As Expected: A review of Eminence by Beenie Man

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

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

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

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

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

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

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

"Girl you born pon a pum pum farm!"

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

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

Mi fit like a Honda cause e very morning mi run

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

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

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

"Mi nah go nowhere"

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

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

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

Rated: 2.65/5

Billboard King Records

2026

Bounce Back?: A review of the Recoup Riddim

Come again. As I'm sure I've said in the past, one of the worst things about getting older, specifically as a music fan, is having to powerlessly accept and/or just deal with just how much things have changed. When I was younger I steadfastly wanted to ensure that I wouldn't become some spiteful old creep walking around talking about, "back in my day...", essentially pissing on current music and artists which is why I tend to just refrain from talking about such things except when I'm impressed (biggup Eesah) and keep the negativity in my head. Looking at how Reggae is these days, there're several things which I definitely do miss and not the least of which is my beloved DANCEHALL. The saying is that 'you don't know what you've got till it's gone' and that is SO true and applicable in this instance because I don't know that I would have ever been capable of processing just how precious something that I considered to be so BASIC was. Who knew that we'd all wake up one day and 'DANCEHALL' would not be Dancehall anymore??? How the hell did that happen? Where was I?? What is referred to as Dancehall these days is basically Caribbean Hip-Hop and it's something that we all have to manage. I do foresee a return to that candy-like two-drop sound (that's what I call it. Roots is the one-drop. Dancehall is two-drop) at some point, but I may or may not be around to actually experience it and that makes me sad! The days of a producer making a riddim (of actual Dancehall music) and spreading it around have become increasingly rare over the past half decade or so (I remember Red Rat having something to say about it a couple of years ago). Expanding on that sentiment, one of the products of that older sound is the once downright overly-prevalent riddim album. In the not too distant past, Reggae album shelves were dominated by albums (by people named Marley) featuring multiple artists going on the same riddim which were seemingly released multiple times over by albums starring a single vocalist. Some of these were very big deals as well as both genre leading labels, VP Records and Greensleeves, once released such sets as part of their running series, Riddim Driven and Greensleeves Rhythm Album, which were very popular in their day; with the former even birthing a still active (as far as I know) clothing line of the same name. Personally, I reviewed quite a few of these things (once upon a time, some idiot I know even went as far as to catalogue both series). They were FUN in their day and now, looking back, I miss them both... a lot.

And OCCASIONALLY we get to go home. Coincidentally, as Riddim Driven as a functioning entity was coming to an end, one of its most frequent contributors was a producer by the name of Kemar 'Flava' McGregor and, if you enjoyed Roots Reggae music during the late 2000's/2010's or so, Flava's is a name with which you should be well familiar. The once mighty producer of No Doubt Records was responsible for supplying the genre at the with some of its largest releases from the likes of Richie Spice, Nesbeth ["Mi boardhouse bun dung inna gang war wah day. Now mi nah have nowhere fi stayyyyyy!"], Ginjah, Etana  (more on her later) and others. He also released some of the biggest riddims, several of which featured prominently as apart of the aforementioned Riddim Driven series and if there is never another edition of the series (and I would be surprised if there were), Flava McGregor and No Doubt Records will be known as having produced the final Riddim Driven ever in the form of 2010's VICIOUSLY SWEET Classic Riddim ["We only got one, life, to live. We should make no apologies"] [BOOM!]. He'd also produce full albums for many including Anthony B, Sizzla Kalonji, Turbulence (personal favourite of mine, "Join Us"), Natty King and was just... EASILY one of my absolute favourite producers going during his day. When No Doubt Records was on top, they were consistently spectacular.... but nothing lasts forever.

There would come a point where I would legitimately come to DISLIKE what McGregor was up to or at least someone using his music. At the start of the digital/streaming age a few years back, SOMEONE would end up flooding the market with release after re-release after re-release of.... the same shit everyone had already heard. It seemed as if a couple of weeks or so wouldn't go by without SOMETHING being released on that front with a new cover and, as for McGregor himself, he seemed to be spending more time making news for goings on inside courtrooms than what he was doing in the studio and it made me sad! I had given up on Flava McGregor and and No Doubt Records and had no reason to return.... at least not until very recently. As I said, though the days of that giant Dancehall riddim (and subsequent album) just destroying absolutely everything in sight may be a thing of the past (for now) OCCASIONALLY there can be exceptions, or at least ATTEMPTS at exceptions. The case could be made that the single greatest producer that the Dancehall has ever seen has been the great, enigmatic and downright reclusive Dave Kelly. For the better part of four decades the brother of the great Tony "CD" Kelly (also still going strong and one of the greatest Reggae maestros EVER) has been responsible for what has to be considered some of the most colourful and ingenious tracks in Dancehall history, largely for his Madhouse Records imprint (my own favourite would be.... maybe The Return Riddim?) and, were you to go traversing through Kelly's amazing vault, eventually you'd stop around 2000 or so and land on the Bounce Riddim. The Bounce, done for X-Tra Large Productions, didn't necessarily carry the biggest of hits, but it was BRILLIANT! These days it is likely best known for a pair of Baby Cham tunes, the unforgiving 'Man A Man' and 'Babylon Bwoy', but stellar efforts also came from the great Spragga Benz, Beenie Man and, ESPECIALLY, General Degree who scored a nice sized hit with his 'Ooh Yeahee'. Now [!], had you told me at any time during the last decade or so that we would get to a point where Flava McGregor would be remaking an old Dave Kelly riddim, I would have laughed my entire ass off at you and I would owe you an apology because, lo and behold, here is the Recoup Riddim from McGregor, it's a remake of the Bounce and it is, in fact, 2024. WHAT THE HELL IS GOING ON??! It defies all logic and common sense, but I am here for it! Why is this happening? I don't know and I probably don't care. CLEARLY, McGregor was a giant fan of the track and thought to himself that, if he had the chance, he'd love to do a remake and it's worked out. The Recoup Riddim comes through a channel simply called Kemar McGregor (that's the literal name of the label it's on) and it is a relatively unchanged remake of the original, nearly quarter of a century old Bounce Riddim.... but how good is it, REALLY??

