Okay so, I've had this idea for awhile but I've always found myself too stuck on a review or between ideas to actually get to working on it, but now is the time. "Signatures" is very simple: It's an album-style (meaning somewhere in the range of 12-16 tracks) list of my absolute favourite songs from a particular artist. The idea originally came from noticing that, despite the fact that he has... I don't even feel like counting now... DOZENS of albums to his credit, no one has ever put together a 'greatest hits' type of compilation for the great Vaughn Benjamin that I know of and it's understandable why, actually. In general, it would probably require tons of work (and quite a bit of money) to put together, given all the various producers/labels he spent his majestic career working alongside but also... how do we register "hits" when it comes to someone like Benjamin. The only charts you're likely to have ever found his work on would have been very specific album sales and it doesn't appear that he's stacked what we typically regard as 'popular' releases, despite just how oddly passionate and LOYAL his fans are and have been from very early on during the days of Midnite. So, it's my thought that compiling such a list would be most interesting if you individualize it. The work he left, unlike almost anyone else, is SO personal. I've had conversations with people about songs that I barely even recall, but they literally changed their entire way of thinking or became THAT moment where that light bulb came on in their head and led them to inheriting the KINGDOM of this wonderful music.
And "Signatures" was born. Here is my own personal list of favourite songs from one of the greatests to ever do it. Signatures Vol. 1: Akae Beka.
{Note: The only basis for songs being on this list is how much I enjoy them. That is all}
{Note 2: Songs are listed in absolutely no particular order, although I will say which is my single favourite, as I typically do. I also intentionally did not write them in the order they appear. I jumped around purposefully}
{Note 3: This was VERY difficult and I may do a second disc at some point, but Vol. 2 of this series will be Lutan Fyah}
1. 'Enter'
......for now and forever. The aptly named 'Enter', in retrospect, was probably one of the songs that made everything begin to 'click' for me when came to Vaughn Benjamin's music. Set as one of the gems from the "Jah Grid" album (which was outstanding and also included the truly MAMMOTH 'Before I Lose My Strength'), 'Enter' just had a VIBE about. There was something.... almost mysterious to it with its very focused sound but Benjamin went ALL OVER THE PLACE atop the I Grade produced riddim. For me, 'Enter' is both an emotional ["If you plan fi live good, open Jah door and enter"] and a knowledge ["Dem ah listen and dem ah search the entire universe fi hear Jah voice echo chamber"] offering with the artist saying that if you choose to accept The Almighty, alllllllll of this is available to you. Symbolically, it said that for me in regards to his music. I did accept it and, looking back, it was one of the greatest decisions I ever made... for now and foreverrrrrr ('Enter', EASILY, has one of THE coolest endings to a song that I have ever heard).
2. 'Just Decided'
Perspectives will have to realign. The first of a pair of ganja tunes on this list (and, now that I think about it, the other is fairly similar in terms of how it's written), I've held 'Just Decided' in increasing standing throughout the years because of a pair of very simple and basic reasons: It is extremely well written (DUH!) and it SOUNDS GREAT! Ignore the first of those for a second (because you know who wrote it) and focus on the latter. 'Just Decided' is DYNAMIC! A quality seldom associated with the music of Benjamin, that Fifth Son Records licked riddim was downright blissful! It hits a plane and just SITS DOWN right there for such a wonderful musical moment. Probably THE most dynamic tune you'll find here and one which has always stuck with me.
3. 'Black Mamba'
True nature. This list is compiled of tunes which are signature moments for me, personally. Because of that and in the name of pure standouts in terms of recognizability, 'Black Mamba' may just be the single biggest 'hit' you'll see here. The Andrew 'Bassie' Campbell produced drop was the loudest of chimes found on "King's Bell" (which released a truly disturbing thirteen years ago) (time does not "fly". It SOARS) and from the very second I laid ears on it, 'Black Mamba' has stuck with me. Another selection finding a powerful blend of deep and penetrating messages with an overall extremely difficult to shake sound, AT ANY GIVEN TIME IF I AM SINGING AN AKAE BEKA SONG IN MY HEAD.... it's probably 'Black Mamba'.
