Signatures Vol. XVII: Fantan Mojah

In what is becoming an all too often tradition around here of sorts, today we give thanks and honour the contributions of someone who we, most unfortunately, recently lost physically. From the time Fantan Mojah made his grand arrival via his signature LARGE, anthemic brand of Roots music, he announced himself as someone who would be damn difficult to ignore over the course of the next quarter-century or so; along the way providing the genre with some of its most unforgettable tunes of the era. At the peak of his popularity, 'The Macka Tree' was one of Reggae music's most reliable hitmakers of his era and he has left us with a BEAUTIFUL body of work as he rests. 

Today, just as we did with Cocoa Tea and Determine before him, we pay tribute to someone who is set to perform his first sold-out show in Zion. Signatures: Fantan Mojah

1. 'Thanks & Praise'

Here to stay. There may be (there ARE) HUNDREDS of Roots tunes with the title 'Thanks & Praise' or something very similar (i.e. 'Give Thanks & Praise', 'Thanks & Praises'...). It's a very common title and if you listen to Fantan Mojah's version of it, you won't hear a damn thing that you won't likely find on any of the others in terms of ideology. What differs it is such a POWERFUL combination of passion, energy and conviction with that SWEET AS ALL HELL riddim. Around twenty years ago, the world's leading Dancehall producer, Don Corleon, ventured out of his comfort zone and showed that his kingdom covered farrrrr more ground that just songs about girls, guns and ganja with the very well received Drop Leaf Riddim. He would do it again, almost immediately, with the Seasons Riddim which was arguably even stronger. It would carry bona fide hits from the likes of Morgan Heritage, Wayne Wonder, the aforementioned Jah Cure, Vybz Kartel, Natural Black (who scored with the single greatest song he's ever done, 'Far From Reality') and Mojah. With the exception of Natural Black and maybe Cure (whose 'Love Is' was just a damn devastating display of his most STRANGE of gifts that has ever existed) I'd CLEARLY put 'Thanks & Praise' ahead of the pack and when you REALLY dig into some of that material, that's saying ENDLESS about the nature of 'Thanks & Praise'. No it wasn't revolutionary in the slightest and it wasn't doing anything that hadn't been done countless times before (or since) but in its own UNIQUE way, 'Thanks & Praise' was magical and it still is. 

2. 'Hail The King'

Take nothing at all. Let's talk about how incredibly interesting 'Hail The King' is for a minute. It'd been a minute since the last time I'd laid ears on this tune and, even after alllllll these years, I find it downright JARRING. It is such a nice song and it hits you on so many different layers. You know where I am with it in 2026?? I'm thinking about EFFORT. I'm thinking about the punchline:

"IT NO TAKE NOTHING AT ALL FI HAIL THE KING!"

Saying that to praise His Majesty requires NOTHING AT ALL from you. It won't cost you any money, you don't have to go anywhere, you don't have to break a sweat, you don't even have to talk to anyone! It is as simple for you as rising in the morning! It should be a natural process that occurs in your body and, from the standpoint that Mojah was coming from, and considering the effort and passion he put into it, he almost comes off as a bit frustrated with the masses but he's doing part. He's done his part. Now I must do mine and you must do yours.

3. 'Stronger'

Make me stronger. The title track from Mojah's second album, the Maximum Sound produced 'Stronger' (biggup Frenchie) was another sizable hit from the Macka Tree. A kind of a dual-leveled effort, 'Stronger' was both a praising tune and one which dealt with responding to negativity and those who may be working against you in a slightly more tangible sense as well. Yes. It was fairly well written but the lion's share of the appeal for 'Stronger' were the sonics. Although it didn't have the performance of some of their others, strictly as a music composition - the Jah Powers Riddim which supports here was probably one of the finest tracks Maximum Sound has EVER done and this was, FAR AND AWAY, its biggest moment (respect to Jah Mason though who did quite well with his 'Things Will Be Better'). 

'Stronger' was exhilarating, it was powerful and one of the STRONGEST of its time and Fantan Mojah's entire body of work. 

4. 'Tell Lie Pon Rasta'

CONSPIRACY! Frenchie & Maximum Sound were back at the helm of another sizable hit registered by the Macka Tree, the hard-to-forget 'Tell Lie Pon Rasta' which utilized their gorgeous Session Riddim (where it reigned supreme). The song found Mojah (appropriately) concerned with the image and perception of Rastafari and how the walk is so often misunderstood. 

"Dem talk alotta things bout Rastafari

Bout how wi a cult, wi a Blackheart man 

Dem seh Rasta mean and Rasta no clean

And how wi nuh have no self-esteem"

The song's direction has always at least somewhat reminded me of another favourite of mine, 'Rasta Still Deh Bout' by Lutan Fyah & Josie Mel and while 'Tell Lie Pon Rasta' was most certainly a bit more on the proverbial 'front foot' both songs have etched themselves in my memory for similar reasons and I'm still celebrating them both as much I possibly can! 

5. 'How Can I Be Ungrateful' featuring Zareb

After all that Jah has done for me. While putting this list together, it has occurred to me that I could legitimately make a strong case that THREE tunes that're combinations between Mojah and criminally underrated, sweet singing Clarendon native Zareb (formerly Mr. Flash) (before that he was Singing Flasher) could make this list. I'm still working on it and I'd be surprised if at least two of them don't make the final cut but when I got them all together the one that I was most certain about was this complete GEM of a tune produced by Shore Jam on their LOVELY but overlooked Ruff Life Riddim (Natty King had a golden piece of tune on it as well).

"Jah give me health and strength upon di battlefield 

Teach mi how to love my brother and mi sister that is real

JAH YOU FULFILL MY NEEDS SO MI NAH GO STEAL 

Rastafari blessing never conceal

Di wicked dem ah pray fi mi ting pop dung a road

The Most High a mi Guidline, dat a fi mi code

Preach violence: Eye fi an eye, soul fi a soul

When dem check seh mi dun lef get a new episode"

The song's title (and chorus) spoke for itself. How in the world can be an ingrate, given everything that I have going for me in my life. There're ALWAYS people in worse situations than you, so it's important to appreciate EVERYTHING that you have going for you in your life. 

6. 'Rastafari Is The Ruler' featuring Zareb

What a joy it bring. If you didn't get the message on 'How Can I Be Ungrateful', Mojah and Zareb come back with the harsher 'Rastafari Is The Ruler' to make sure everyone is clear precisely where they stand. Mojah, for his part, really stepped up the intensity on 'Rastafari Is The Ruler' but we ultimately arrived at the same point, when contrasted by Zagreb's very smooth vocals. A somewhat overlooked ultra-passionate and LOVELY tune that has stuck with me through the years and, again, one of several testaments to just how well these two worked together.  

7. 'Hungry'

Open up the door! As we always do, we begin with what I think is likely Fantan Mojah's most memorable tune and it was also probably his first. The absolutely MAMMOTH 'Hungry' would not only go to signal what was coming in the way of the burgeoning vocalist but, more specifically, the work he would go on to do with Downsound Records, who lent the St. Elizabeth up and comer their reimagined Invasion Riddim, which he would return to them with a crown!

I use the word ANTHEM to describe much of Fantan Mojah's music. An anthem for me is a song with a big, bright sound that sticks in your head and you can literally picture people singing along to it, WITH PURPOSE, there's a cause behind it. That describes 'Hungry' perfectly and, all of these years on, we're still singing it.

8. 'Nuh Build Great Man' featuring Jah Cure

Babylon be still. I don't think I'm going too far at all by calling this LUSH combination with the single greatest voice ever placed in a human being better a CLASSIC. 'Nuh Build Great Man' did a heavy amount of damage in its day and its presence on a list like this of mine was a definite.

"Dem nuh build great man

Dem only kill great man

Babylon be still and no underrate man"

For my ears, 'Nuh Build Man' was a SUPPORTIVE anthem. It was about seeing people who're doing positive things (like making music, for example) and putting your backing (whatever that may mean for you) behind them. I can say that such a song, theoretically, probably isn't terribly rare in the genre but you don't usually hear them sounding like this. So while the subject matter wasn't necessarily outlandish, the QUALITY of the material most certainly was: One of THE best songs Mojah or The Cure have ever done. 