...meh. As far as the vocal artists appearing on the Recoup, it is a very healthy mixture of heavy-hitters and kind of next tier names, with up and comers. Generally speaking, to my experience, that is EXACTLY what you want to see on a big and well populated riddim. What happens when that does occur is that you, as a listener, are more likely to  gravitate towards something that they'll enjoy from someone that they are familiar with and (perhaps most importantly) you may come away with a new name to look forward to hearing in the future. Taking the first shot at the Recoup Riddim is, arguably, the heaviest of of the heavy hitters as Buju Banton blesses the track with his 'Slogan'. You take a moment and realize the magnitude of what happens here: This is Buju Banton on a classic Dave Kelly riddim that he never voiced. That is a really big fucking deal and what results is, clearly, the single best moment you'll find on the Recoup Riddim, although I'd stop just short of calling it a bona fide "GREAT" tune (although it is close). 'Slogan' is fun -- hear that chorus -- but it isn't necessarily vintage Buju. 'Fun but not vintage' would also be an appropriate description of the second tune here, 'Vibrating' which features the great Beenie Man alongside Denyque. This track has a very cool R&B vibe to it when Denyque comes on with those sterling vocals, making a most compelling blend with Beenie's consistently fairly aggressive delivery. It's at this point during the album for the Recoup Riddim where strange shit begins to happen and none are more downright bizarre than 'Mirror' by the aforementioned Etana. Let's get the review stuff out of the way first: 'Mirror' is bad. It's probably the first time I've ever said that about a piece from the August Town certified veteran (and may end up being the last time), but IT IS A BAD SONG. It's full of worn, tired and dirty Dancehall cliches and someone of Etana's abilities could probably roll out of bed and top what you'll hear on 'Mirror' with the slightest of effort in my opinion. On the other side of that is the fact that the tune is somewhat 'controversial' as the vocalist does go on the more sexual side of things, but I'm fine with that aspect. Many (like almost all of them at some point or another) of Etana's famous male peers have done similar things (including August Town's most famous resident) and we've gotten used to it through the years, so I'm not going to judge her harshly AT ALL for the direction here... but it is trash. I-Octane throws even more petrol on the dumpster fire with his effort on the Recoup 'Love Punanny'. To put it context: 'Love Punanny' is considerably better than 'Mirror' but it is still a few hours' drive away from being decent (and, it should also be said that Octane & Etana have dropped 'Ganja For You', a tune far more befitting of both of their monstrous gifts, also for Flava) (wouldn't be surprised if that's a single for McGregor's next track), Last year, I-Octane released a collection of songs called "Dancehall Gift" which proved to be a complete curse, it was terrible, but demonstrated the direction he's been working towards more often these days. If that is your type of thing then 'Love Punanny' will work for you because it's better than the vast majority of tunes featured there. So when you need someone to right the ship, who do you call after a couple of less than stellar offerings??? Of course you call the Energy God (are we still referring to him as that?? Ele's probably almost fifty years old and he has a comic-strip villain nickname) and Elephant Man doesn't disappoint (and when I saw his name on board, I had full confidence that he would shine on the Recoup) with 'Nuh Shaky' and he does while outlining the fact that he cut no corners and he earned his way to the top, legitimately

The bigger names return later on, while the middle portion of the Recoup Riddim album is, for the most part, carried by second tier names with up and comers and... it does not feature much [anything] in the way of memorable material at all. The biggest winner of the lot probably goes to 'Seh Dem Bad' which comes courtesy of wide voiced vet, Singer J (Singer J has a VERY unique voice if you REALLY listen to him). 'Seh Dem Bad', to be completely fair, is quite strong and very interesting as it features a route taken on the Recoup that no one had gone prior to it.

"I seh him mother call him

Tryin fi warn him

Sit him down neatly and inform him

Seh, inna badness thing - she don't want him

ONLY THING BADNESS GIVE IS A COFFIN

Di bwoy laughing, nah tek no talking"

The very next set is also well done as D'yani comes solid with '911', which takes the guidance of the previous tune and steps it forward in adding a more general social context to it. D'yani, effectively, comes up with a social commentary in a region (biggup JahSolidRock) where you probably weren't expecting to find one and, again, it won't be the best of its kind that you've EVER heard but with where you must go to locate it, '911' formidably serves its role.... and that's about it! The other three offerings in here, 'Say Yes', 'Glue' and 'Top Class' from Tifa, Honorebel and Zed Regal, respectively, range somewhere between 'nuh-uh' and ABSOLUTE RUBBISH. The worst??? Maybe 'Say Yes' and I say that probably relating it to 'Mirror' in some way or another (which probably isn't fair), but 'Mirror' is better than 'Say Yes' and we've already established that 'Mirror' is horrible. It, too, is built upon well traveled and should-have-been-buried concepts which, in my opinion, are not at all empowering of women as they are intended to be (suggesting, at least in part, that people should take pride in the.... snugness of certain parts of your anatomy....). It is a sentiment Honorebel would agree with as he makes, basically, the same damn song as Tifa but from a male perspective and, not to be outdone, Zed Regal doesn't stray far from either; although he does do far better than both with the wholly unremarkable 'Top Class'.