4. 'In Awe'
....IN AWE. I used to be quite fond of using the term "skeletal" to describe some of the music of Vaughn Benjamin. When I did (and still occasionally do) use it, it was in reference to a song where he didn't.... seem to pay much attention to the riddim going on behind him. Maybe there wasn't a great (or ANY AT ALL) connection between the vocals and the music and it, of course, had some type of an impact on the overall sound of the tune. 'In Awe', the title track of an album from the aforementioned Fifth Son Records from a dozen years ago was definitely SKELETAL. It was also pretty much without flaw and, even to this day, a tune which has this certain vibe about it which I find FLOORING. It is an absolutely DEVASTATING track within a certain simplicity and one where the artist explains his observance of The Almighty and also, coincidentally, explains my observance of the song he is singing.
5. 'Grapes Of Wrath'
Magma lava.While not new to my ears (and probably the single oldest tune you'll find here) I have to say that it wasn't until fairly recently -- maybe the last... two or three years or so -- when I REALLY became a fan of a tune which might just have one of the biggest supporting groups of any of Akae Beka's the CLASSIC 'Grapes Of Wrath'. Prevously, my interaction with this tune was as a live tune where it, apparently, was a favourite of Benjamin's to perform and you'll find countless instances of him doing renditions of the tune all over the world during his travels. Given the kind of spontaneous and organic nature of the live performances (and of this specific song, in general), I've come to regard 'Grapes Of Wrath' as, EASILY, one of the greatest freestyles ever. That's only in respect to the rest of Benjamin's work, I most certainly could be wrong, but I don't feel like he spent a lot of time actually writing it and what ERUPTED from him when it was created was a cauldron of genius, leaving no stone unturned and covering an endless story of themes in an exceptionally emotional and fiery way from the chanter.
"Dem lack di counsel of di elder
Lost di reference of di daughta
I man a Rasta, living amongst di people like a waiting disaster
Love dem order
Dem seh dem love di sun, but di sun dry up dem water"
6. 'Sha-tee'
Dilly dally. Buried on an album which wasn't the greatest and has largely gone forgotten -- 2008's "Maschaana" from Natural Vibes -- you will find the TORRENTIAL 'Sha-tee'. You will find a somewhat similar and far more popular tune later on here but, for my opinion, the very clever social commentary with a spiritual core that was 'Sha-tee' will always have a place amongst my favourites as well. Benjamin gives his listeners absolutely nothing in the way of relief (and you deserve none!) in geting his point across and though it may take even more effort than it typically does with his music (and it always does take at least some), the idea behind 'Sha-tee' and the LYRICS are in the stars!
"Jah is the Cab, the taxi driver is the cabbie
Jah is The Ruler over already -
Over twister and tsunami
Over faith and destiny
Over tranquility and without no partiality"
7. 'Same Boat We'
Magnificent edifice. My absolute favourite Akae Beka album ever??? That would require some thought but an album DEFINITELY in the conversation would be the MAMMOTH "Beauty For Ashes" and 'Same Boat We' has become that album's signature offering for me. It's almost difficult for me to slice "Beauty For Ashes" now because it sits so succinctly as a completed unit with Benjamin absolutely DISSECTING the idea of unity... grinding it down to a fine, powdery substance. For its part, in particular, 'Same Boat We' was simple and didn't try to do much with its sound but when you got into its lyrical direction - IT ASCENDED! It grew wings and soared to the heavens. From an incredibly local level, to a continental one, to a one of the highest degree ["MILK WAY GALAXY"], Benjamin would bring everyone EVERYWHERE together and do so in an entirely unforgettable way.