9. 'Vampire'

 

Rubber tire. London Individuals pulled in a load of big names for their gorgeous Billion Riddim, including Fantan Mojah who, arguably, gave them their single biggest track altogether. I think this one just may be the most unlikely of my entire list but I've always LOVED 'Vampire'. There're certain songs on which the artist almost sounds like... they are OVERWHELMED with just... disgust. That was this song. Mojah comes off like certain people's behaviour is SO DAMN NASTY that it has led him to make 'Vampire' with such a brilliant level of passion. It isn't messy or overdone at all. 'Vampire' hit every mark for me and has, quietly, become one of Mojah's strongest selections altogether for me. 

10. 'Most High Jah'

Deliver me. The infamous Flava McGregor was at the height of his powers when he delivered to the world the biologically perfect Rub-A-Dub Riddim (THAT THING WAS FLAWLESS ON A MOLECULAR LEVEL!). The track would give life to a number of hits from the likes of Etana, I-Octane, Morgan Heritage, Capleton, Richie Spice and Ginjah ["NEVER LOST MY WAYYYYYYYY!"] [BOOM!] but, to my opinion, it was Mojah taking top honours with the HALTING 'Most High Jah'. Not only was it the best song on the Rub-A-Dub but it's also my favourite song that he's ever done. Period! 'Most High Jah' featured a version of Fantan Mojah that came off as highly emotional (he sounded like he was going through some things when he recorded it) at times but not to, obviously, the detriment of the tune's quality - it enhanced it! Listening to it now, of course, 'Most High Jah' has an even greater significance for what has happened and it hits me even harder in 2026. 

11. 'Authentic Love' featuring Zareb

What I'm searching for. I told you this might happen. After considering everything, you will find THREE tunes featuring Mojah alongside Zareb on this list and for good reason. The final of the trio also just happened to be the title track for the singer's (very overlooked but SOLID) debut album from nearly twenty years ago now. 'Authentic Love' was just a GORGEOUS love song across a cut of the Hard Drugs Riddim. Love songs can be sorta odd and you won't find the ranks of these posts full of them but there is definitely something to be said when someone gets it RIGHT. 'Authentic Love' was beautiful and ENTERTAINING. It wasn't some sappy 'oh baby I love you forever' type of track and, at least for me, stands as a signature for both Mojah and Zareb.

It's too bad that we'll never get them back together again but what they've left us with as a a pair (and there're other tunes they've done) (check 'Good Meditation' - also a big tune) stands as some of the best work of both and unforgettable in my mind. 

12. 'Rasta Got Soul'

"Many are gone but not forgotten"

...how damn fitting is this song now. 'Rasta Got Soul' was Fantan Mojah's tribute to this wonderful artform and those who came before and paved the way allowing individuals like himself to soar as they did and still are and now... he's joined them! 

"No, you caan influence mi fi go do another ting

FROM MI BORN A REGGAE MUSIC MI AH SING

Some don't know di history and don't know di ting

Big mouth dem nuh stop labbering

Nuff nah show respect to di elder dem

Wi haffi crown dem heights, dem a di great legends

YOU CAN'T COME TELL MI SEH YOU A DI MAN WHEN REGGAE MUSIC YUH NUH OVERSTAND

And nuff a dem nuh know bout di music

Dem just ah hustle and to try fi abuse it

Dem nuh sew no seed!

Dem waan fi reap and ah sell wi out cheap

Respect to di youths dem weh buss from di ghetto 

Cross di world, dem mad Reggae music ah echo [ECHO]

Nuff a dem a bandwagonist

Dem caan follow this

Listen di lion, wi ah roar!

RASTA GOT SOUL 

REGGAE MUSIC ROCKING MY BONE"

Sometimes you get a certain feeling that the person singing the song had a REALLY good time singing that particular song; I get THAT feeling from Fantan Mojah on 'Rasta Got Soul'. If you were to ask him, I think he'd call it one of his favourite songs from his career and it resonated with the people, scoring as one of his biggest hits to the surprise of absolutely no one. 

Thank you for your contributions to this wonderful artform, Fantan Mojah and REST EASY!

UNDERSTOOD!: A review of Upliftment by Derrick Sound

Convinced. Back in da day such an occurrence was all the more frequent. You'd have a very Reggae-centric situation where you'd have twenty artists jump on one riddim and some of them would get lost in the proverbial cracks IMMEDIATELY and then you'd do some sifting of your own, whether you realized it or not. My delightfully nostalgic point of reference takes me through names such as Hollow Point, Jagwa, Zumjay, Calico, Desperado.... Alley Cat... Icecold [!] and a number of others who'd have songs on tracks which would go consistently overlooked. They weren't amongst the biggest names in the genre and, barring the occasional hit, you might not pay much attention to their work. Still, they were popular to a certain degree (and most of them are probably still at it) and, obviously, favourited by producers of a certain era of Dancehall. There was also some serious talents in there as well. Desperado had a very interesting LOUD quality to him and, at his best, Hollow Point was literally off the charts with what he was capable of (and he still is). So, who knows what we may've missed out on (some of those people should have been much bigger stars than they were... but that's a different discussion that I'm sure I'll have one day) through not paying as much attention as we probably should have been. The point here is that, regardless of how good something (or someone) may be, even if you are attentive and are proactive to go out outside of your usual patterns, you can't keep up with EVERYONE. It may take some impetus to help you get started in giving someone a chance and for everyone that I named, I could name others who you did give a shot. The vouching of someone by someone who you respect can go a long way. Baby Cham, for example, had the backing of an actual GENIUS in Dave Kelly driving his career and was able to develop on some of the finest production the genre has ever seen. Vybz Kartel had a similar run across Don Corleon's riddims and maybe Spragga Benz lifting up Assassin gave him a solid basis to start out on (and I bring up those instances, specifically, to stick with the times that I had previously started into with my initial examples). Were those not the cases, who know! Maybe we'd be looking at Baby Cham or Sasco as talented underachievers (I don't think so, but it's possible). There are any number of things that can get you to open that door for the first time and MAYBE never closing it.

Maybe even an album would do it.... but then again, maybe not (it might take two of them). Today we're going to take a look at someone who just, all of a sudden, one day seemed to pop up and whose music I've written about, fairly consistently, without truly digging into what they were actually up to. Perhaps (no way), we may even get into addressing WHO THE HELL IS DERRICK SOUND? Again, I can search these pages and find myself writing about them, directly, as far back as a couple of years ago now in regards to working with longtime favourite of ours, Cali P. HOWEVER, a bit of research reveals that the players at work behind Derrick Sound, Mr. Nico & Inspecta Derrick are the same ones behind the ULTRA familiar Evidence Music from out of Geneva, Switzerland, whose releases I've been writing about for about a dozen years (dating all the way back to the Dancing Machine Riddim) and that shine you see coming from this page is the lightbulb going off over my head (... and don't even get me started on Little Lion.... who knew!).

2024

"THIS CHANGES EVERYTHING!". "MIND BLOWN!". Evidence Music has pretty much worked with everyone. Along with a few of the wonderful people we're going to talk about shortly, they've also done work with the likes of the incomparable Queen Omega, Tiwony, Micah Shemaiah, Addis Pablo, Skarra Mucci and a mightily impressive line of others. They've had their hands in many pots over the years and continue to these days. Why I'd never known the specifics is probably because I was content to enjoy the music of Derrick Sound in the fairly frequent times that it popped up on my radars and I had yet to actually review one of their projects. This was due to POOR planning as, in early 2024, they gave me a RIPE opportunity to do so via what stood as one of the year's strongest compilations by its end, The Fight Again Riddim. As I said, I'm going reserve the heaviest of my ammo for this new project but the Fight Again was CRUCIAL and carried contributions from Cali P, Shemaiah, Tiwony, LMK [BOOM!], even Hollow Point (remember him??) alongside Chico and it was just a GORGEOUS composition with a very light sound but strong core to it. The Fight Again got up everyday and did its crunches! Derrick Sound made it nice and easy for me and I should have reviewed the Fight Again Riddim album (and its beautiful cover) but I didn't... because I'm old as hell and tired but they're giving me another shot! 2025 now brings us another compilation which I cannot keep my eyes off of, "Upliftment". When I saw the tracklist for this one and saw what else they had forthcoming (more on that in a second), Evidence suddenly got my WHOLE, ENTIRE attention for the last part of the year. ON PAPER, we had what amounted to a potential compilation of the year contender and just a DAMN RIDICULOUS collection of vocal talent aboard "Upliftment". The compilation appears to be built with tracks from, primarily, 2025, although I did find one or two which date back to last year or year before (which is just fine) and it stands a powerful display and catcher-upper to exactly what Derrick Sound has been up to. Let's take a look! 