 Given the fact that he has had some well publicized not so nice interaction with Flava McGregor which took place in a courtroom, I was quite surprised to see Khago associated with Recoup Riddim but apparently bridges have been mended and all is at least well enough to work together. The result of this one is 'Whine Up For Me', which is another tune that I do not love, HOWEVER, 'Whine Up For Me' does have a few moments that set it apart from being a bad song, in my opinion. I've never been the hugest fan of Khago's but he is, at his best, talented and he's also one of those types of artists who've been around a lot longer than you may realize. The final vocal outing on the riddim is the 'old school' 'Scaleillan' from Turbulence. Given what Reggae has been through, you don't very often hear such tunes as this. They're very controversial (and, to be honest, their decline has been a good thing, in my opinion. There was a point, maybe fifteen years ago, where that discourse seemed to be THE single biggest and most prominent issue in the genre) and can be detrimental to the artist, as we have seen in the past. Turbulence, seemingly, doesn't give a damn and makes his point with 'Scaleillan' (although it isn't as... 'direct' as others and features a brand of condemnation which is less centralized and further reaching. You could very well make the argument that, even still, the biggest hit of Ginjah's career was a tune he did for Flava by the name of 'Never Lost My Way' ["WHEN MI SING, MI NO HAFFI RICH! A NO MONEY MAN AH LOOK AFTER THIS!"] (arguing against you would require some serious thought), so neither the presence of the golden voiced singer nor the quality of his effort on the Recoup Riddim, 'Judgement', came as any surprise at all. 'Judgement' soars and does so in a most interesting way with a theme that is part warning & part uplifting. Also have to mention the PASSION coming from Ginjah on this one, a feature of his music is absolutely saturated in when the Hanover native is at hist best. 'Finally' (literally have three more songs to talk about and I'm saying shit like "finally") (bad habit. My apologies) check 'Nuh Leany Leany' from Ghandi which I was so happy was included because it sorta/kinda makes up for some of the more filthy material you'll hear throughout the Recoup Riddim. 'Nuh Leany Leany' has elements to it that are definitely on the slack side ["STRAIGHT! Nuh leany leany. Tight pussy gal dem alone can pree mi Dem ah rub mi down like di bottle of di genie"], but it's also inventive and not.... tired as hell. The skill is present and, I most certainly am no prude and can appreciate such a piece when it is well done. 'Nuh Leany Leany' is fun (minus that small section where he does that annoying run-on thing with the delivery) (You'll know what I mean). Also included is a clean version of the Recoup Riddim, so you can try it for yourself at home. When I used to review riddim albums, nearly ad nauseam, this was a feature I always tried to highlight because the riddim, TECHNICALLY, is the actual star with projects like these and it deserves a chance to shine - all of these years and not much has changed. I still do appreciate them, greatly.

Overa.... WAIT! It took me so fucking long to write this review (I'm old), that Flava went ahead and released a Deluxe Version of the album which carries a couple of extra tunes, both come from The Doctor, Beenie Man, 'Yaadie' and 'Spend It'. The latter is useless. It sounds like a freestyle and you need not pay it any attention at all. I get the feeling that Beenie was just so damn happy to have another go at the Bounce, that he just stayed in the studio, doing whatever came to his mind and just got it all out.... but whatever "it" was, was CLEARLY emptied before the beginning of 'Spend It'. 'Yaadie', on the other hand, is FANTASTIC. It's better than 'Slogan', as Beenie sets fire to all those with hideously misguided attractions (not too dissimilar from his go on the Bounce Riddim, 'Troublemaker') and he spares no targets and leaves no stones unturned!

"Number one: No rest in peace fi Michael Jackson

My songs caan sing no Frankie Paul song

From di family playlist - R Kelly banned

How some big man waan fi play Peter Pan?!"

Overall (I mean it this time), no the Recoup Riddim, as an album, isn't very good. It seems as if several of the artists heard that beautiful old school riddim and decided to serve up some of the most basic... dirty Dancehall that they could muster and it really does manage to weigh things down which is unfortunate. However, when it does actually work, what results is just a HINT of that deplorably presumably gone.... sweet, sweet era of music. Unsurprisingly, it is genre of the veterans such as Beenie, Buju and Ele who arguably shine the brightest (with a big respect to Ginjah as well), and it would have been damn interesting had such a project been loaded with the likes (with the biggest name missing being that other B). However, while I'm not likely to look back at the Recoup Riddim completely kindly, Flava McGregor does deserve credit for pulling together an ambitious project and on which, at least in spurts, gives fun vibes from when everything felt like home.

Rated: 2.5/5

Flava McGregor

2024

Reggae Virus: Booster from Tad's Records

"Reggae Virus: Booster" [Tad's Records - 2023]

1. 'Leave Her Alone' by George Nooks & Josey Wales

2. 'Bald Head Jesus' by Anthony B

3. 'Magical Love' by Marcia Griffiths

4. 'Cool Jamaican Whiskey' by Hezron

5. 'Nah Back Down' by Sanchez

6. 'Dancehall Tun Up' by Screwdriver

7. 'Don't Let Me Go' by Etana

8. 'Booster' by Dean Fraser

9. 'Love Doesn't Ask Why' by Terry Linen

10. 'Can't Fade Away' by Glen Washington

11. 'Mi Want More' by I-Octane

12. 'Baseball Girl' by Richie Spice

13. 'Who Kill Mi Dollar' by Perfect

14. 'You Are Beautiful' by Singer J

15. 'Rasta Government' by Anthony Cruz

16. 'That's Alright' by Freddie McGregor

17. 'Marijuana Prior' by Chezidek

18. 'Roots Wine' by Lutan Fyah

19. 'Spandex' by Vahriie

20. 'Virus Dub' by Tad's Allstars

Okay so, given its May release date, I'm surely jumping the proverbial gun with this one (but I really liked what I heard and I haven't finished my next review yet because I'm having entirely too much fun just listening to that album) (it'll probably be up this weekend - whatever it is), but just to give an early shout to a very nice project which is just about four months (A QUARTER OF A YEAR) out, here we go. A couple of years ago the venerable Tad's Records released a riddim compilation by the name of "Raggae Virus: First Dose". Of course, looking at the title - the word "First" vividly stands up at it would seemingly suggest that there would be at least a second dosage (although that isn't always the case) and, though it's taken two years, here it is. The label now presents "Reggae Virus Booster", just in case ALL of your illnesses have yet to subside and, from early indications, this second prescription is considerably stronger than the first.... unfortunately (not really), as you very well know, there is no cure for Reggae. If you have caught it at any point in your life, you WILL die with it.... and you will LOVE it.

