Bright Years: A review of Andromeda Sign Of The Times by Sydney Salmon & The Imperial Majestic Band

VIBES. In terms of 'supporting' and 'fleshing out' this wonderful music that we listen to, one of the things that I think often goes overlooked is the amount of different but IMPRESSIVE styles that we come across. Music -- and most things -- is often categorized under one umbrella, "genre" in this case, but when you dig into it and wring out that umbrella, what you find, specifically, can be damn different than something else within the same category. Dancehall, for example, may be quite simple on the surface but if you think about.... Elephant Man scoring a hit with the... seemingly endless number of dance tunes he used to make back in da day (and probably still does, it's been a minute since I've caught up with Ele's music) was "Dancehall" (literally); but so was Bounty Killer declaring a full on war with almost every significant and semi-significant peer he had (male, female, violent, peaceful, he didn't give a damn). If that doesn't make sense, you can go even broader, beneath an even larger umbrella, this one called "REGGAE" and, tracing it back a little, you might arrive at a man named Robert (if you don't get there, you've SURELY made a wrong turn somewhere) and, yes, Ele's 'Willie Bounce' and Bounty's 'Mi Nuh Business' were TECHNICALLY the same as what Bob did... if you can explain that. That is one end of the spectrum, on the complete opposite would be Roots Reggae, music which isn't regarded as being nearly as diverse but does have a few disparate facets which're definitely worth taking a look at. What got me into thinking about this is when I heard the material that we're dealing with today, it brought to my mind, fairly quickly, a favourite of mine - Ancient King. There is an undeniably beautifully GRIMY approach to making Roots Reggae. In the hands of someone such as Ancient King or a Jah Rubal, Roots music is... scattered. It's unkempt. It isn't neat. The food is a little burnt and no one's cut the grass in a very long time but it definitely has its appeal and I consider myself to be fortunate because I'm capable of enjoying that type of vibe (trust me, not everyone is). Now, if you go there, and you maybe mop the floor and do a little dusting (not too much though), you end up at Ambush or Jalifa ["Rastafari means Head Creator"]. Mow the lawn, plant some FLOWERS (and I do mean flowers because you know exactly what is growing at Ancient King's house) and now you're on holy ground, you're at Vaughn Benjamin's. Do a bit more and maybe you end up at Norris Man's...

Now, you can tidy up ENTIRELY. You can paint, mow the lawn (and then keep it mowed), get all of that shit out of the garage port so you can actually fit a car in there (biggup my wife) and just de-clutter in general. You can make that piece of land SO NICE that people stop on the road to take pictures of it. In that spectrum, you're talking about the likes of Tarrus Riley, Etana (when she's in form), Chonixx (when he's in form) and I'd even put Mark Wonder in there. These are individuals who making downright GLORIOUS sounding Roots music. It is... immediate (meaning that you instantly know what you're dealing with when you hear it) and it's also 'transferable', to my opinion (more on that later). You could definitely add a few others to that list and I have one, in particular, in mind.  

2022

Back in April, we did a vault review ("vault reviews" are of any piece of work that is from before the previous year) of an album from 2022 by the name of "The Ultimate Challenge" by Sydney Salmon & The Imperial Majestic Band. Salmon had a most interesting back story: Having been born in Kingston, where he also began his career as a musician and his later travels would see him to New York City and, later (and currently, still), he would find his way to Ethiopia. You've heard dozens -- if not hundreds -- of Reggae songs speaking about the process of repatriation? Sydney Salmon actually did it (and biggup the Volcano Trumpet, Qshan Deya. Born in St. Vincent, now living and thriving in Ghana) and by the time he got there he had evolved into something well worth listening. "The Ultimate Challenge" was GORGEOUS! It is absolutely lovely and FULL Roots Reggae music which captures elements of both an era gone by also as a more modern sound. In either case, what you hear is this VIBRANT and ALIVE vibes and it was all sorts of captivating throughout "The Ultimate Challenge". A funny thing happened after I wrote that review: We got a message from an ooooooooooold friend of ours, James 'Dr. Seuss' Lord from Irie Sounds International who, himself, had also packed up and moved to Ethiopia and was well aware of Sydney Salmon and co (I'm almost certain that I knew that the good Doctor had moved from a few years ago). Fast-forward to the end of the year and Dr. Seuss got back in touch to tell us of the forthcoming "Andromeda: Sign Of The Times", from Sydney Salmon & The IMB. This time, he was directly involved in the "co-production", with the album coming through on Irie Sounds (and he brings in some HEAVY hitters as well, with the likes of Dean Fraser and Computer Paul, amongst talented others working here) as well as on Imperial Majestic Productions. On top of that, the Irie Sounds Band is actually given a credit on six of the album's thirteen tracks, so Dr. Seuss well has his hands all over this project. "Andromeda" really came as a nice surprise for me at the end of the year. There was another release that I was really looking forward to that released a week on from it (might tell you about that one next week... it ain't good) but when this set popped up, I IMMEDIATELY became interested, particularly given what came before it. You throw Irie Sounds in the mix and, Sydney Salmon - you now have my full attention, what will you do with it??