I have to say something about that cover (I am contractually obligated to do so). When I first saw it, I thought it VERY cool in a lovely, nostalgic, old school kinda way and I was delighted to see in the press notes that it read: 

"With Upliftment, Derrick Sound delivers a true homage to the reggae of the late 1990s and early 2000s, a pivotal period that also marked their beginnings as DJs. The project recreates the energy and atmosphere of those years, drawing inspiration from legendary producers such as Fatis Burrell and Bobby Digital"

They absolutely NAILED it with that cover and its early 90's feel. It goes on to talk about paying homage to the golden age of Reggae music and, when you get into it, they're doing SWEET on the musical end as well. Perhaps none are sweeter than the opener and title track which brings together a favourite of Evidence's, Bugle, and the brilliant aforementioned Agent Sasco. 

"Nuttin no negative, so wi no deal wid minus

Wi blessed and multiply, so they cannot divide us

Oh yes, wi give thanks to di blessings dem weh Jah provide us

Whoi! Dem cannot stop wi cause a Jah ah guide us

AND YOU CAAN DRAIN WI ENERGY, GO DRAIN YUH SINUS

You no si - badmind ah get dem, yes, dem catch di virus

Di crab dem inna di barrell, dem no waan you climb up

MI POSITIVE OF DI FACT NEGATIVITY TIME UP"

I can recall when "Assassin" was coming up and it was him and Vybz Kartel being compared to one another, they were 'classmates', in terms of time. Kartel was a martian. He had lyrics from outer space and he had so much HYPE based on his skill that it was reminiscent of very few people the Dancehall had ever seen prior to him (thinking of someone like Papa San) (Papa San can probably still just rhyme ALL DAY LONG if he wanted to). Assassin was different. He was far more straight-forward and there was more of a... development to him. He didn't start from so far along but what this man has become lyrically is ABSOLUTELY STUNNING and he puts nary a damn syllable out of place on 'Upliftment'; destroying his initial verse, only to return later and say some shit like:

"Yeah di massive, ah si positive

POSITIVE INNA WI NOUNS, WI VERBS AND WI ADJECTIVES

REAL & GENUINE SO NO PRESERVATIVES, NO ADDITIVES"

HUH?! WHAT?! Not to overlook Bugle's contributions to the finest tune you'll hear on the album named after it but Agent Sasco absolutely burns the place to ash in the name of positive with a simply PERFECT performance. Given the most unenviable task of following the opener is someone who is up for and capable of the task, as the highly skilled Lutan Fyah makes the first of his two HUGE appearances on "Upliftment" with 'Blessings'. If you want to  hear a song that does absolutely NOTHING in the way of breaking new ground and is pure and simple, straightforward Roots music but is EXCITING and thrilling to listen to, hear 'Blessings'! The Fyah is joyous for what he's received in his life and for the opportunity he has to praise His Majesty and I won't write them out because I just did it on the previous song but he drops some BEAUTIFUL lyrical gems here, as is his norm... like this one.

"Late at night, before I rest, Jah is my company 

SELASSIE I. NOT PERHAPS OR PROBABLY!"

BOOM! That being said, perhaps you could make the case that Lutan Fyah goes even harder on his second track on the album, 'Bla Bla Bla', his cut of the previoulsy mentioned Fight Again Riddim. It was one of the best songs on that riddim and it's one of the best songs on "Upliftment" as well. Lutan Fyah is tired of hearing the bullshit and 'the company line' over and over again and he's found a SWEET way of making that known. As one of two artists to appear here twice, Lutan makes the most of both opportunities with powerful displays of his considerable skills. Speaking of "considerable skills", if everyone on this album were at their absolute best, I think the CONSIDERABLEST is the star of 'Jah Is Always Near', Sizzla Kalonji. He hasn't been in a fine form over the past few years, however, which makes it all the more interesting and noteworthy when I do hear something good from him and his offering here, though not on even the same planet as his best, is decent. The song is done in that kind of odd wailing that Sizzla used to get dual criticism and praise for. I've never felt much for it either way but it works on this song which is, obviously, a praise. There're other points where he changes things up (like a really nice one at around 2:20 in) and moments like that helped this song grow on me. Also of note is the beautiful riddim underpinning 'Jah Is Always Near', which is allowed to shine on its own at times as well, making for a very well done complete musical display (and I just finished writing that at the exact same time the tune ends!). Have some more! Chezidek is also here with a tune I know quite well from earlier this year, the GORGEOUS 'Jah Is In Charge', which finds the singer relying on the Highest strength in existence ["All mi troubles and mi fears, Jah Jah cancel. Obstacles inna mi way ah get  trampled"] when he needs a helping hand. There is something SO appealing about the way 'Jah Is In Charge' is sung. Chezidek has an unusal voice and that's often the focus when you listen to him but have you ever notice how VERSATILE his delivery can be?? He can pull it back slightly or tone it down more and when he does you get GEMS like this one, delightfully registering somewhere between singing and chanting - and excellent on both fronts. A huge tune. Let's have a quick conversation about a guy named Turbulence. Many years ago, Turbulence seemed to make shift where he found joy and some success making love songs and since then (literally, like the last TWENTY years!) he's been far too focused on them.... and they aren't very good for the most part, in my opinion; and it's kinda pissed me off to be honest. Turbulence's combination of legit TOP FLIGHT singing voice with several different styles of impressive chanting can make for outstanding Roots (and even Dancehall, at times) and who knows what we've missed out on over the years with him pursuing his obsession with love songs (check a recent piece of Roots, from a few weeks ago, called 'Who Are We'. It's outstanding). HOWEVER, given the fact that I've been critical (heavily sometimes) of him for making love songs, then I should be the first one to give him credit when the planets align just perfectly and..... Turbulence makes a love song that is actually good!

'Knock Knock' caught me with my hands down, chin in the air and off-balance. I'm used to these things. I've been here probably hundreds of times at his point (and will probably be there a hundred more) but it rarely (if ever) sounds like this. It doesn't SOUND like it at all but in terms of how its written, 'Knock Knock' is somewhat similar to Junior Kelly's classic 'Love So Nice' where Turbulence is addressing an ungrateful former flame. The chorus is lovely and infectious and will glue itself to some part of your memory, it's beautifully sung and it has a point to it. You can't ask for more than that and I have no problem at all calling it amongst the greatest of its kind that Turbulence has EVER done. 

coming soon

Okay and now let's talk about another guy, named Eesah, who is the other artist featured on "Upliftment", along with Lutan Fyah, to have more than one tune.... and he also has something else going on with Evidence Music in a few weeks. His first is the poignant social commentary 'Change We Want', going exactly where you think it is. Take a deep listen to 'Change We Want' and you'll notice how well it goes as it reaches a point, at its second verse, where it levels up. It becomes even stronger (after a start that isn't bad either) and blooms into something kind of explosive at times.

"You haffi give up the good fi the great

A wise man will change his mind

And a fool will never si di sign

Look like seh di government blind

So wi, seek knowledge and break dem chains

Until yeah, wi start si change

Eternally fyah gwan blaze

Try fi open yuh ears

Let's si Reggae music free di mind of di people 

Evidence nah go deliver dem evil

Have a voice so wi speak to di people

Step forward: In the ground

Or take ten steps back, into safety

Every four year wid di same plan and trick politician dem come to play wi"

Grrrr. Eesah's second tune is also the album's second and final combination. 'Badda We Badda' features UK stalwart, Brother Culture in a very open and just COOL style. With that being said, however, the main attraction here is the sickening chorus. It is "sickening" in the same way that eating too much candy is sickening... meaning it will make you feel bad for enjoying it so damn much. For example: I was writing this review and had 'Badda We Badda' on repeat. I took a break to wash some dishes and what was going on in my head the entire time I was doing the dishes? Yep! The chorus for this song. 'Badda We Badda' is catchy as hell and it will plant a flag in your brain that you will not be able to remove, no matter how far you dig in there. In other news, Eesah and Evidence Music have other works in the pipeline as his sophomore album, "Success" is set to release in just a few weeks from writing this review. Both 'Badda We /Badda' and 'Change We Want' are included on an the album that MIGHT prove to be the final big Reggae album of 2025.