8. 'Hemp Scroll'
Awareness & alertness. 'Hemp Scroll' was kinda mesmerizing. It was. There was a very... 'light' sonic feel to it with the artist adopting an almost robotic delivery and somewhere in the midst of it all, the listener gets LOST and I mean that in the best way possible. All of these years later, 'Hemp Scroll' which featured on the "Free Indeed" set (an album which didn't have a very big release but was delightfully very well regarded in its day if I recall correctly) has only grown in stature, despite starting somewhere amongst the stars. Ever the proponent of the herb, Benjamin (as I alluded to in regards to 'Just Decided') weaves an all-encompassing which climbs so many different mountains. You'll hear ganja tunes and, if you think about, they're either really specific -- as far as maybe covering a single incident than someone went through -- or very broad. 'Just Decided' and 'Hemp Scroll', oddly, were both. They both dealt with a variety of different aspects but did so with incredible detail and both are utter joys to listen to.
9. 'Negus I Rastafari'
Jah deliver I. As the kids say today, 'Negus I Rastafari' was "built different". This tune had a sense of drama and a seriously high level (by comparison to Benjamin's catalogue) of emotion to it which catches you initially. What keeps your interest along with the vibes (as it always does) are the words you hear spoken. 'Negus I Rastafari' is another track that comes off as a vibe. It is very organic and has the feeling that parts of it are spontaneous and came as much from the heart as from one of the most brilliant minds Reggae (or any other kind of) music has ever encountered. A praising tune to the bone, 'Negus I Rastafari' also touches a wider variety of topics during its time ultimately tying them back to the centralizing theme of bringing honour and praise to His Majesty. This is probably my second favourite song Benjamin has ever done and the only selection you'll find from the Rastar collaboration present here and, to my ears, IT IS MAGICAL!
10. 'New Race'
Content & satisfied. Of course the SHATTERING 'New Race' makes this list and, in terms of quality, it probably makes its top half. These days, I sometimes have ISSUES listening to this gem from Higher Bound's "Hail The King"... emotionally, FOR SOME STRANGE REASON, it does things to me! It makes me happy. It makes me melancholy. It energizes me! There is a very subtle but very powerful and downright ABNORMAL quality to "New Race", simply in terms of the sound of it. It is stunning! When you get into the meat of the matter it doesn't dull either as Benjamin takes the listener on a knowledge-crammed journey which centers around, of course, His Imperial Majesty. There's nothing dissimilar there from, literally, dozens (if not hundreds) of other tunes that Benjamin has done throughout the years, but what does separate 'New Race' was this gorgeous marriage of education & elegance ["Sound barrier bursting into new rays of life. Benevolence of Jah, invite"]. On a list of favourites, you will find nothing that hit the notes that 'New Race' does and does EFFORTLESSLY.
11.'Ever Was So'
Come down fast. 'Ever Was So' featured on the double disc opus-ish "Standing Ground" of Fifth Son Records. I won't waste too much of your time here, I'll be brief. 'EVER WAS SO' IS MY FAVOURITE AKAE BEKA SONG EVER. It's also one of the greatest songs of its kind that I have ever heard and do you know what "kind" it is? 'Ever Was So' is a praising tune. It's a song giving praise and honour to His Imperial Majesty. Have you heard a few of those type of songs? Maybe just one or two or so??? If you've listened to a Roots Reggae album, you've probably ran across at least three or four of them and if you're this interested in reading a post like this, you've probably heard HUNDREDS. The argument could be made (and I would be in support of it) that THE ENTIRE GENRE OF ROOTS REGGAE EXISTS (at least in part) TO PRAISE THE KING. Rare has anyone made praise sound like THIS! There's something exquisitely haunting about 'Ever Was So' (like that COOL and subtle backing singing) that likely gives further weight to the impact that it makes - an impact which will stay with me for the rest of my days.