2021

Will you love this injection?? How should I know?! It doesn't come out until may, HOWEVER, because a certain site (named Juno) pust up samples, which're the entire song if you have patience, I have heard quite a bit and certain strains of this virus are scathingly infectious and you'll want to be careful. The two biggest 'culprits' seem to be Etana and Chezidek. The former's cleverly kind of dirty 'Don't Let Me Go' finds her enjoying... the work being put in by her man, while the latter's dazzling 'Marijuana Prior' is yet another testament to someone CONSISTENTLY making some of the best music in all of Reggae, in my opinion. Also, jumping around a bit, potentially solid tracks also come from the likes of Screwdriver, ANTHONY B, Vahriie, veterans Freddie McGregor and Glen Washington and a possibly golden combination, 'Leave Her Alone' featuring George Nooks & Josey Wales. 

Yeah, I know... too much while still so far away but, as it stands, I have a REALLY good feeling about this one. Am I right (am I ever??)? Find out when "Reggae Virus: Booster" reaches on the 12th of May, 2023 courtesy of Tad's Records.

{Note: Samples}

{Note 2: Pretty much everything Tad's releases ends up on disc, I would expect this one to as well}

Big Man: A review of Mad World by Gentleman

Elder. Music and time can make for a very interesting pairing. While surely a study best left for the end of an artist's career or even life, attempting to put them into some sort of category based on how much time they've given to the music and the status that they have achieved in doing so almost always yields surprising results - at least for me. When you really begin to dig into someone's catalogue and the accolades that they've received, what you will often see is that someone who, perhaps, you didn't look at in such a way is far more than just a.... tried and trusted veteran while maybe it's time to FINALLY began to shed that 'up and comer' label in others (biggup Chronixx). This can be true in both the absolute grandest of situations and at the most basic of base levels as well as, with virtually anyone at all, what you are likely to find is even a small following who has an EXTREME level of devotion to the artist and, within that group (regardless of the size), that particular individual's status is immeasurable, as is their impact. On a higher level, on the other hand, things can be shocking. In the scope of looking at catalogues, especially, let's focus on someone such as Sizzla Kalonji. Now well into his forties and an oft and apt recipient of titles 'veteran' and 'star' (as he has been of both for the majority of the past decade and a half or so) and many variations of both ("grizzled veteran" - "superstar"), if ever you simply go and check the sheer AMOUNT of work that man has done, what you will find is someone who -- and I have absolutely no statistics to back this up -- may have an actual case for having voiced more songs than almost anyone in the history of the genre. When all is said in done in Sizzla's case, we will at least remember him for a staggering level of hyperactivity during and before his prime years and, presumably (as it would seem), well into his later years as well. Regardless of what you think of the actual work, his contribution on the quantity side is very difficult to match and it is a credit he has already being paid these days. Another good example would be someone like Bounty Killer. Despite (and maybe even BECAUSE of) his lyrical penchant for extreme violence (and he is neither the only one nor the MOST vicious) (biggup Mad Cobra), the Killer is arguably the most influential star the Dancehall has ever produced as it often seems as if an entire generation of DJ's and singers (including the occasional female) grew up wanting to be the anti-hero that Bounty Killer was.... and still is. 

2002 & 2004 [Absolute genius - both of them]

Now when you take this a little further, you can run into some even more interesting cases, one of which we're going to focus on today. I steered this review in this direction especially because when I first noticed that German superstar, Gentleman, was releasing a new album it took me down a road of thinking that, though I may not be his biggest fan and I may not have hung on his every word throughout the years (my mistake, not his) (well I was busy!), Gentleman has made a SERIOUS contribution to not only German and European Reggae, but the entire genre, as a whole, as well. When you think of his more modern continental contemporaries, you think of a very select group of people which includes the likes of Maxi Priest and.... Alborosie (someone else who has had a career which would well be interesting to take a look at such as this one).... Lloyd Brown?? Even if I am missing one or two (and I surely am), it's a very thin list of European artists who have reached that level stardom and/or impact and contribution to the music  and you could well make the case that Gentleman's name should be at the top of that list. 

On a personal level, I will always lean on the fact that I can recall hearing his name before I had music with which I directly associated the work. There's a fairly good chance that the very first time I actually heard Gentleman's music -- knowing that it was his work -- was when I'd finally become curious enough to take a listen and it may have just been on what was his second release, 2002's "Journey To Jah". That set was EXCELLENT throughout (and declared a Modern Classic here), but it would be topped IMMEDIATELY on the strength of one of the greatest albums I have ever heard, "Confidence", just two years later. Maybe it will say something that when we came up with the idea to do the 'Modern Classics' series, it would only take until number four to include "Confidence" ["Intoxication of a certain kiiiind"]. It is simply one of the finest albums that I have ever heard and it is nearly twenty years old and Gentleman did not call it a career there. I like to look back at "Confidence" as a point where Gentleman's career hit the proverbial next level in terms of the entire world taking a greater look and what was to come was more stellar output. Full ALBUMS worth of work on projects such as "Another Intensity", "Diversity" and "New Day Dawn" would further keep me interested and while we were away on hiatus the artist, born Otto Tillmann, would continue his substantial works in dropping a number of projects including 2020's interesting "Blaue Stunde", which was an album completely in his native German and 2016's solid "Conversations", a combination project alongside Ky-Mani Marley (a few big tunes on that album but especially 'Jah Guide Over Us' and 'Red Town').  Now, in late 2022, Gentleman sets forth his latest creation, "Mad World". Although it did have just a bit in the way of pre-release hype, I actually don't recall hearing a great deal about this project just ahead of it materializing, but after it did reach, we've heard quite a bit of early response to the surprise of absolutely no one (he did have singles for it but, when they released, I wasn't under the impression that THIS was forthcoming) (although, in retrospect, I definitely should have been). At his best, Gentleman makes a very 'standout-ish' brand of Reggae music. It is both very easily digestible by newer fans as well as heavy enough for more seasoned listeners. It's also typically fairly melodic and just pleasing to listen to as well. The full results, as I've said, can be sublime and down right CRUCIAL and it is simply what you have come to expect from the now forty-seven year old artist over the course of the past couple of decades or so. I was thinking about that when I started: We've been listening to Gentleman's music for more than TWENTY YEARS now. He's certainly not alone, but he isn't usually someone who I look at in the same way as I do others with whom I am SO familiar. Gentleman kind of does his own thing and he does it marvelously as, perhaps, one of the greatest to do ever, PERIOD, as well as being one of the genuine big men of European Reggae music.