You will shine. I used the word (perhaps poorly but I'm sticking with it) "transferable" in an attempt to describe what I hear when I listen to music like this and what I meant, specifically, was that I think what you're going to hear on this album works for.... pretty much everyone. More entrenched, longtime fans of the genre only need to be informed of its existence but I can see someone entirely new to Roots music having an appreciation for what they hear here. It's just SO open and very well done and we don't typically apply terms like 'crossover' to Roots Reggae (and I'm not about to now) but while I know that SOMEWHERE out there must be some awful soul who just detests everything Reggae -- minus that poor soul -- virtually everyone else is almost guaranteed to hear something on "Andromeda: Signs Of The Times" that will work for them in some way. If you needed an example, just try the album's first tune, the LOVELY previous single 'My Banner'. I'm thinking  that I probably ran into this tune, initially, through doing background for the review for the review for "The Ultimate Challenge" because as soon as I heard it, I recognized it and began humming along with it. This is a beautiful song about pride and Sydney Salmon touches on a variety of different things that he has pride in and that represent very significant things in his life. On top of all of that, THIS SONG WILL MAKE YOU SMILE. If you feel bad, IT WILL CHEER YOU UP! There's a powerful vibe behind 'My Banner' that pulls you in and to the credit of this album and its creators, it isn't the only such tune here. 'Organize & Centralize' is of an different type but it is MAMMOTH and firmly within the conversation of the absolute best that "Andromeda" has to offer altogether.

This tune caught me! I was listening to it and it hits a moment, relatively early on, where the music TOTALLY comes together and what you get is this.... damn near EXPLOSIVE, golden presentation which highlight The Imperial Majestic Band, arguably, even more than Sydney Salmon, himself! Salmon does more than hold his own with a message centering around the adage of 'if you fail to plan then you plan to fail' ["But some love the silver and some love the gold; and some, them own birthright, dem already sold"] and you HAVE to stick around here because the music on this song does so many wonderful things that is has to be experienced. BOOM! ["Now the truth is before their eyes"] The opener puts a smile on your face. The second song gets you moving a bit. The album's third track, 'Good Life' (biggup Cocoa Tea), is going to glue itself to your memory and long after you're on to the next (and the next one after that), you'll be singing:

"Have a good life!"

Along with its sonic appeal, 'Good Life' does have some substance to it also. The song is a very clever one about UNITY. It's about doing the best you can for yourself and making sure that you do the same for others and allow them the room to do what they want and pursue what they want in their lives. For me that means something as simple as.... not complaining ALLLL the damn time. Having something nice to say to someone ["kind words and good emanation frequency"] (biggup Vaughn Benjamin) and bringing some tiny piece of joy to their day. That can be really powerful stuff and that's something that I felt from 'Good Life': Helping yourself to the good life and others also! Next up is the SWEET 'Africans Alive'. You listen to the nascence of this one and how it begins with this BEAUTIFULLY scattered horn sound before it ascends even higher into the sugary African delight and praise. Salmon reaches on a broad level but also takes things very specifically ["A peculiar people we are yet we never started no war"] at times. He puts things under a spiritual umbrella, thanking The Almighty for what WE, as children of Africa, have been through to arrive where we are today (still here despite.....). There isn't even a hint of aggression in this, until the end of matters (and even then it's in a joyous way) but there's something to 'Africans Alive', despite its 'easiness'. This song has a BACKBONE. It's strong! It's precisely what you would expect the vibes to have at least a sprinkling of on such an offering. The first of two title tracks (I think that may be a first for me), 'Sign Of the Times', taps a classic riddim whose official name I don't feel like looking up (so we're going to call it the Hello Mama Africa Riddim because that's the most well known tune on it) (biggup Garnet Silk) (...of course I looked it up anyway, because I'm a nerd, it's the Smile Riddim) and Salmon well makes the most of it with a beautiful social commentary. This song is SPOTLESS. You know how you have some old piece of clothing that may have a hole in it or a blotch of paint or something that you can never quite wash off but you just love it for some reason? That is not this song. You could wash this one every day and the colour will look exactly like it did when you bought it. It will not fade at all! The riddim here is perfect for Salmon and what results is one of the nicest listens on the entire album. 'Andromeda', the other title track, is something special. This thing is ALIVE! 

