and complex and it is BEAUTITFUL from beginning to end. I do so find myself loving horns on instrumental and while they are present on 'Jah Kingdom Come', they do not dominate the vibes, they only serve to accentuate them. What results is something that I had a thought of my Wife actually said it before I did: It sounds like Pablo is telling a story. He isn't playing music just for the sake of playing it, there is something on his mind and just like a great lyricist, he's enlightening us all through 'Jah Kingdom Come'. It is Jah Exile who (was also on the first album) comes in with 'Psalm 20'. As its title would suggest, Exile's tune is a pretty straight forward, biblically inspired piece. It almost sounds as if he got the idea to do this on the spot because there isn't much else going on here, the real attraction being listening to Exile, blissfully, lost in the moment.... probably not even caring who can or who is going to hear him. Pablo also gets very high marks for his penultimate offering on "Melodies", the outstanding 'Words of Solomon', as does the increasingly popular Ras Teo who supplies the riddim with vocals via 'Sabbath Day'. Somewhat similar to 'Jah Kingdom Come' in terms of the feel of it, 'Words of Solomon', again, sounds like Pablo is giving us information through his vibes. As an overthinker and someone who finds supreme joy in attempting to decipher the words of the genres most gifted lyricists, I'm tempted to do it here as well, but I think that, if my assumption is true, that such things are best left, COMPLETELY, to the individual listener; and even if I am totally wrong (and I almost surely am), who cares?? 'Words of Solomon is a JOY to listen to, even in just what it is on the surface. The Swedish born Teo, who has enjoyed a powerful last couple of years or so, was in fine form on this contribution.

It is just a really well-done piece and, if you have not looked in on what Ras Teo has been up to lately, you're really missing out on something quite special, so take care of that right now (and I have to mention how much I LOVE that, pretty much, the final twenty-five seconds or so of 'Sabbath Day' is more SWEET instrumentals). 

Overall, to the surprise of absolutely no one at all, "Melodies From The House Of Levi" is EXCELLENT. It continues much in the fashion of its predecessor (as will its eventual follow-up, I'm sure) which is just fine, so if you did enjoy the "In My Father's House" album --and if you've read this far into a review, you did -- it is a LOCK that "Melodies" will also make you happy (I've developed the habit of listening to something other than what I'm reviewing when I get to the conclusion and this time I've gone back into "In My Father's House".... that thing was SO NICE! What a nice album!). Though I do so wish that Chezidek had been involved, I do really like the selection of the vocalists as well and, like I said, the presentation of the project. In one or two of these instances, hearing the clean instrumental before the vocals kind of made me more sensitive to hearing the riddim behind the artist because I was tuned in at that point and expecting to hear certain things (particularly true with 'Psalm 20'). That put light on things that I don't know that I generally pay attention to in that exact way when I listen to music. I'm also going to give a credit to one Abba Yahudah, the artiste who created the album covers for both "In My Father's House" and "Melodies". That man is a genius. His artwork, here, just as before, sits atop a body of work befitting to such a beautiful display as, on "Melodies From The House Of Levi", Addis Pablo and JahSolidRock once again soar and demonstrate a level of quality comparable to even the most revered of legacies. I ended the review of "In My Father's House" saying:

"The album serves as a mighty debut for Addis Pablo who not only picks up where his legendary father left off, but he also shows himself to potentially be capable of building a legend of his own. GOLDEN."

The foundation was laid. Eight years on, on top of it is a palace. 

Rated: 4.35/5

JahSolidRock

2022

Vinyl + Digital