So when that individual does.... anything at all, it is a very big deal and his latest set is not an exception. If you're either a new fan of his or just a Reggae fan, in general, "Mad World" (like most of Gentleman's work), will have something for you. As a whole, it very much follows (most) of his previous full efforts in its sound (he will occasionally try different things and mix up the vibes) and, in my opinion, by its end, "Mad World" definitely ranks amongst his very best. The project comes officially via URBAN, a division of major, Universal, yet another testament to the artist's popularity. Should you require even more proof or explanation, check the opener of Gentleman's latest big creation, "Mad World", the AIRY 'Defining Love'. YOU WILL LIKE THIS SONG. That's it. It requires nothing in the way of conditions, quantifications or qualifications: I am certain you will enjoy it. The track finds Gentleman attempting to implant quite a bit more LOVE in.... pretty much everywhere. This is aided by a SWEET Jugglerz produced vibe (Jugglerz has a hand on virtually all of "Mad World") as artist, label and whoever else EASILY puts one of the best feet forward to open the album. Things only rise from there as 'Over The Hills' is an even stronger offering. This previous single (which may've been the first tune that I ever heard from what turned out to be "Mad World"; probably from over the summer) has such wonderful pull to it. It is highly infectious and you won't get through much of it at all without singing along (probably just until you learn the words).

"I've got to find me some peace of mind

Over the hills and valleys mi ah climb

All where rules are clearly defined, by Nature

Si wanna be inna di hills a where di birds dem singing

Tired of di city, where di gunshots ringing

Hype after hype a weh di artists flinging

SOUL AH RUN DRY. MI NEED SOME REFILLING 

Mi ready fi di walk, ready fi clean up mi thought

Back inna mi medi, leave di poison dart

Everybody round ya act so wise and smart

MI READY FI A BRAND NEW START 

So woman mek wi pack up wi things and gwaan

And plant some trees pon di farm

Come mek wi pack our things and gwaan

Calm after storm"

The song finds our star... really just needing a break from everything and some time to refocus (and maybe write a few new songs). I can imagine the type of trip (whether physical or mental) Gentleman took on to come up with this tune; whatever it was, the results were surely successful on a genuine highlight from "Mad World". We get an early spot of fire next up via another single, 'Fight For No Reason'. It sounds absolutely nothing like it at all, but for some reason this piece reminds me of 'Leave Us Alone' from the aforementioned "Journey To Jah" set ["Some boy mussi sick inna dem head - burn down bridges and build walls instead"]. That song was a bit on the heavier side and, while this one does have its moments, it's almost more of a Hip-Hoppish type of pulse at its core. However you wish to describe it, I found a nice place of substance with this one on a smaller, more specific, level. On the grand scale you take this one to VIOLENCE or WAR, I suppose, with a more political outlook. For me, however, I took it more definitively. Do you know anyone who just likes to argue and pick fights with people? Or maybe more than one who're just.... constantly bitching at one another (and I don't mean that delightful old couple you know who is always yelling at each other)? 'Fight For No Reason', AT LEAST FOR ME, also rings true for them. You do not want to be that nasty, judgmental creature who always has something negative to say and Gentleman wants you to know that you don't have to be him or her and he's right. Rounding out the first lot of tunes is the very fun and colourful 'Can't Lock The Dance'. Because he is contractually obligated to appear on every single album that I listen to ever, this tune features the inescapable Stonebwoy (I don't know how true this is, but it must be nearing ten albums that we've reviewed from our hiatus which has featured the Afrikan star. The actual music here won't change life anywhere, but it just might lighten up a dark night or time that you're going through..... which means that it just might "change life"; but for what it is, 'Can't Lock The Dance' is very nice and not with a complete lack of 'heart' at all ["Government ah try push it down, no matta where wi go. Dem waan keep wi mono, but wi need di stereo. Bun di marijuana and play a round of domino - a so wi go"].

It is during its middle portion where "Mad World" REALLY begins to shine, as it not only features what is my choice as the album's single finest moment, but a couple of other tunes which rank amongst its top class as well. Also found here is the eponymous selection from this release which is actually one which I do not love although it has grown on me just a bit since I heard it initially. It is derivative of an older tune of the same name, made popular by American singer, Gary Jules, and it has a kind of.... 'quick' sound to it?? That's probably not the best way of putting it, but there is something about 'Mad World' which failed to entirely grip me and still does. It never seems to settle into any groove and, at just one hundred and fifty seconds long, it doesn't really have that opportunity to do so. It isn't bad AT ALL, however, I just needed more time for a tune like this to get comfortable with me before sending me on my way (I think it's that melody that I don't enjoy). For the sake of comparison, check the space just ahead of it, 'They Don't Know'. Though two seconds shorter than the title track, it does seem to find and maintain its footing a bit better and, in doing so, shows itself to be a nearly HUGE composition. Here, Gentleman, speaks on the importance of identity and self-awareness. He uses train of thought as a source of a variety of different things, with probably the most resounding being general MOTIVATION ["Get up and find a solution. Go find a solution"]. 'They Don't Know' is a song (DUHHHHHHHHHHH!) and it has everything around that one would expect from one, but it also has this open conversation-like vibes to it where it seems like he's just.... sitting there, giving his opinion on a few things in a delightfully melodic way. And then there's the BOOM! The single finest moment that I've found within this mad world is track #6, the downright stunning 'What Them a Go Do'.

"When strangers come knocking at your door

Rearrangers don't want you to feel secure

DEM GET IT ALL, BUT DEM STILL WAAN MORE

Dem seh dem rich, but wi know dem poor

Get up, stand up and move cah there is no time to play 

When you fi feel di groove you gone upon a holiday 

YOU TALK BOUT TOMORROW WHEN YOU FI TALK BOUT TODAY

Get it all, remember, don't delay

Wah dem ahgo do?

When wi start bun di fyah

Heathen ahgo run go seek di prayer

Wah dem ahgo do?