"The Andromeda is the great constellation

From the beginning of a civilization 

To I & I is just a sweet inspiration

Mama Ethiopia: The origination of I & I"

Salmon and the IMB head to the stars and return with a MASSIVE tune which, by the slimmest of margins, is the album's single greatest offering in my opinion. I'm going to save most of this point for closing (even though I've already started building it) but the presence of this tune is really something special. It's almost a live performance in a medium that is COMPLETELY audio. You can't see a damn thing listening to it but it almost feels like you can as they put on a performance befitting The Almighty, Whom it honours. And I might as well mention it here: The song in the unenviable position of having to directly follow 'Andromeda', the curiously familiar 'I'm On A Roll' (I think I know this song from somewhere), gets on like it doesn't even care. 'I'm On A Roll' is... top four-ish on this release. It is SO NICE! What I took from it is that it is a celebration of self but not in an arrogant way. You go through life, you have your proverbial (and actual 'ups and downs') and we lament and cry about it when things aren't going our way, so maybe we should a song when we're feeling good for a stretch of time. It won't last so all the more reason to lift it up and, should you have the talent to make something like this (and you don't) (neither do I), you're able to not only celebrate YOU but maybe pick the rest of us up there as well. 'I'm On A Roll', is delightfully infectious and, again, you won't find much on this album better than it. 

Sydney Salmon & The IMB pay a LOVELY tribute to the current (I THINK) president of Burkina Faso on 'Ibrahim Traore'. I really liked this one, in its idea, because Traore is still a relatively young man and it goes to both honour someone who is still with us but also to make others aware of him and the esteem in which Salmon and co. hold him. The song is so SIMPLE in its approach, initially, but as you continue to listen, this thing DEVELOPS into a freight train of a song... whether you realize it or not. There is a stretch of pure instrumentals right in the middle of 'Ibrahim Traore'; when the vocals return, it's leveled up! There are more sounds (you hear a piano) and things have intensified just a touch. What you end up with is a spectacular display of music and with a significant purpose. HOPEFULLY Ibrahim Traore, himself, gets to hear it one day. Maybe he could listen to the entire album. Doing so would also allow him to hear 'Blessed' which is another strong selection. This song almost sounds like a 'vibe' to my ears. I would think it didn't entail much planning and, instead, came about more organically (and I saw that ONLY in comparison to the other work on "Andromeda", which often comes off as being an incredibly meticulous project). 'Blessed' is more scattered and I would think a very good tune to SEE performed as well as, especially in its latter portions, it sounds like everyone is having a very good time. Chasing 'Blessed' is.... an absolute MONSTER of a song in 'Come Away'. 

"The Father is calling us

For us to come home

Leave babylon alone

Rastafari calling us

For us to be free

To live in love and inity"