12. 'Royal Tribe'
Excitement like a fever. 'Royal Tribe' makes this list as somewhat of a surprise to me. When I was planning it out and getting a big list together in my mind, I would have never thought that the tune would have been included in the final group but it belongs here and probably even more so than a few of these other tunes that I so love. 'Royal Tribe' was interesting for several reasons but the one standing tallest these days is the way in which it is written (shocking!). The song is one empowering women and speaking on their importance in society and, even more compelling, how women are THE CENTER of human interaction and PROGRESSION. To accomplish this, Benjamin uses the idea of a TRIBE.... and then, LITERALLY, a HIVE in showing just how nature regards its female figures and in how high of an esteem they are held in. It is a BEAUTIFUL selection and one that has stuck with me mightily in the three years since it was part of "Polarities" a, perhaps, underrated collection courtesy of IGR.
13. 'The Gad'
Longtime. Were several people to make a list like this one, I would think that the song from my list that you're most likely to see present several more times would be the infamous 'The Gad'. This tune was.... seemingly Benjamin opening his mind and just POURING out everything he could find at that particular moment. What resulted was a wholly overwhelming musical experience for anyone who has ever dared to undertake the task of deciphering what the artist is saying here. A large source of its lasting (and definitely original) interest generated came in the fact that, even more than most of Akae Beka's music, it was pretty hard to comprehend what is being said on 'The Gad'. Vaughn Benjamin has a tendency to mumble and when you combine mumbling with speed, what you get can be (and was).... puzzling. However, as I said, beneath the obvious sound, 'The Gad' had loads to offer and I would argue THAT has maybe not equaled the attraction to it for what is most immediately heard, but has become a significant reason why more familiar fans, like You and I, continue to return to the now nearly TWENTY YEAR OLD tune.
"It's a matter of human pride, how you treat the I
Who nah go hear ahgo surely die"
The song has a heart that is almost entirely spiritual (DUH) but 'The Gad' goes in a variety of deliciously varied directions. The one that's covered deepest, arguably, is just how people relate and interact with one another. He gets into things like family structure in the midst of it all and it is.... CANDY to the ears of someone like myself. I also have to mention something rarely talked about in regards to 'The Gad' - the riddim carrying it. The golden track was typical IGR produced magic and featured, amongst other beautiful moments, a spot where the masterful Achis Reggae favourite, Tuff Lion, is allowed to place his stamp on the tune as only he could. If by some chance you missed this one, even more than any other selection here, 'The Gad' demands patience. It is a trait that, should you have quite a bit of it, will literally hand you the keys to a very large kingdom.
14. 'Let Babylon Go' featuring Danny I
Searching within. Much like the aforementioned "Beauty For Ashes" set, this compilation would be incomplete without some sort of representation from "Portals" (another album in the conversation for being my absolute favourite from Akae Beka) and that question would be between three tunes. There's 'Ideals of The Emperor', 'Like Rhyme' -- both of whom were terribly difficult to cut out here -- and the track that I would ultimately settle on, the GORGEOUS transitional 'Let Babylon Go' featuring oft Vaughn Benjamin collaborator (if such a person exist) and OBVIOUS FAN, Danny I. I love Danny I's music and I always have (Danny I has an old song called 'Lion As A Rulah' which probably sits amongst the top 40 or so tunes that I have ever heard.... from like ANYONE, EVER) and his presence on 'Let Babylon Go' really gives it a very autobiographical texture as he outlines what, personally, brought him to Rastafari.
"Many years with natty dread - half the time a Rastaman
Cause man would be the first to admit: Man did ah do nuff wrong
Many years of search within, til I found The Higher Man
Til I overstood King David's words, with the Songs of Solomon
And I let babylon go
Outta mi heart
Outta mi soul"
BOOM! For his part, Benjamin's approach is broader in saying that, essentially, Rastafari is the way to overcome a variety of issues in one's life ["In war and in peace..."]. Combined, and with a beautifully nearly ever-present horn in the backdrop, the two produce an EPIC selection and one which has always been a standout for me on an album BRIMMING with such offerings.