When dem caan quench dem desire

No matta wah you do, wi get higher

Why can't it be like it once was before

When di youths dem took it easy, never gwan so hardcore

Everybody wanna be safe and secure

Dem caan take di blood ah run no more

Seh you are a toppa top -

And you gotta lotta glock

Seh you buss a lotta shot 

Wait til di atta clap

Wi no deal wid rat-ta-tat

NAH GI MAMI HEART ATTACK

WI NO TEK NO PART A DAT

CAUSE WI KNOW DO WRATH A DAT"

The best written tune on the album as well as one of the finest listens, 'What Dem A Go Do' not only rises to the top of "Mad World", but it's probably destined to go down as one of my favourite Gentleman songs.... like EVER. 'Things Will Be Greater' is also exceptional and comes armed with a HEAVY Jugglerz creation behind it. When you combine the nice message it carries -- which, for me at least, is really about maturity and PATIENCE and how both so succinctly work together (when you're younger, your perspective is one which is much more immediate and FAST; but when you get a little older, you learn to slow things down) -- with CLEARLY one of the nicest musical performances that you will find here, you have a very easy winner of a tune and legitimate highlight from "Mad World".

The final lot of songs on the album feature songs which have moved for me just a bit. Originally I wasn't crazy about three of them (one of them is a joy and always has been), but a couple of those're probably better than I originally gave them credit for being. That one which is certain to leap out at you is 'Island Breeze', the album's second official combination, this one featuring Jamaican superstar and one of the greatest voices the genre has ever produced in Etana (incidentally, Etana also receives a writer credit for 'Defining Love' as does loooooooooooong time Gentleman collaborator, Daddy Rings, who receives the same observance for every other song on the album, including 'Island Breeze'). This song is precisely what you're thinking that it is and that isn't necessarily a bad thing at all, but with these two - I'd DEFINITELY like to see them work again together at some point (...maybe on her next project. That'd be nice). 'Far From The Rage' is a song steered in a similar direction to 'Over The Hills' to a degree (although, to its credit, it is further-reaching). The vibes here are sublime. It SOUNDS excellent and the sonic appeal certainly isn't wasted in this instance as, again, 'Far From The Rage' is a piece about taking a moment for yourself and maybe taking a detour away from the stresses of everyday life and finding some level of personal enjoyment for yourself (the song does really pick up, to its credit, as the final verse is probably one of the finest on the entire album ["Supposed to answer a hundred emails, but I'm not. Where di time did go, I missed di deadline fi di dub. Yeah, today mi lazy and mi nah feel to get up. Tarrus sing 'gimme a likkle one drop' "]. I still prefer 'Over The Hills' slightly but I will admit that the margin has shrunk from the when I began listening for the sake of this review. The biggest tune later on in the album for me is the BITE that is 'Stick To The Topic'.  Gentleman serves up some well welcomed Dancehall on the drop which I would presume was largely created on the spur of the moment. It VERY MUCH sounds like a well organized freestyle and, as a giant demonstration of his immense talents, it works as one of the best songs that you will find here and, again, a most appreciated changeup. Lastly is a tune song which isn't bad at all but it didn't really resonate with me much outside of a sweet melody (and it is sugary. It will give your ears CAVITIES!), 'Jah Only'. I would say that when you go through the tracklist of "Mad World", had a selection such as this one not been here, you would have thought something was missing and it's here and it is a decent piece and a solid way of wrapping things up.

What is wrong with "Mad World"??? That's easy. A dozen tunes at about thirty-three and a half minutes, that's less than three minutes a song and some of them (even some really good ones), don't have enough time to really develop much. That's fine in something like Dancehall, but there were moments here where I feel like I'm really starting to get into things and... it starts to fade out. That being said, having read an interview of Gentleman in regards to the new project (biggup Da Ville!), it almost seems as if "Mad World" was just kind of put together when Universal called him up and, essentially, said 'hey, you should make an album!'. He agreed with them and thus the road to "Mad World" was paved. I know I'm simplifying things (and probably greatly), but given those set of circumstances, I'm not surprised by the lack of a longer set and, for what it is, there is nothing BAD or even AVERAGE, really, about "Mad World".... I just wish this planet was a little bigger (especially considering some of the monstrous releases he's had in his career). 

Overall, brevity notwithstanding, "Mad World", in its sound is pretty much what we've come to expect from Gentleman throughout his career. As I said many many moons ago, if you enjoy Reggae and are at virtually any stage of being a fan of the genre, something here will reach you. I'm even more sure of that in this case than I am on some albums that I hold in considerably higher esteem (check any great album from Vaughn Benjamin, for example). His style is simultaneously SO open and genuine at the same time that the most hardened Reggae & Dub head is capable of appreciating it the same that the kid who's recently found a Bob Marley track that he likes (and if that kid is lucky, it's 'Natural Mystic' or 'War'). Two decades ago Gentleman demonstrated something to me that has made the subsequent time not all that shocking; and after all of these years, while they have passed somewhat quietly at times, it's still there on "Mad World" from someone who has led one of THE most remarkable careers in recent times. 

Rated: 4/5

URBAN/Universal

2022

CD + Vinyl + Digital

What I'm Listening To! Again and Again!

"Acoustic Gold Vol. 1" by Etana [Freemind Music -2022]

First up today (actually writing this one fourth, but common sense dictates it being at the top), is a wonderful idea from a wonderful artist with a wonderful voice as the incomparable Etana releases a brand new EP with quite a few familiar pieces done with a new rinse. "Acoustic Gold Vol. 1" (-suggests that there will someday be a second volume. That would be nice) finds the singer performing more streamlined versions of some her well known tunes on her own Freemind Music imprint. When I saw this tracklist, my eyes gravitated towards one tune in particular, 'I Am Not Afraid' because not only is it my favourite out of the seven, I thought that it might even be able to shine MORE in this form as that voice [!] would take on a greater presence and, for once, I was not wrong. Projects like these are not for everyone and not even I would want to listen to them ALL the time, but presented like this, just a few at a time, I was just very impressed -- yet again -- by Etana and co. Also take a listen to 'Love Song', which is probably going to make quite a few people cry, once again.