Now, doesn't Sydney Salmon have a very unique perspective on a song about repatriation?! The man speaks from personal experience! This isn't someone talking about the ideal or something that someone else is preaching. It is something he, HIMSELF, has done and he can provide an perspective like so few of his peers are able to. Furthermore, LISTEN TO THIS THING! 'Come Away' sounds like a march right down the middle of the biggest road in your town ["a no stick shift, a strictly automatic"] and it soars! By its end, I'm hearing a flute and beautiful drums making for, arguably, the finest composition in this galaxy of an album. Given that unique perspective that Salmon has, I think it's nice that he has something that is just as distinctly Ethiopian and he offers a couple of such selections in 'Ethiopia Zelalem' and 'Giramawi'. The former is a sterling tribute to Ethiopia (Google tells me that "zelalem" translates into "forever"). featuring Helen Legesse who, I believe, is a member of the IMB; and has a significant part in 'Ethiopia Zelalem'. She has vocals which're downright hypnotic and times and, along with paying homage to the country, Salmon also weaves a more generally socially aware amount of messaging in this one. He is seemingly lifting up Ethiopia while accepting that there remains work to be done ["Take me back to Ethiopia! THERE WAS A TIME WHEN THE PEOPLE WERE PURE NOT POOR"]. 'Giramawi' (which might mean 'Majesty') (you can guess what this is about), may be entirely in Amharic, is delightful! The Ska-fused track well provides the album with a great deal of colour and, again, I can imagine having all sorts of fun seeing a performance of 'Giramawi' as Salmon and the band seem to have had such a great time in recording it. I will make a direct criticism here: 'Giramawi' is the shortest song on this album BY FAR (literally, by more than a minute) and I think it would have been a great touch to just let the riddim play on. I'm not saying you had to give me seven minutes of it (though I wouldn't have complained about it if you did) but just a bit more time to enjoy would have been lovely. Lastly, "Andromeda" continues to churn out surprises with its concluding piece, 'Make A Change [Jah Jah People]'. The vocals here come from a Misganaye Salmon (given her name, you would confidently presume she is of some type of relation to Sydney) and I think that she is going to make a lot of fans with her efforts. With a title like 'Make A Change', you probably know what this song is about ["Jah Jah people stand up and tell babylon 'we're going to take no more"] but only a listen will tell just how nice it is. Misganaye's voice is more on the relaxed end for the most part but she does push it slightly at song's end but for the kind of rumbling riddim behind it, what she does is nearly perfect. It works for what she is saying and the full vibes of the album's closer and the next time Sydney Salmon makes an album, I hope to hear from her again.

There're a couple of things I want to stress here before closing, very briefly. The first is to give a similar credit to Sydney Salmon that I just gave to Misganaye: His voice is EXCELLENT. It works flawlessly for the type of music that he makes and, just in general, he's PLEASANT TO LISTEN TO. I enjoy what he says and I enjoy the way he says it. You will also. The next thing I want to mention is something that I've alluded to a few times in this review: This album sounds spectacular. Just from a purely sonic-appealing point of view - It's gold and it is that house that people stop on the road to take pictures of when they're driving (and not only that but, RIGHT NOW as I write this, I was listening to 'I'm On A Roll' and when it ended 'Africa Arising' from "The Ultimate Challenge" started... LISTEN TO THAT SONG) and it is the type of Roots music, in my opinion, that has a definite chance of drawing in fans who're not typically into the genre. Its PRESENTATION is fantastic and when you see just how much credit the band gets here, it sounds like you'd hope that it would. It sounds like an audio presentation of a live sound, not just artist in studio... on random riddim. Andddd, the artwork here kind of makes you long for the days when physical media for music was actually a thing. Clearly someone has put a lot of time and money into making this set what it is and it was worth it.

Overall, I have a hard time NOT recommending "Andromeda" to... pretty much anyone. Along with being more open for the newer listeners, it is fairly THICK as well. So if you enjoy your Roots heavy on the revolution with a side of spite, you'll be happy too. I do see Sydney Salmon's name pop up occasionally but I am under the belief that, when he's releasing music, an album (somewhere out there) is the goal. Maybe it's still a year or two away but that is where they will end up. I say that because "Andromeda" is seamless. Everything flows so nicely together, including the end where the changeups come in. They sound like they belong here and you're happy they are as well. 2025 has been a very interesting year for Reggae music and a very healthy one on the album side, in my opinion. I had a big, late-year project disappoint me recently (might tell you about that one next week) but "Andromeda: Sign Of The Times" has stepped in its place. At a time of the year where we're all sitting around, thinking about things like 'best of the year' lists, Sydney Salmon & The Imperial Majestic Band have just locked down a spot for themselves. GORGEOUS! 