15. 'Dem Kinda Heights'
A document. These days the "Be Strong" set has kind of become somewhat of a packaged deal with "In Awe". In my memory the two FSR produced sets share pot of tunes and I find myself generally and largely unsure of which of the two exactly contains big tunes such as 'Dandylion', 'Pscyh Ops', the MAMMOTH 'Music To Honour I King' and others appear on... but I do know that I love some of them. Along with both title tracks, definitely 'Dem Kinda Heights' has gone to garner my 'highest' of respect in the eleven years since its release. Though the song comes through with these giant and downright royal sounding horns (almost as if they are signaling the arrival of some type or royalty) (and you can make your own leaps from there) (as have I), 'Dem Kinda Heights' is somewhat ponderous. It's a grind and it takes a while to get where it is going, but it is also SHARP as a razor. What I've taken from it these days is that it stands as an inspirational piece. Benjamin presents the "Heights" as a variety of different things such as love and even knowledge. Though, as you would expect in his work, it doesn't have that stereotypical FEELING that such a vibed tune would normally come with. As I said, 'Dem Kinda Heights' ain't easy! It requires work and a whole heap of attention on behalf of the listener. Give it that and, as you can see with its presence here, it's good enough to literally become one of the best songs you've ever heard.
Overall, the challenge of doing something like this is infectious. I'm already working on the next installment (will likely be Lutan Fyah) but in this particular case, the unusual nature of the journey I've had to BEGIN my comprehension of this man's amazing work (and I consider myself to STILL be at the beginning of that journey), is reflected here which was my main goal from doing this list. I would expect and HOPE that most people would have drastically different lists as the music of Akae Beka is received in so many ways. These are mine. Agree. Disagree. Flame on (biggup Machel). Do whatever! But when you do think of your own favourites, ENJOY that beautiful trip back through your memory. It is a SWEET time.
"Righteous Synergy" by Akae Beka [Fifth Son Records]
So let's see if we can still do one of these. During our prolonged and basically still ongoing hiatus, there have been many changes in the music that we at least made an attempt to cover on these pages over the years when we were active. Some artists have, wonderfully, developed into stars while others have, not so wonderfully, ceded to the tests of times. With that being said, however, it is definitely the case of one of my absolute favourites altogether and probably my single favourite to write about which stands apart in so many ways. I won't deal with the direct line of what has occurred with the inimitable Vaughn Benjamin, because if you're set to read one of these things, then you surely already know, but given that set of permanent circumstances, how remarkable is it that now, a year and a half on, while so many things have changed -- others have remained the same.
It's 2021. The world has kind of ended, basically, but you and I are still somehow here. And now we have a brand new album from Akae Beka and despite everything that has changed -- with everyone that has left us - something about this just seems to fantastically comforting and IMPORTANT in time. Said album, the PERFECTLY titled "Righteous Synergy", becomes the latest (and hopefully not final) collaboration between Benjamin and Fifth Son Records. The pairing has definitely demonstrated a powerful amount of...... righteous synergy, throughout the years which has really made up some of the most substantial offerings from Midnite/Akae Beka over the past decade and a half, which is saying a lot. Their unions are typically very HEAVY vibed sets which, at least in my opinion, are more likely to be best received by more familiar fans of Akae Beka/Midnite. They also have a more of 'PLANTED' situation where, not unlike Benjamin's music in general, it has been my experience that the more you listen to the FSR albums, the more they grow on you. The last three albums produced in this collaboration, 2016's "Homage To The Land" (There's a tune on that album called 'Just Decided' which has become one of my favourites), "Be Strong" which released in 2013 and "In Awe" from the year prior, perfectly exemplify that situation: They were very good when I first heard them, all of them, half a decade on from the latest one and more than nine years from the first of them - and they all now rank as some of my personal favourites from ANYONE. And I haven't even mentioned the two before that, "Momentum" and the double set "Standing Ground" ["AND HE EVER WAS SO. JAH KNOW, HE EVER WAS SO"] or the latter's dubbed out counterpart.