The remaining list of names present on "Upliftment" represent a tremendous run of names and top talents. The album's oldest tune (I THINK), comes from the late Peetah Morgan as his cut of the Indian Casino Riddim, 'Can't Break Our Souls' is here. We lost Morgan in early 2024 to a rare disease but he, along with the rest of the members of the famed Morgan Heritage, left a powerful legacy. 'Can't Break Our Souls' is a beautiful track from 2014 where Peetah speaks to the indomitability of the children of His Majesty. This song, probably even if you don't care much for it, is going to make you smile and feel good! It brought a smile to my face and it also has points where it sounds like Peetah Morgan is smiling while he's singing (if that makes any sense. Sometimes you can actually hear a smile) which is always a fascinating sound on a tune. Biggup Peetah Morgan and biggup Derrick Sound for including him here. Given the description from the press materials that I quoted for "Upliftment", I'm going to presume that Derrick Sound got ALL they wanted and more from the legendary Luciano when he blessed them (and the rest of us too) with 'Old School Rule'. The Messenjah pays homage to those who came before on the tune and teaches all to follow course in not only honouring those individuals but the ideas and methodology of the times as well. This version of the tune is billed as the 'Extended Mix' which comes with an ending where the clean riddim is featured and allowed to do its thing. As I've said in the past, I think this can be a very nice touch to add on and it was a really good notion had in this instance because this riddim, for as simple as it most certainly is, is also a DIAMOND and we get it for nearly a minute and a half completely sans vocals. CAPLETON (I told you the lineup on this album was crazy) is all fed up and also tired of the bullshit on his 'Tired Of The Drama'. Supposedly, Capleton was set to launch a new album in 2025 (would have been his first in a century or two), "Heights Of Fire". Coincidentally, that album is/was also an Evidence Music release so hopefully we get that in the new year but until then, the King of Fire is building... and he's building with very strong material such as the common sense saturated 'Tired Of The Drama'. Jah Mason EASILY has one of the strongest offerings on "Upliftment" with his scathing 'Rumours Of War'.

"Nuclear weapons are deployed

And dem ready fi destroy

Wid dem weapons of destruction

Get yuhself employed, whether girl or boy

Dem ready fi go start up di action

Who will survive?

Tell dem a di fittest of di fittest

Set up yuh grounds, mek sure that you legit

Sorry for those who just can't resist

LIVING INNA ZONE WHERE DEM DON'T HAVE NO LIMIT

Mi nah know how it start, so how it ahgo finish?

Should be making that paper

Stocking up yuh spinach

If a war dem come wid, a no my image

NO, DEM CAAN GET MI TIMID!"

The Mason absolute scorches on this anti-violence set. Hopefully it does not go overlooked on this album because 'Rumours Of War', is also one of his best tunes in recent times in my opinion. "Upliftment" also ends on a very high not in the form of Fantan Mojah's 'Double Standard'. Mojah poses the question, "Why is there a place for you but not for me?" to the powers that be in the midst of serving up a lyrically impressive social commentary and SIZABLE ending to this album. I also have to mention the riddim on 'Double Standard'. It is SO GOOD! The version on "Upliftment" is the 'Horns Cut' and you hear the horn come in initially right before the three minute mark and just generally enhance what was already a fantastic piece of music.

The only critique I have of "Upliftment" is that I wish Derrick Sound would have gotten a tune from Queen Omega... or any other female.

Overall, EXCELLENT. As i said, when I first took a look at just who was involved with "Upliftment" my expectations of what I was about to hear went square through the proverbial roof. In an era long gone, even if I were to see such a lineup on some random riddim it would have been very impressive (at such a time where it happened at least semi-regularly) and i is even more the case in a format such as this one. Also, a big, full credit goes to the producers and players of instrument who work their magic so finely. When you have a more typical compilation such as this one (meaning one without the same riddim on every song), you have an opportunity (when you do it well) to really impress musical, particularly when put in the hand of such gifted vocalists. "Upliftment" is FUN Roots music that sacrifices nothing in the way of hitting its marks, ideologically, in the name of boosting the entertainment value. So, while it may've taken me an embarrassingly long ass time to make the connections of exactly who Derrick Sound was, with what I hear on "Upliftment", there isn't a chance that I'm going to forget anytime soon. THE BEST REGGAE COMPILATION OF 2025. 

Rated: 4.75/5

Evidence Music

2025

Munga Has A Conundrum For You

"Conundrum" by Munga Honorable [Hilltop Records]

1. 'Prayer' [2022 Remastered]

2. 'Music'

3. 'Heart Clean'

4. 'Expectation'

5. 'Conundrum'

6. 'Feel Good'

7. 'Bad Gyal'

8. 'Wah E Style (YStyle)' featuring Gabbidon

9. 'One Custy'

10. 'Full Moon'

11. 'Mi Love Mi Life'

12. 'Nobody Don't Know When' featuring Fantan Mojah

13. 'Perception'

I'm still working on this one just a bit, but I don't think I'm going to review it, so I thought that we'd do a quick feature on instead. The always interesting Munga Honorable is back today with his third full length album, "Conundrum" for his own Hilltop Records. I found myself listening to "Conundrum" this morning and wondering if I may've had a different reaction to it when I was younger. I did have a stretch where I really enjoyed Munga's music. When he first arrived on the scene, he was all kinds of compelling - billing himself as the 'Gangsta Ras', declaring where his spiritual allegiances lied and simultaneously inviting more controversial aspects of life. He made fun music and, he even had a few fun feuds here and there ["When I buss my gun dem ship sink"] and he quickly even attracting the attention of the legendary Don Corleon who would sign the artist to a contract for what was (had Munga, Alaine and Pressure Busspipe, officially, at around the same time did Don Corleon) (and he also supplies material for this album), in retrospect, probably his best years. In recent times he has a seen a resurgence, most notably with a big tune by the name of 'Fiery' which made a serious impact a few years back.

Munga's most recent album, 2020's "Shine Your Light" is a release I most remember for finding a vibe very early on and not straying too far away from it and a couple of years down the line.... not much has changed. I am extremely confident in saying that if you liked "Shine Your Light" to any degree, you will be DELIGHTED with what you hear on "Conundrm". To my ears, the two are quite similar, featuring several tunes which seem to gravitate towards a very similar sound (to describe it, I'd say it has elements of R&B and Hip-Hop. You won't find much actual Dancehall at all and you'll find virtually no traditional Roots - never a staple of Munga's music). That's not to say that it is without its moments. The first three or four songs on "Conundrum" are quite nice, actually. Beginning with a remaster of one of his earliest hits, 'Prayer' and straight through 'Expectation' (with 'Music' being a real highlight). Later is the decent and fun previous single 'One Custy' and Fantan Mojah, of all people, gets in on "Conundrum" during 'Nobody Don't Know When', which is very nice. Also, to Munga's credit, he appears to be a pretty good form, lyrically, during most of the album. Listening through this one, however, I just don't have.... there's something missing on it from my end. I don't have much passion from what I'm hearing (a frustrating fact because writing a review for a Munga album would be fun right now) and, perhaps, I'll be in the majority on that. You can hear for yourself as the latest album from Munga Honorable & Hilltop Records, "Conundrum" is available now. 