The Yad On Riddim [Lustre Kings Productions -2022]

Achis Reggae favourites, the Zion I Kings, are back with their latest assuredly BIG release, the Yad On Riddim. Keeping it simple this time (nothing wrong with that but.... should they want to spread it around a bit more sometime in the future, I wouldn't have a problem with that), the Yad On features just three vocal tracks along with a dub version of the track courtesy of Digital Ancient from Lustre Kings Productions who take center stage this time around (I LOVE how they kind of rotate releases between the three labels). Despite its brevity, however, as you imagine the Yad On manages to make a significant impact. That surely has to do with the talent assembled as ZIK stalwarts Akae Beka and Lutan Fyah are featured and turn in predictably outstanding efforts. HOWEVER, to my opinion the Yad On's finest piece comes courtesy of Marcus Gad who impresses immensely on 'Recall the Fullness' ["Some say you can magnify the waters with the focus of your mind"], though Lutan Fyah may be catching him, as 'Talk Talk Talk' takes a bit of time to grow on you. Crucial as always - you really want to hear this. Trust me. 

'Dem Haffi Runaway' by Norris Man [Little Rock Sound -  2022]

A HUGE, IMMENSE and THUNDERING credit goes to one Little Rock Sound from out of New Caldeonia of all places (you Google New Caledonia and see where it is in the world) for this next selection (which I'm actually writing first on this list) because it is absolutely GORGEOUS! Following the release of his excellent "Deep Conversations" album, just earlier this year, apparently veteran chanter, Norris Man, was simply not done with you because he is back with a tune which not only would have reigned supreme on "Deep Conversations", but would have done so on MOST of his albums. 'Dem Haffi Runaway' is MAMMOTH!

"Dem haffi run away - too much wickedness

Jah put an end to their days

There is no other way

If a nah Jah you praise-

Then surely shall fade"

And although Norris Man does definitely shine lyrically here, it would not be nearly as potent were it not for that spectacular riddim carrying it so, again, we give thanks to Little Rock Sound on the production. BOOM!

'Jamaica Gone' by Bounty Killer [John John Records - 2022]

You listen to this song. Just take a listen:

SHOCKINGLY -- believe me, I know -- I neither feel the need to or feel like I should have to explain exactly why this song has been on my radars lately. We give thanks for a trio of wizards, Bounty Killer, John John and Mark Myrie (not actually sure which Mark Myrie... thinking Buju more likely than his son, but I could definitely be wrong) link up, in association with Johnny Wonder, to produce a masterpiece.

The Inna Dem Eye Riddim [Tad's Records - 2021]

And finally today, for our 'blast from the past' category, we don't go back too far as just last year, the great Chezidek dropped gorgeous Inna Dem Eye in full form via Tad's Records. I was actually thinking about reviewing this one, but I did write up Chezi's album featuring the riddim's signature tune and namesake, "Hello Africa" [Rated 5/5],.... though I still may get around to this one, someday. The Inna Dem Eye album is exquisite. Along with its creator who takes top honours here, also shining brightly are the likes of Little Hero (who also has a new album out now on Tad's, "The Journey Continue"), Daune Stephenson, Lutan Fyah, Natty King, Mikey General and others still. For what it was, the Inna Dem Eye probably produced one of the finest riddim albums of the last few years or so and you should definitely take a listen for yourself.

'Conquer' by Nature Ellis [Warrior Sound - 2021]

And a little bonus today because I really wanted to mention this one and I might forget it next time (as I did last time). While I have never been the biggest fan of vocalist, Nature Ellis (amazing voice, but something about his music doesn't seem to register with me, generally speaking), I well look forward to giving credit where it is due and a year ago (almost to the date) along with Warrior Sound, the MoBay native produced what is the single best tune that I've heard from him (unless I am really overlooking something - and I may be), 'Conquer'. This thing is just sublime and I found myself listening to it during a random playlist and it caught my attention and that may've been a month+ ago; as you can see, it's still around for me. Songs like this from artists who you don't listen to too much make yoiu think that it may be time to go back and see if it was YOU that was missing in their previous work that didn't really reach you and I have been listening to his work a bit more and I will let you know if Nature Ellis grabs me in this way again, but if he never does, damn this song is fantastic.

'Let Love Lead' by Reemah [Feel Line Records]

And, because they dropped the video after we'd already told you about the tune, definitely have to runback and mention the latest from the brilliant Reemah and Catalyst Mitchell of Feel Line Records, 'Let Love Lead'. Hopefully, we're looking at something special from Reemah in 2023, but until then, enjoy this LOVELY track and I'll see you later. 

Da 2022 Grammy Awards

How things have changed! It wasn't very long ago that, when it came to Reggae music, one of the single biggest awards in all of music, The Grammy's, had been relegated to only giving out their annual trophy in recognition of the genre's best album of a particular year to a very select group of individuals and even potential individuals. First was the group of legends, with Jimmy Cliff, Peter Tosh, Bunny Wailer, Burning Spear and the likes; then was a group of EXTREMELY popular contemporary artists such as Shaggy, Inner Circle, Shabba Ranks and later, Sean Paul, and then there was anyone named Marley... and that was it. On the one or two occasions when someone who did not fit into either of these categories did win within the first three decades of the existence of the award, you could even make the case that it still did as, in 2001, Beenie Man's popularity had, arguably, risen to the levels of the likes of Shabba Ranks (and he had been nominated in the previous two years), as had that of Buju Banton, a decade later when he took home the prize (and he'd been nominated four times before winning) (and I also think he was convicted of a crime and sentenced to US prison in the very next day or two if I recall correctly). 