So, CLEARLY I would be most interested in the next pairing that this most righteous of unions would produce (and the one after that and the one after that and the one after that). Therefore, today we're taking a look and listen at the latest release from Akae Beka and Fifth Son Records, "Righteous Synergy".
{Spoiler: I REALLY like this album}
{Note: This was actually started prior to the look at the "Polarities" album. We'd done the intro and most of the first track}
{Note 2: Been a minute since I've done one of these (not anymore) and this isn't the easiest music to write about, so please forgive the horrible writing (that part still applies)}
{Note 3: ....... or don't, I don't care. Just know that this will be bad}
{Note 4: I have really missed doing these things}
1. 'Righteous Synergy'
The opening and eponymous selection of "Righteous Synergy" ranks easily amongst the class titles on the album named after it and it is, as you expect, absolutely brimming with material. As far as its vibe, you go from opening with this downright majestic horn (it literally sounds like someone very important is about to enter the room) (and that is exactly what is about to happen) and flow directly into this downright COOL sound which prevails for the duration of the tune. And while Benjamin does provide his typical genius, the sound here is nearly as big of a star and deservedly so (we get stretches of music only, which are sublime) (there is a GOLDEN saxophone in there). As to that aforementioned "genius", what Benjamin seems to present as his idea of a most 'righteous synergy' is something positive which brings ones together. And you don't really see this very often from him but it's kind of a song which purely celebrates the music to a very snug degree. This song will make you feel good.
"Bashment a gwan mi seh Di people dem show up ya now without delay Let it be a rendevous or company Wait there is a joyful noise - come revelry To be in tranquiility and inna plenty EMBRACE THE GIFTS OF JAH FOR THE WORLD TO SEE Everything is not just dishonour and depravity Let them hear a sound resounding with equity All the members of the earth that was born from Trinity - In Africa, Ethiopia is your ancestry"
2. 'Bubble Up'
'Bubble Up' is just a GEM of a tune. A GEM! In its six minutes and seven seconds' length (the longest piece on "Righteous Synergy" by twenty-two seconds) (interestingly, the last four album from Benjamin and FSR, "In Awe", "Be Strong", "Homage To the Land" and now "Rghteous Synergy" have all been ten tracks long - even more synergy) it makes a MASSIVE impact and, at least for the moment, it is my favourite song on this album (though I'll probably change my mind before you read this). I took the message here as being one praising the differences we all have from one another inherently and how they not only can be wonderful things, but how they can also bring people together.
"Saying yeah fellow journey-ones On Jah mission here and a out, long belong Supporting the agenda of peace on earth mi son Children of the sun Children of the sun! DECORATED OF THE ELEMENTS IN THEIR FLESH AND ON THE GROUND Children of the sun Children of the sun!"
The final two minutes or so of 'Bubble Up' is kind of a dub version of the song. Benjamin makes contributions, here and there, but the music is given a shine and that is exactly what it does. Throughout, it has this very LARGE sound which only intensifies during that stretch later on. This is another one of those tunes from Benjamin and FSR which just have..... such a sublime vibes to it and will last with me for a very long time ("I hold his majesty in awe. In awe. In awe!"). Listen to it very keenly and I won't be the only one saying that.
3. 'Responsible For It'
'Responsible For It' is one of those compositions from Vaughn Benjamin where it seems as if he woke up and walked into the studio that day with virtually nothing on his mind besides making a point. Although in this case he is a bit more observing of the riddim behind him (if you've listened to his music for any bit of time, you know that Benjamin, occassionally, has moments where he leaves you wondering if he could even hear the track because he went on as if he were entirely oblivious to and did not give a damn about it) which makes for a very interesting selection, sonically speaking. That sound, which is strong, plays support to a very unifying message that 'we are all in this together'. We are all responsible for our own actions as individuals as well as collectively. And he makes compelling connections, going further, and bridging out towards things as important as setting good examples for younger people. And, despite being as lyrical as it surely is, 'Responsible For It' actually has a very immediate type of vibes to it and I wasn't at all surprised to see that it was chosen as the album's second single (I believe the first was the title track).