The Vault Reviews: The Unity Riddim

Principles. If I were to tell you that I heard a song which had the words "pickup truck", "old dog" and maybe "shotgun", chances are pretty good that you'd predict that what I was listening to was Country music and you'd probably be correct. Though you're unlikely to find a genre of music which doesn't mention those things in some way or another, they're almost universally known to be extremely prevalent (whether or not it's accurate or outdated (or just flat-out wrong) doesn't even matter and I couldn't tell you) topics of focus in that genre, so that's probably where your mind would go. Similarly, if I told you I heard lyrics which aggressively told me to "JUMP", "WAVE" AND "MISBEHAVE", and there was some type of sweating involved, you would guess Soca. Although probably underrated lyrically in a few ways, those are (well earned) hallmark traits of Soca music.... and I kinda love it. And again, while you won't find any style of music that uses words which does not mention those things, when you glue them all together, it equals Soca. I hesitate to use the word 'foundational' or 'fundamental' at the risk of sounding overly dramatic about jumping, waving and a pickup truck, but they are as ingrained in those genres as anything else that may come out of someone's mouth. In Dancehall music things are also extremely simple. When it comes to topics of Dancehall songs we have the 'Three G's' -- Girls, Guns and Ganja -- and then everything else revolves around them. If I asked you to think of a Dancehall tune which didn't fall into one of those categories, you might struggle quite a bit really (particularly if you think of 'Dancehall' in the genuine sense and not... that stuff they do nowadays) to come up with something which fully ignored them all. It is just the nature of the genre, earned through years and years of output. And while I'm completely less familiar with other styles of music, I'm sure fans of Hip-Hop, Pop, R&B, Rock and everything else could say the same about those (and I'm sitting here thinking that Gospel music may, in fact, be the easiest to recognize). Of course, while it's a wider array of topics than the three G's, Roots Reggae music is also the same. Roots is interesting because, as I've said in the past, you can take ideology and themes which're most often associated with Roots and put it into Dancehall, Soca or some other geographically related sound and people will often either, full on, call that song Roots or say something like 'it has Roots overtones' or 'textures' - things like that. Unlike most others (and I think I know why) (we can go ahead and call that the 'Marley effect'), the message behind Roots Reggae music is so durable that it can transcend genres if put into certain hands. It is truly an artform which is inspired by and held to the ideas which form it - 'message music'.

And we know those messages very well. Like Gospel, the centering theme of Roots Reggae music is a spiritual one, but I have to say that one of the best things about the philosophies behind and surrounding Roots music is just how wonderfully they're made concrete and tangible. How something can go from 'Hail The King' and 'Praise His Imperial Majesty' (which is only meaningful to people who follow that path in life), to something like 'treat your bother and sister better' and 'BE SURE TO THANK PEOPLE WHEN THEY DO SOMETHING FOR YOU' (that's very important and is applicable to everyone) is one of the most beautiful transitions I know of in music. It makes something which is limited to a very small sector of the population --those who either are Rastafari or have similar beliefs -- and opens to pretty much anyone with a good head on their shoulders. We also, directly, see ideas such as, peace, perseverance, respecting our elders, doing better at raising children, respecting nature, being sure to point out corruption, standing up for marginalized people and SELF ESTEEM constantly explored in Roots music. Even if you take that from someone who does not enjoy the sound (those poor, poor souls) or maybe doesn't even know it exists, you're going to find people who would think that such a sound, at worst, would be quite helpful to a lot of people (and I feel the need to mention here, perhaps the greatest EXAMINATION of unity in the history of Reggae music as, in 2014, Vaughn Benjamin dissected the term on his downright brilliant "Beauty For Ashes" album).

Another central theme which is found prevalently in Roots Reggae music is that of unity and bringing people together figuratively and literally (I digress here, but for a genre which is frequently (particularly in the past) criticized for being judgmental, Roots brings up unity SO often that it's hard to believe that such a judgment exists (even though it surely does) because when you pull in so many people, you're sure to have people who come from different backgrounds and lead a wide array of different lives). You could argue that unification of people is THE most important tangible idea of Roots Reggae music because it, alone, can lead into so many of the others as we make a peace amongst ourselves. Because of that, I was very much drawn to this particular project from back in 2018 which not only seemed to, figuratively, lift up the theme of unity, but did so as directly as any project like it has ever done, the Unity Riddim. Delivered by one May.B Unity from out of France for Culture Studio-Maxy Production (with Livity Records distributing) (and Zojak Worldwide handling the digital side), the Unity Riddim would take things up several notches as it LITERALLY brought people (and great minds) amongst each other, as each and every one of its fourteen vocal tracks were combinations.... and they weren't just Random Artist A alongside Random Artist B, the Unity Riddim brought together some serious talents and did so in a way that may've never been done previously in most of those cases. For nerds like You and me, this was some dream matchup type of stuff in a few instances! So many times we judge riddims for the vocal talents that're featured on them and here was no different as, had you separated this (and made twenty-eight different songs instead of fourteen), you still would have had one of the most impressive rosters of artists in recent times, but placing them with one another was incredible to pull off (even more so if you stop and consider what it must've taken, in terms of effort and money, to bring all these individuals to the same place either physically or remotely). Prior to this, May.B Unity and Maxy Productions had done at least a trio of releases in the form of the Danger (2012), Bounce (2013) and Love U (2014) Riddims, respectively. All three releases were at least some form of solid (the Love U and Danger were very good, actually, with the Bounce not being too far behind) and featured colourful lineups of vocal talents. The Unity, however, took things up not only in their ambitions, but the track itself was LOVELY and their finest composition to date in my opinion. It likely wouldn't have taken much (you could've made the 'Vacant Riddim' -- literally no riddim at all -- and likely had some big results, with some of these parings), but fortunately the riddim, as the stage presented, was well crafted for such a large moment (it is exquisite) and absolutely no one disappointed! Let's take a listen.

Although very rarely, such things have been done by others in making certain specifications as far as who voiced a particular riddim or how they went about doing it. In 2019 Achis Reggae favourite, Oneness Records released the sterling Lioness Order Riddim, which only featured female artists (such as another couple of our favourites, Queen Omega and Sara Lugo and even Queen Ifrica) and, just last year, Swick B did the same thing in Soca music with the Queendom Riddim which featured the likes of Alison Hinds, Patrice Roberts and Nadia Batson. And speaking of females, let us deal with the critiques right now - the main one being that there're fourteen vocal tracks on the Destiny with two artists each on both. Twenty-eight artists appear altogether and not a single one of them is a female. That ain't right! We're better than that. Hopefully if such a release is every given a sequel (I would be very surprised if were), that would be remedied (given what the label shows themselves capable here, asking for an Etana/Queen Ifrica combination isn't being greedy) (you'll see what I mean in a second). While I do have a problem with there not being the presence of a woman's voice present on the Unity Riddim, I have no complaints AT ALL with its opener, 'Bless My Life' which, ridiculously (and I mean that in a good way) carried both Chezidek & Warrior King! WHAT! Never have ever said that I would want to hear these two make a song together and I wouldn't think that the call would have been great to make it happen with both being singers of the higher pitch (and you generally see them paired with chanters/DJ's for the contrast), but just because it may not have been in high demand doesn't mean that what resulted was not MAMMOTH - because it was. This one just made me smile as it hits on a topic that I'm always well attracted to: The idea of being thankful for whatever it is that you do have going for you. Many people have very hard lives but NO ONE has NOTHING to be thankful for, if even for the air you breathe (or the air that someone that you love breathes if you don't give a damn about yourself) (that's your business) and that is at the heart of 'Bless My Life' ["Jah bless my life. And it's alright. Mi nah complain, whether sun or rain, you know I'm satisfied"]. These two have a lot more to show gratitude to The Almighty for and so do the rest of us after listening to such a lovely track. A favourite of mine checks in on the next tune up, 'Life', which gives us the incomparable Mark Wonder alongside Jah Rain. If you've spent pretty much any time at all around these parts then you know how highly I rate Wonder, his work is constantly discussed on these pages and, going forward, it will continue to be if I have anything to do with it (.... and I do because I write all this stuff). For his part, Jah Rain is and has been for some time, an artist who I have always found compelling. I listen to his work and I think I hear someone very familiar in a distinctly unfamiliar form. If Vybz Kartel came up as Roots artist, I would think he would sound quite a lot like Rain. The St. Andrew native is brimming with lyrics ["The limit is a state of mind. Dung deh and wise up from di age of nine. Fight against yah brother is  a waste of time. Think The Creator blind? But HIM seeth all things, just live in love"] and has a very strange timing with his delivery, reminiscent of the once mighty Portmore lyrics prodigy (should you require more, you may want to check out his 2021 EP, "Guidance & Protection"). This would have been another case where I wasn't dying for a combination between Rain and Mark Wonder but I'm better off for having heard it as the two deliver a GOLDEN piece which says that we are not all doomed and have choices to make within our own destiny. 