Rated: 4.7/5

Imperial Majestic Productions + Irie Sounds International

2025

The Vault Reviews: The Ultimate Challenge by Sydney Salmon & The Imperial Majestic Band

The ideal. If you take all of these wonderful themes and messages that we are given in listening to this amazing music -- Roots Reggae -- you'd hope that maybe someone, somewhere is tuning in and actually applying them to their everyday life. Hopefully, at least in some aspects, that "someone, somewhere" is You and I but you'd also hope that such a nice thought has a wider-reaching personal impact with the masses. Furthermore (and, perhaps, even more importantly) it would also be nice if the artists, themselves, actually lived up to the music they made and, though such a thing may be virtually impossible in a total way (because we are all flawed and prone to making massive mistakes) (which is, presumably, where the saying 'follow the message not the messenger' comes from), surely people are capable of implementing certain things within their lives which they make their living teaching to others. We've seen evidence of this throughout the years as well with individuals doing things as simple as speaking out on injustices locally and internationally (outside of musically) to as detailed as others running charitable organizations and foundations, such as Sizzla Kalonji and Bounty Killer most notably, Making music brings in money and fame and (deserved) adulation so it's always refreshing when you see someone who is willing to put those things to work and spend the TIME it takes to do other things which may not bring in much of any of those as it distinguishes them as someone who TRULY does care about their work from... maybe someone who just uses it as a means to make money who just happens to have a musical talent. I'd also, loosely, include in that the work so MANY of them do in terms of bringing forth a younger generation of positive artists. In the most recent review I wrote prior to this one, we dealt with Eesah who was clearly very much influenced, both directly and indirectly, by Chronixx (someone else who has done a great job away from the microphone) and there're literally countless examples of this happening in Reggae music and that is something definitely to be proud of (I did just mention Bounty Killer, after all). Still, with that being said, there are others still who find ways to even further immerse themselves in the music they make and the messages behind it.

Reggae music has taken people all over the world in the pursuit of making it, performing it and for a variety of different other reasons. It seems to be almost routinely around these parts that I mention someone who has made their way to the Reggae-starved continent of Europe because there they will find ample audiences (and producers) with whom to ply their trade (most recently there was Mosiah. New album, "I-Frequency", out now). This is a trend which started years ago and has not seemed to diminish much, if at all, over time (and you'll find far more examples of artists who may not have full relocated to Europe, but primarily do their work there). Rarer, however, is the situation we take a look at today as we have someone whose travels have taken them from the birthplace of Reggae music to.... the birthplace of EVERYTHING. When I first saw the name Sydney Salmon -- would have been just a few years ago now -- and took a listen to his music, I just had to learn more about the man behind what I was hearing. There was a certain quality to his work (more on that in just a second) that was SO DAMN impressive and so refined that I was pretty surprised that I hadn't knowingly ran into his work before. It seemed like something I would have remembered. When I did get into his story, it turned out that Salmon was born and raised in Kingston where he began his career in music and, as a young adult, relocated to New York where he furthered it, as well as an interest in Rastafari, before relocating again... this time to Addis Ababa, the capital city of Ethiopia. One of the pillaring tenets behind much of Roots Reggae music is repatriation and returning to live in Africa and Salmon actually did it and, apparently, with him he took a TON of talent. 

I don't recall exactly what led me in Salmon's direction, initially, but whatever it was I'm delighted that it caught my attention because when I did actually tune into his work, I heard such a BRIGHT and VIBRANT Roots sound and one that though clearly inspired by older sounds was still fresh and pliable for the current generation. It was just such a full vibes that I took a mental snapshot and knew that one day it would be a fun write-up to tell you wonderful people about what I heard and today is that day. I almost want to say that it feels older, but officially it was just a couple of years ago that Sydney Salmon, along with his Imperial Majestic Band (which, I think, came from New York with him, or at least partially), released a downright dazzling piece of Roots Reggae by the name of "The Ultimate Challenge". The album came via the same Imperial Majestic Productions that handles pretty much all of Salmon's music that I can find note of, with one recent exception. Sydney Salmon has actually mixed with a friend of ours, James Lord [aka Dr. Seuss] of Irie Sounds International just this past December in creating a LOVELY tune by the name of 'My Banner' ["My banner give honour for all the world to see what Rastafari has truly done for me"]. Lord's story is similar to Salmon's as he is someone who spent years of his life making Reggae music before packing up and moving operations to Ethiopia (and what a BEAUTIFUL union those two could make if ever they were inclined to make a full project in my opinion). As far as Sydney Salmon's style, as I said, he's someone who has clearly been captivated by an older and more foundational type of sound which is well reflected in his music. Vocally, you could make several comparisons, because of who I spend my time listening to, I'm going to make one that no one else likely will (they won't), but his delivery reminds me a bit of someone like Tuff Lion. He has a FINE singing and chanting voice (it comes off as being either very strong or nearly pitch-perfect for the type of music that he makes when he does push it to my ear) and he veers back and forth between the two exquisitely. He's also very refined and he HAS to be given the total SOUND of his work. As I alluded to, it is simply.... CANDY to the ears of Roots Reggae fans, to the point where it became hard for me not to pay attention to it in a major way. I don't know if I'm able to do it justice in this way but I am definitely up for this challenge and I'd like to tell you all about it if you're not too busy.