All of that clearly changed in 2015 when, Morgan Heritage shocked everyone by taking home the thirty-second Reggae Grammy award with their album, "Strictly Roots" [pictured]. That entire year was an odd one as the full nominees included the likes of Barrington Levy, Luciano and, jarringly, both Jah Cure and Rocky Dawuni. At the time, there was only a single nomination between them (Luciano, in 2002 for "A New Day") (Damian Marley's "Halfway Tree" won that year and deservedly so in my opinion)... and how cool is it that Rocky Dawuni was nominated for a Grammy! Since then, things have changed SLIGHTLY. US based bands have been honoured more consistently with both SOJA (more on them in a second) and Rebelution charting multiple Grammy nods, each, since 2015. Sweet singing Hawaiian, J Boog, has also had a pair of nominations, the Morgans have been back and we've seen a general push towards younger names who haven't necessarily had the global smashing success as Shabba and Sean Paul before them. Still, amongst the winners, things have returned to form for the most part, with a pair of Marleys, Ziggy in 2017 and Damian the following year, winning the Grammy (Ziggy would also be nominated in 2019 for "Rebellion Rises", as would "As I Am", from Julian Marley in 2020). In 2019 the award would go to "44/876", a collabourative effort between Shaggy and Pop legend, Sting, while last year Toots and The Maytals would win their second Grammy with "Got To Be Tough". But something strange happened in 2019 as well. I have no idea when this will be posted, but I am writing it on the twenty-fifth of March (currently it is 8:04PM, because I know you're wondering). Today is the same day on which one of the biggest Reggae albums of the year releases as the BLAZING Koffee has dealt to us "Gifted", her much anticipated debut full album (listening to it while I write this and writing its review will surely be the next thing I turn my attentions to). In 2020, her debut EP, "Rapture", would net the then ninteen year old Spanish Town native a Grammy, marking the very first time a female had won it (and only the fourth time one had been in the running by my quick search) (have two this year, a wonderful first) and although I typically don't like the idea of an EP winning album of the year, I have to give a big congratulations for the Grammy committee for that selection (the other projects up that year came via the 'usual suspects'), looking back. That was wonderful! 

So, as we approach the 2022 Grammy Awards presentation, I though we'd take a quick look at the nominees for Best Reggae Album and make a (sure-to-be-incorrect) prediction (won't have to write one of these for next year, "Gifted" is winning, I assure you) (and Shenseea will also be up next year for her album "ALPHA") (as will, potentially, Beenie Man and, definitely, Sean Paul). 

And the nominees are:

"Positive Vibration" by Gramps Morgan [Halo Entertainment Group]

The Morgans are represented once again this year, via Gramps with his third solo release, "Positive Vibration". I can remember listening to this album and thinking that something about it just didn't 'do it' for me (I think it's a little bit too... Country-ish for me), but I think he has a decent shot at winning the award in this, clearly, wide-open year. The heavily Country-ed aspect of his album may, in fact, endear him to voters even further and, of course, they're well familiar with his name. 

"Pamoja" by Etana [Freemind Music]

Etana's "Pamoja" being on this list brought the biggest smile to my face as, not only is it the second time the golden voiced singer has received such an accolade ("Reggae Forever" was up three years ago), it's also the single BEST album on this list in my opinion.  Her chances of actually winning may not be the "BEST", however (they aren't) but it is a lovely reward given not only how consistent she's been in general, but also for the AMAZING work Etana has managed to string together on albums, specifically. 

"Beauty In The Silence" by SOJA [ATO Records]

Would I be surprised to see SOJA win a Grammy? No I would not. Though I put their chances second lowest on this list (which probably means they'll have the second most votes), if persistence is any indication, SOJA's "Beauty In The Silence" has an excellent chance as it marks the band's third run at a Grammy in the last eight awards. I've never gotten too much into their work (have to do something about that), but what I will say for SOJA is that every time I do run into their music, what I do hear is clear QUALITY and SKILL. It's also generally a very catchy and infectious brand of Reggae and "Beauty In The Silence" was definitely no deviation. 

"Live And Livin" by Sean Paul [Dutty Rock Productions]

2004's Grammy winner and SIX time nominee (every album he's ever done save for his first, which was his best has been up for a Grammy) (biggup "Stage One", one of the best modern Dancehall albums of all time), Sean Paul, can always win this award and if I were a betting man (I'm not), I would say that amongst this group, on paper, he definitely has the highest odds for his "Live And Livin". Unless I'm forgetting something, I'd call "Live And Livin", SP's best work from "The Trinity" in 2005 (what a fun time "The Trinity" was) and with its followup, "Scorcha", already loaded and ready to go in May, you can well expect his name on this list next year as well (I'm just filling up that group for 2023 Grammy, Koffee, Shenseea, Beenie Man, Sean Paul.... Bounty Killer???) (remove Beenie or Bounty if we get an album from a Marley) (oh and I forgot about Burning Spear!).

"10" by Spice [VP Records]

Despite Spice's popularity and the fact that I was absolutely delighted to see her having been given a look here, I'll be pretty surprised should her looooooooooooong anticipated and delayed debut set, "10", managed to actually win. For as much fun as it undeniably was (and it was), "10" was dirty as hell. It was FILTHY. The album featured the gifted deejay at her animalistic and downright primal best. Such a set might not be the most likely to nab her a Grammy, but Spice probably did deliver the year's most FUN release. 

"Royal" by Jesse Royal [Easy Star Records]

Lastly is a bit of a wildcard and a wonderful one as Jesse Royal definitely did the unlikely in grabbing a Grammy look for his "Royal" release. In retrospect. what I really enjoyed about this entry in particular is just how it seemed to grow and Grow and GROW! The attention "Royal" would receive would push it to be, arguably, one of the most talked about releases of the year in Reggae circles, but not very much beyond, which shows you that the Grammy committee, whoever they may be, definitely did their research. 

AND THE WINNER IS.......

"Pamoja" by Etana [Freemind Music]

I'm giving whoever is in charge of voting on these things a big credit in this prediction because this year there is a very obvious choice in "Live And Livin". However, I'm going to assume that the people who do make these decisions have changed course in recent times and, if they have, what they will notice is that Etana's "Pamoja" is an EXCELLENT choice for winning this award. Also, in a year where we do have two women candidates, I think it's likely that one of them take home the prize and a previous nominee who dropped such a powerfully progressive and POSITIVE project definitely fits the bill. 

Am I right [HELL NO!]? Find out when the 2022 Grammy Awards are announced on Sunday, the 3rd of April, 2022.