Along with two or three more contenders, 'World Peace' is in the discussion of being my single favourite song on the Unity Riddim, this time we see a meeting of the minds between the legendary Capleton & the always flaming Elijah Prophet.

"You come and tell mi world peace when a you same one create di war

Yes, my brothers are dying, don't know what dem fighting for

You come and tell mi world peace when a you same one start di war

Yes, my brothers are dying, don't know what they fighting for

Some ah think over with dem

You si dem alla kill all dem owna friend

Well nuttin neva real nor sober wid dem 

Ova di cliff, wi nah go ova wid dem 

Alright, so why you want fi tek a life?

And you neva mek a life?

Rasta is di Ultimate, di youths dem want a betta life

Si dem now, every man waan fi live di best of life

BUT BABYLON DEM HAVE A PHOBIA FI DI BREATH OF LIFE"

This antiviolence selection features both artists in an outstanding form and, while this is another situation where I was so excited to hear these two together, given their styles, I'm not at all surprised at how strong the eventual tune was. 'World Peace' is fantastic! 'Can't Hide' actually features a pair of talents which're relatively close to one another as big voiced chanters Chuck Fenda & Perfect  Giddimani find common ground in hunting down oppressors and creators of corruption anywhere they may hole up. I sat here thinking that I never realized just how similar the two are as, for his part, Perfect (with his unpredictable bursts and singing and.... everything else he does) (and I'm not complaining) is difficult to compare at times. But if you were to chip away a lot of his idiosyncrasies, what remained might sound a lot like (a higher pitched version of-) the far more straight-forward but no less talented Chuck Fenda. Similar artists teaming up on a song doesn't sound like the greatest of ideas as there may be very little contrast to appreciate but.... this is Perfect we're talking about and he has usually has enough diversity to provide contrast with HIMSELF, so Chuck Fenda is no problem at all and they turn in one of the finest tunes on the Unity. And rounding out of the first third of tunes here are Natural Black & Omar Perry, on 'These are the Days'. I mean.... you know.... sure, why not! Though entirely unexpected, I'm not complaining about this one either as these two produce a fairly broad, but beautiful social commentary whose core is all about infusing more necessary love throughout the globe.

The next five songs on the Unity Riddim feature links which are downright shocking and, as I said, the type of stuff I would have only dreamt about prior to it. Obviously, the biggest draw here on paper would be 'Why Sacrifice', a track we mentioned not very long ago (it was actually the last review I wrote, but I don't know when these things get posted or in what order) (I just write them) in taking a look at "Rebellution", the outstanding new album from St. Thomas singer, Natty King. Here, 'The Man from The East' found a balance with one of his idols, the the legendary Luciano. You get these two on a song and you're going to get the attentions of a whole heap of people and I'm one of them! 'Why Sacrifice' was every bit the selection you would have hoped would materialize from such a union and major credit goes to May.B Unity for making something happen that people had been waiting to see for.... probably about a decade and a half at that point. Three of the other four songs in the middle portion of the Unity Riddim are STUNNING combinations on paper, but I'd also want to point out 'Jah Saved Me' which had underrated veteran Pampi Judah & talented Judgment Yard alum, King David ["No haters, no gaters, no traitors, no fakers - dem caan stop mi from mek mi paper. Mama seh 'son go out and earn, a money haffi run. Never you wait fi later. FLY DI SPACESHIP BECAH MI A DI NAVIGATOR. I came to save Israel. I'm the Black Liberator. Black Motivator. Bun out all di hater. Bun out all di spies and then go bun out all di traitor"]. Given what surrounds it, it's easy to get lost on this tune. It doesn't carry the star power as any of its 'neighbours', but this SWEET praiser more than holds its amongst the giants. And then there is the matter of those "giants". Check 'All I See Is War'. I don't know if they've made a song in the past (I doubt it, but I could be wrong) (usually am when I'm think I'm right) (I just spelled that 'right' as 'write') (....damn) but given the sure amount of time they've spent around one another and the amount of riddims and stageshows they've touched all around the world, a musical union of Sizzla Kalonji & Junior Kelly seems like a long overdue natural team-up (even if they have done it before, it was time to do it again). This is a social commentary which is quite expansive with the two looking at a variety of different topics. It also comes off like a vibe. It doesn't seem as if they did a great deal of planning  to it and, instead, just went into the studio with a light topic and allowed everything  to develop organically. Perhaps that is the reason why I come away from a set like this and the main thing that sticks with me is that, despite its direction, 'All I See Is War' makes me feel good! It probably wasn't the intent and is more of a 'side effect' and maybe I'm just too damn lost in the moment to appreciate the sentiments behind this one, but this song put a very large smile on my face.

 

Easily one of the biggest combinations on the Unity Riddim, 'My People' then came up: Pulling in Jah Mason and placing him next to Turbulence! HEAVY!

"No more mi nah go stand up and watch

Bangarang ah treat mi people like trash 

Everyday our life is like wi been on di war patch

Mau mau warrior, real battle locks

When mi a battlefield, mi nah have time fi relax

NO time fi slumber, mi nah go nap

Wi nah get caught inna dem boobytrap

Mi going, mi going, mi going, mi caan stop

Check dat 

My people need justice and quality

WORLD LEADERS, DEM LOSE DEM SANITY

Some ah pree material things a just vanity

And I hate to si my people die

My people need justice and quality

WORLD LEADERS, DEM LOSE DEM SANITY

Some ah pree material things a just vanity

And I hate to si my people die

That's why we'll fight for our equal rights

That's all wi know

Together wi will grow

What is peace without justice?

When poor people dem facing so much things

And di dutty system - wi cannot trust this

And if dem violate Jah Mason ahgo bust dis

Wi no really like di way they roll

The reapers of soul

Divide and control

You know wi belong in Africa-

More food fi di sufferah"

These two absolutely DISMANTLE the Unity Riddim and produce what I'm calling my favourite song on the riddim (although I reserve the right to change my mind at any point before you end up reading this) (.... which is what I just did behind the scenes, but never mind that). Also adding to the big names here is 'Word, Sound & Power', which is where you'll find both Fantan Mojah & Lutan Fyah making their mighty contributions. Unsurprisingly (biggup Lutan Fyah), this one features, arguably, the best wordplay on the riddim (which is saying a lot when you consider the caliber of lyricists present) ["Dem ah preach but dem no practice. Dem no love one another. Dem evil, mi hear seh dem ah swear gainst dem mother"] as the Fyah and Mojah step things up from an already soaring level and do so in a way which isn't 'AGAINST' the riddim. What I mean is that the song plays out in a very easily digestible way and you end up with a large message that is also nice to listen to.

The final combination on the Unity Riddim which sorta/kinda made my eyes pop was definitely 'Don't Shoot' which linked VI superstar Pressure Busspipe with Dominican firebrand, the criminally overlooked Aima Moses. Again [!], never would have thought there would have been a track to unite these two, but I ain't complaining at all about it! It almost seems kind of random planning but Moses did previously appear on both the aforementioned Love U and Danger Riddims, respectively, so he's been on May.B Unity's radar for some time and Pressure's is one everyone's radar. These two perform as high as you would expect them to as they examine those in power who ABUSE that power on a certain group of people in particular.

"Hey, di shooting of Black people, officer you betta stop

You should another unarmed citizen, for what?

And then your laws and legislation support di act

Dutty babylon system only made fi set trap

Protect and serve di people is what you have not 

Everytime di ghetto youth touch di road, you keep track

No find no evidence, and still di youth dem pon lock

Jailhouse 95% Black

Tell dem relax: Fyah nah cease pon bad cop

Relax: I nah sign no devil contract

Relax: Big tree - I man have di small axe

Di fyah weh wi bun ah come blazing hot

Relax: Nuff ah tek coke and crack

Mi seh relax: Wicked man fi clean out dem earwax

Relax: Stop tell lie and speak facts!