I'd have no idea to whom, directly, I would give such a credit, but whoever put together the cover art for this project has done a great job. Like the music it heads, it is very inviting. Looking at it makes you want to know more about it and hear what's going on. What is going with "The Ultimate Challenge" from Sydney Salmon & The Imperial Majestic Band is absolutely delightful and it gets up and going courtesy of its glowing titling effort (always looking for new and interesting ways to say "title track") ("titling (which may or may not be an actual word) effort" is fantastic and you know it).

"We must first look unto The Almighty God, Who has raised man above the animals

And has endowed us with intelligence and reasoning

We must put our faith in HIM

He'll not permit us nor allow us to destroy humanity

Who were created in HIS own image

Give thanks to The Lord, God, Almighty"

This EPIC opener really touches the listener in every way possible as it shines lyrically and musically when, roughly halfway through, 'The Ultimate Challenge' dashes the vocals for the most part and goes instrumental for a downright dazzling spell (and just a REALLY good idea, in my opinion). When I first heard this song, as I alluded to (or at least tried to), it both impressed me and made me damn curious as to what was to follow that golden first taste. Awesomely (that might not be a word either), the case could be made that what directly chases the title track is an even stronger piece as the sublime 'Africa Arising' is up next. As its title suggests, this track is one for the upliftment of Africa, in general and fully, and Salmon touches on various aspects of the continent to instill some pride in all of its children. It also sounds fantastic. It isn't BIG or terribly intense, but the vibes on 'Africa Arising' quickly find a perfect groove and they OOZE out for your listening enjoyment (those horns!) on, easily, one of the sweetest tracks on "The Ultimate Challenge". I also have to mention how much FUN it seems they had in making 'Africa Arising' as well, which is always a nice touch to hear. 'Lions in Captivity' is charged with keeping the quality levels high and it does not miss a beat at all. This one is a celebration of freedom and liberty and its importance to EVERYONE and how much we lose when we unnecessarily restrict people. What a tune!

From what I gather, the Luciano-esque 'Never Colonized' is both one of the oldest and most popular offerings on the album (apparently it dates all the way back to 2011). It is, essentially, to Ethiopia, specifically, what 'Africa Arising' is to the continent as Salmon and co. set out to make a song that would lift up the nation for all of its beauty historically and currently. I also LOVE the vibe of 'Never Colonized' which is downright exquisite and, again, the fact that Salmon does show love to present day Ethiopia. You rarely hear messages like that: If you really think about it, most Reggae songs about Ethiopia (and there're hundreds) focus almost exclusively on the historical aspect; but as someone actually living there, you would expect a different perspective like the one provided here. Also, because I'm a giant nerd, I simply must mention the fact that though the song is listed as being a very healthy 5:59 in length, it's actually more like 5:12-13 as the final forty-five seconds or so is just void (don't know what happened there). Next up is an absolute scorcher in 'Carry On', that soars alongside some of the best material that "The Ultimate Challenge" has to offer altogether.

"Said the poor man to his son:

'I know my time has come'- 

To be moving on, I know that my work is done

And now it's your time, to let your light shine

Pick up the mantle and carry on"

'Carry On' is about progression of a few different ways, but steadily moving forward and it is framed in such an interesting and compelling way that, lyrically it stands out so vividly. The sound is more subtle and laidback and so wonderfully underpins a golden message and delivery. I saw the title 'Show Business' and was somewhat surprised by it because it didn't seem like it fit the direction of "The Ultimate Challenge" and, in listening to it.... Yeah, it is kind of jarring to some extent. The song that follows, surprisingly, doesn't stray far as 'Jams Addis' is, as far as I can tell, Salmon's ode to a Reggae club in Addis Ababa (which Google says has since been closed down). Neither of these tunes are bad (they're both at least above average) and 'Jams Addis', for what it's worth, is pretty strong (with its grander significance than just being a song about a club), but I wasn't expecting either and that is an addition to "The Ultimate Challenge" because we always appreciate versatility when it is done in such a way. This challenge peaks [PROBABLY] next as someone leaves the gate open and in walks the MAMMOTH 'Yakob Rule'. Let me tell you something; If you wanna talk about a tune that has EVERYTHING covered, in terms of the message and the music, you're going to be talking about several from this album, but none from a higher region (biggup JahSolidRock) (be telling you about what they've been up to pretty soon) than 'Yakob Rule'. This one comes off as if Salmon is speaking (in an analogous type of way) about how The Almighty put the inspiration of making music in him and what he's attempted to do with it... then it BLOSSOMS out into this stunning track which keeps you moving and thinking throughout. 

As "The Ultimate Challenge" winds down, it serves up another pair of big winners in the closing 'Warriors' and 'Coming Soon'. The flying former is the brightest gem of the two as it STIRS! 

"Since I was a boy, I've been a warrior

I was born and raised to bring down barriers

To trample di beast

Warriors from the east

A son of Jahova"

The vibes on 'Warriors' are downright destructive and either Salmon adopts a few different styles or he does pass the mic around a bit to members of the IMB. Were you of the mind that 'Warriors' was the single biggest moment on "The Ultimate Challenge", I wouldn't put up much of a fight at all. It stands am EXCELLENT call to action and one which has the strength to be successful (you literally feel like doing SOMETHING while listening to it). For its part, though a ways more chilled and relaxed, 'Coming Soon' manages to make a big impact as well. On a biblical vibes, Salmon warns all to get ready for the return of The Almighty and it takes him a very appetizing nearly six minutes to get the point across (technically, it's the album's longest selection given the strange ending of 'Never Colonized'). Speaking of biblical compositions, there's also the beautiful 'Psalms 64'. Fairly straight forward, Salmon constructed a piece of music around the passage and did so in such a way that has made it impossible to ignore. YOU LISTEN TO THAT THING! With this HUGE and blaring sound, 'Psalms 64' full on dares you to not give it a proper attention in its time. I'm going to say pretty much the exact same in reference to 'Blood Brothers' as well. It may require a little in the way of a 'gestation period' and it comes on top of a foundation directly from scripture. The sound on that one is... almost Country/Gospel, neither of which are favourites of mine at all, but I do not dislike 'Blood Brothers'. If you do (that's fine, you're entitled to your own opinion. Nothing wrong with that at all), give it a second listen before tapping out completely. Finally, check 'Guardian of Love'. Yes. I know. The title is kind of sappy and you could even say the actual song is a little on the mushy side at times... that's fair; but I'd also tell you to give this one just a bit of extra time to develop and pan out. Maybe it never grows on you at all but it did on me somewhat and a tune that I did not very much at all initially is one which I now look at as being quite solid and a full credit goes to the female singer who joins in and gives the song -- and the entire album -- another very much appreciated texture.

Overall, "The Ultimate Challenge" is something FAR more than "quite solid" to my opinion and I'm recommending it to fans of Roots Reggae both new and old. Given the total sound of the album, I think it appeals to more hardened fans as something they know and love and newer fans with its RICH sound. Also, the uniqueness of such a project as we mentioned, with a Jamaican artist building a vibe in Ethiopia, FOR Ethiopia and with a unique perspective is also something I think that has a backing that is readily enjoyable by many types of fans. EVERYONE (everybody, in the entire world) has a story behind them, but in a genre like Reggae where so many of our artists' background is so wonderfully varied and well-traveled, what Sydney Salmon and The Imperial Majestic Band have going for them is even different in a terrain that breeds originality and that comes roaring through on a wonderful debut album, "The Ultimate Challenge".

Rated: 4.4/5

Imperial Majestic Music

2022