Babylon ah bun up, red hot"

It isn't looking good, but I'm still holding out hope that someone, somewhere, someday might give us a full album from Moses, but in the meantime, he's given us dozens of big singles to enjoy and 'Don't Shoot' is among his very best. Keke I & Ras Zacharri talk to us about violence gone overboard on 'Gang War'. What these two turn in is just well SOLID all-around and, though it has basically faded away in the time from its release, you can take a listen right now and thoroughly enjoy it. Go ahead. Give it a shot. Then there was the biggest surprise on the Unity Riddim as Spectacular & I Marley smash things great and small with their 'Raw Reggae Look'. I want you to do me a favour: Try listening to this one without putting some type of smirk on your face or something. I'm convinced that it's kind of impossible unless you're really hard of hearing. 'Raw Reggae Look' was a gritty and grimy ode to Reggae music and it was catchy as hell. It also had some flames on it (as you would suspect with the Burning Spectacular being onboard) which is always nice. And lastly (not really though), was a nice changeup on the vibes as French/Afro-French talents Fatogoma Keita & Big Desal brought forth 'Wacé Way Cé'. I wouldn't have thought twice if such a track was not present on the Unity Riddim, but the fact that it is definitely adds to things. You'd think a French label should be giving light to French talents and surely being present on a project like this gave more shine to Keita and Big Desal than they would have had otherwise. Nothing wrong with that. And speaking of nice additions: I most certainly WOULD have "though twice" had they not given us a clean instrumental cut of the Unity Riddim (just a necessity in my opinion) (if you are proud of what you have made, give it some spotlight of its own). In the in version of the riddim you tend to notice things that you do not when it is dominated by vocals and, here, I notice subtle horns and DRUMS - just beautiful little touches which you certainly take in when you hear the songs and they do add to the full experience, but you're unable to really tune into them and notice just how BEAUTIFUL of a composition Maxy had put together with this one.

Overall, what do we do with this one??? Maybe I'm overdoing it a bit were I to call the Unity Riddim one of the best riddim albums I have EVER head, but I'm certainly not going too far by saying it is one of the finest of the past decade or so - it was. Along with the track, itself, being so nice, it supported a whole heap of outstanding vocal performances (which is quality a track must have. You can have a beautifully done piece of music which is so complex or different that artists can't really find a vibe or a melody on it) (or you can also just place it in the care of the wrong type of vocalists and have the same awkward at best results) and then there's the matter of those performers, isn't it. Not only does it bring in many big names (that isn't very rare, really), with the likes of Sizzla, Capleton, Luciano, Junior Kelly and others (Turbulence, Jah Mason , Lutan Fyah, Perfect Giddimani, Pressure Busspipe, Mark Wonder, Chuck Fenda....) (DAMN!), but the Unity Riddim takes that magical next step in fulfilling its name and placing them together. When they do that - it assures that a decade from now, I'll still be referencing this riddim in talking about something else (if I'm still up and ticking). That is the largest chunk of its legacy and, again, a full credit goes to May.B Unity for making it happen and Culture Studio-Maxy Production for getting it going. Roots Reggae music has long prided itself on being a vehicle used to unite people and the genre has rarely seen a more direct and tangible piece of evidence of this than the Unity Riddim. Exceptional.

Rated: 4.85/5

May. B Unity

2018

Vinyl + Digital

'Soul-full. Passion-full': A review of "Soul Rasta" by Fantan Mojah

To change. Everyone needs something to differentiate themselves from everyone else. Diversity is definitely one of the most wonderful aspects of the world and is exhibited in virtually every single facet of life and, when it comes to music and other forms of entertainment it becomes most apparent. No one wants to see hear the same song every time (no matter how much you may enjoy 'Jah Reveal It' by Ras Army) (VERY MUCH), in the same way that no one wants to see the same film or watch the same game or… do whatever else you like to do. You want some variety! For myself, I can lift up and look through a list of my favourite artists, current and past, and get certain things from all of them which satisfies particular parts of my personality. If I'm trying to relax, for instance, I'm probably not trying to hear Mad Cobra absolutely destroy EVERYTHING he can get his hands on and probably a few things that he can't. But if I'm looking to blow off some steam and frustration, the world's angriest serpent might be the first name on my mind. Similarly, if I'm lost in thought and would like to remain there, there's an essentially endless line of Vaughn Benjamin/Midnite/Akae Beka tunes for the occasion. And when I don't feel like kick-starting the brain, I can lose what remains of my mind with Fay-Ann Lyons and Skinny Fabulous and behave as poorly as I want and there's nothing wrong with that. They're all examples of favourites of mine (and yours) who have risen to the point of not only involving themselves in my DAILY existence, but have also done so in a way which is unique to them. Furthermore, these artists have managed to distinguish themselves, not only from one another, but from even more closely related peers and done so in genres of music which don't necessarily have the reputation, amongst more casual observers, as being pillars of musical multiplicity. But every time you turn up a Soca tune, it isn't only a "jump and wave" and every time you start Roots Reggae, it isn't just "praise Jah", there's a scope and certain people make discovering that range SO MUCH fun. Today we take a looooooooooong awaited and overdue next look at such an individual who, by virtue of a searing quality of his own, has managed to grow himself into such a respected name of his era and in 2016 he returns with a big new project for the masses. 

Fantan Mojah

Where Vaughn Benjamin has his legendary lyrics and the inimitable kind of deadpan delivery of his genius and where Jah Cure has what is seemingly the greatest voice ever squeezed into a human being, Fantan Mojah has PASSION. He probably has more of it than what he needs to get through his daily life and could probably lend trucks full of it to You and I and be just fine. But he has made a mighty career out of practically perfecting the usage of his zeal musically and grown a very nice audience as well -- if you've ever been fortunate enough to see him perform, you can even FEEL it. It has, however, been quite a while from the last time that the strongest branch of the Macka Tree has put this on display in an album form, but he's set things right on that front in early 2016. You'll recall it was now a disturbingly long ELEVEN years ago that he blessed us with his debut album, the monstrous "Hail The King". That album featured the all-conquering title song as well as fantastic others such as 'Corruption', 'Search', 'Thanks & Praise', 'Nuh Build Great Man' alongside the previously mentioned Jah Cure and others still (like 'Authentic Love' with Mr. Flash [BOOM!]) (that album had FIRST BORN on it!) (biggup First Born). That release detailed many of the tracks on which Mojah rode to prominence initially and, in retrospect, can probably be looked upon as a bit of a borderline classic. It was one of the best debut albums of the modern era. Three years later, 2008, he followed up on "Hail The King" with "Stronger" and you could make the case (though I'd disagree with you), that the album was exactly what its title suggested. There, you'd find standouts such as the title track, 'Tell Lie Pon Rasta' ["CONSPIRACY!"] [WHAT!] [BOOM!], 'No Ordinary Herb' and 'Most High Jah' - probably my favourite Fantan Mojah song ever. Both of those albums came via Greensleeves Records (when the label made a WONDERFUL turn from releasing virtually nothing but riddim albums and added some Fantan Mojah, Natural Black, Nasio Fontaine, Lutan Fyah and even Ras Shiloh to its constant rotation of… nothing else but Sizzla Kalonji) which isn't what it was back then, having been inhaled by VP Records, but FINALLY, Fantan Mojah has managed to deliver a severely overdue, third album, "Soul Rasta". 

"Hail The King" [2005] & "Stronger" [2008]

The new set comes via Young Veterans and Warriors Musick Productions and is brought to actuality by (GUESS!) the amazingly inescapable wizards at Zojak Worldwide. We've also seen Mojah's own Mojah Music credited here as well but all of that is technical stuff you don't (and probably shouldn't) care about very much - because it's a new Fantan Mojah album! Based on the title of the album (more on that in just a second) and a few other things, I would even think that not only is it overdue from a common sense point of view but maybe something happened more recently than the last eight years to delay "Soul Rasta"  in coming to fruition. Thankfully, however, it was apparently obvious to all who had the power to make it happen that album #3 from Fantan Mojah was a necessity and, as they say, it is 'better late than never' (I've also heard 'it's greater later'). The most fittingly titled "Soul Rasta" album does continue to show what was done throughout not only both of its predecessors but the myriad of dependably tough singles Mojah has done over the course of the last decade or so as well and, despite its brevity, proves to be another thriller. Let's discuss it!

'Rasta Got Soul'

When it comes to the actual music, Fantan Mojah's aforementioned passion is shown in a tremendously captivating and often addictive style. The best compliment I can most likely give to him is to say that, when he makes his songs, Mojah gets the absolute most out of them that he possibly can. I won't name names (I don't need to), but certain artists (most of them, actually) have moments which aren't their best and that's forgivable (you don't do the best at your job everyday either). With Mojah, however, even if you don't like every song, you come away thinking that he has pulled it together and given it everything that he possibly can - it is 100% full effort all of the time. It is a quality which has made its way to "Soul Rasta", the third studio album release from Fantan Mojah which gets us moving with the recognizable 'Never Give Up'. This tune came from a few years back and it shares its origins, Warriors Musick Productions, with more songs from the album. As its title would suggest the opener for this album is all about perseverance and maintaining oneself through the challenging times of life. This piece, in particular, has a subtly INFECTIOUS vibe about it. Underpinned by WM's solid Fresh Medz Riddim, Mojah makes the most of the moment (DUH!) and not only blesses this album with a genuine highlight, but probably also gave the riddim its single finest drop as well, in retrospect (Jah Penco also had a really nice song on the Fresh Medz). Things go even higher with the next one up, 'Jah Give Us Life' which, WONDERFULLY, is exactly what you think it is as Fantan Mojah invokes the Wailing Souls' classic for a splendid remake. I guess I'm feeling nostalgic because this is THE best moment on "Soul Rasta" to my opinion -- an absolutely indomitable song and I probably couldn't think of anyone to better handle such an update. 'Roots & Culture', Mojah's well traveled cut of the Herb Family Riddim courtesy of More Life Productions. This song is a very nice and durable one (what I mean is that, in the way that it is done, it is kind of difficult to shake. It didn't turn into some giant hit, but this is easily the type of song that will be as good at any point in the future as it is right now) which really speaks on seeking pride in the things that you have and being, in general, very proud of yourself and who you are. I also really enjoy the pacing of it. 'Roots & Culture' is very slow and deliberate, but Mojah doesn't turn down and we get this compelling contrast and a nice level of energy with this very heavy riddim.

'Roots & Culture'

The DELIGHTFUL Mightiest Riddim courtesy of Frenchie and co. at Maximum Sound backs another of the heaviest pieces of arsenal (biggup Arsenal) to be found on "Soul Rasta", 'Out Of Many'. 

"So many people fight for it

Don't come tell me you're an activist

So many innocent die for it

Blood, sweat and tears inna di soil for this

United we stand

Divided we fall

Rastafari love us

UNITED WE STAND

DIVIDED WE FALL

RASTAFARI EVER STAND TALL!"

If you go through this album looking for that one major captivating and infectious moment, you're likely to have found it in 'Out Of Many', though you'll have to find it and 're-find' several times because, for some reason, that song comes in seeming SO short (by my count it is the album's third shortest offering) - but enjoy it still. Essentially the title song here, 'Rasta Got Soul' also lays a weighty claim on being the most 'attractive' on the album [basically] named after it as well as being the single most well known selection here. This one is probably best emblematic of my idea for this review in looking, principally, at Fantan Mojah's PASSION for what he does. 'Rasta Got Soul' literally DRIPS in excitement but it does it in a way which isn't this type of overpowering vibes and while I'd not call it 'subtle' (it isn't) (not at all), what we have is this brilliant, predominately (but not fully) lyrical display of zeal and an infatuation which Mojah has clearly enjoyed for his entire life -- like You and I -- for Reggae music. The highlight comes later when he invokes some of the names of the icons of the music as well as some of his peers (and, BEAUTIFULLY, even makes and allowance for some others "If mi no call yuh name, please catch mi inna di next song - cah di list of di name too long"). You've surely already dealt with this song if you're reading this far into a review like this, but there's no reason at all not to revisit what is definitely one of the best songs here and one of the finest that Fantan Mojah has ever given us. Not much of a deviation from the title track is 'Cool & Irie', which chases it here. This song was fresh to my ears on this album as it was featured on Young Veterans' relatively recent Soul Hearts and it just expands on 'Rasta Got Soul' in adding to the love of Reggae music to the love of Reggae music and Jamaica. Mojah goes to celebrate both simultaneously while presenting and positioning, fittingly in my opinion, as Reggae music being Jamaica's WONDERFUL, WONDERFUL gift to the planet. The obligatory herbalist tune on the album, 'Hydro', is a pounding changeup which is CANDY to my ears. Again, one of the biggest sets you'll here and one whose sound has no equal here - it is definitely one of a kind. 

"Mi tell dem from Amsterdam to California to Westmoreland

Tell di farmer dem to plant acre pon di land

Di kush good fi nerves a coulda neva something wrong

POLITICIAN PUT IT IN YUH BUDGET

PUT IT IN YUH PLAN!"

Capleton and Turbulence (both of whom are mentioned during 'Rasta Got Soul') join Fantan Mojah for a meeting in 'Kingston Town'. This tune attracted a whole heap of attention around the release of "Soul Rasta" and, clearly, justly so. A trio like such not only would garner that type of notoriety just on paper, but in the actualization of the music, you would have hefty expectations and they did not disappoint. I do have to say that, at least for me (and maybe only me) (I don't care), Turbulence steals the proverbial show. To this day I'll maintain that, when properly motivated (and when you can keep him from making CONSTANT love songs), Turbulence remains undeniably one of the genre's most talented figures, capable of doing… pretty much anything including downright spectacular results. Flying solo again, Fantan Mojah wraps up the album in fine fashion with three at least firm efforts. The first of them, 'Heavenly Throne', may also be the oldest as well the strongest of them all (it's actually clearly the strongest in my opinion). Another track from the vault of Warrior's Musick -- this time across the golden simple guitar highlighted Duplicity Riddim -- 'Heavenly Throne' stands out as a very cool, but involved type of praising piece. It is "involved" but somewhat broad at the same time and the result, as expected, is a thrilling effort which, as expected, is made the most of by Mojah. The chanter then calls for a big STOP of the highest order from The Most High on the all kinds of interesting 'Red Light'. 

"Life is a two-way street before us

Only the right light can keep me focused

Got to move on, can't sit down

Standing firm, I hold my ground

Dem sacrificing and despising all di youths in di city

Meditation in di east keep mi away from di wicked

Heavenly glory in my soul, so they can't turn mi into ashes

Fire come to Babylon weh waan give wi lashes"

I have so many thoughts about this tune, not the least of which center around one of the largest compositions on the whole of the "Soul Rasta" album, the Homewrecker Riddim via Frankie Music, and just the general organization of it as well. Still, I definitely have to mention the lyrical direction of 'Red Light' where Fantan Mojah really just calls for a slowing down of things because the behaviour of certain individuals has just gotten out of hand. Finally, bringing the album to its conclusion [ALREADY???] is its only love song, 'Travel So Far'. This isn't the type of selection which I normally associate with Fantan Mojah and it isn't a glaring favourite of mine from the album, but it isn't a BAD song either. 'Travel So Far' surely isn't a stereotypical love song, it is rather complicated, but give it a few chances just before you go on to the end of the album. 

Overall, though I find myself saying it more and more often these days, I will say it again in reference to this release: I wish we had more of it! "Soul Rasta" registers at just a blip over forty minutes between eleven tracks and, after waiting so long for it, I could have gone for something more in the range of an hour, but I think that may be more of a sign of the times type of quality for these days. Still, judging it based on what it is and based on what is present, it is a nice release and one which continues the run initiated by its absolutely thunderous predecessors in Fantan Mojah's catalogue. So, while in 2016 it may be just a little dated and definitely on the short side, ultimately Fantan Mojah works his typically atypical magic and delivers a satisfying set with "Soul Rasta".

Rated: 3.85/5
Mojah Music & Zojak Worldwide
2016
CD + Digital

Review #537