"Ask He, Haile Selassie, The Return-ed Christ Ask HIM decry the direction of yah future so bright RATHER THAN GIVE DIRECTIVES WHICH RESULT IN TAKE LIFE RATHER THAN INFLUENCE MILLIONS TO EXTINGUISH LIGHT Intricate inside insight fi into wisdom rights Coulda fit to defy logic to make any similar type comply TO STIMULATE THE FEELING JUST ENHANCE ADVICE Yes, the whole generation full up a talent and vibes"
4. 'Manger'
As you may presume from its title, 'Manger' finds Benjamin going almost completely biblical. While the tune can come off as a bit of a lesson or musical dissertation, the real beauty on pieces such as this one, at least for me, is how the artist can relate such a topic to a more common and current point of view.
"Seeing as how they have used these same tactics in the past Ethiopian prostrating to pray and fast Upgrading the future - must retain the past The fullness of a praise with a grateful heart"
The work done on that end on 'Manger' is masterful. An immediate listen to it has the vibes of it being "completely biblical", but when you press this one just a little more, it actually blossoms into something that you could call a social commentary - which is about as a signficant shift as you'll hear from anyone. And I could also say the same thing about the vibe here as well. The more I listen to the music here, the more II enjoy it, it develops into something more and it is really one of my favourites on the whole of the album.
5. 'Do My Best'
Listening to 'Do My Best' actually brought a question to my mind which I don't know that I've ever had in regards to Vaughn Benjamin: Have I ever REALLY heard him emotional? CLEARLY he is someone who is either fantastic at keeping them in check or he he simply has different way of expressing them than most people ("wearing emotions on your sleeve burdens your shoulder"), but you typically don't hear him in that way. HOWEVER, when I listen to 'Do My Best', I think I'm hearing an emotional Benjamin. From its beginning, the song comes off as somewhat sad and it doesn't mean that it isn't nice to listen to (it is), but what it turns out to be isn't necessarily a 'sad song'. Instead, what I hear is something which covers a range of emotions. I hear LOVE. There is a spot at ~ 3:20 in where the composition (which, by this point, has fully developed and while it isn't ever what I would call a LARGE sound, it is detailed and nearly fully engaged by now) (including that SWEET piano key sound) comes to a near halt and Benjamin is there.
"KNOWING AS I DO, THAT I DID MY BEST FOR YOU KNOWING AS I DO, THAT I DO MY BEST FOR YOU"
NOW (!) if you know the circumstances around Benjamin (and you surely do), those lyrics have such a soaring amount of power and resonance. They BOOM right in the middle of this song! And there's emotion in his voice. It isn't Capleton throwing a fire at any and everything that is flammable, but it is a certain amount of love and reverence and spice in his voice which is not always there in my opinion.
{Note: I just finished talking about this song, so you can go right onto the next but I'm going to go on for a minute because I'm feeling it}
He "did his best". I don't even know how many albums in we're at now - I think I recently read 72. He "did his best". He could not have done better. And he left us, so wonderfully, with a gift that will NEVER stop giving because each and every time you listen to an Akae Beka/Midnite/Vaughn Benjamin piece, it isn't alone what you think it is. I sit here and I attempt to break down meanings but I am wrong every time. I will always be wrong! But it's the journey that it provides - efforting to find a meaning in such a mighty piece of work that is the greatest chunk of evidence of something truly special. And when you do your best and it is THIS, you become someone who has done the impossible - You could never REALLY die, even if you tried. Your work lives on and it EVOLVES in your absence. For all who are willing to truly listen, Vaughn Benjamin will provide you with your own personal remix of every single song he ever made, every time you listen to one of them.
"If there are many like you, I haven't met them"
If there are ANY like you, I haven't met them.
6. 'Became A Queen'
Now lets see if I can stop crying and write the second half of this.... or maybe I'll finish it tomorrow. Yep. That's enough for today. Let's continue! 'Became A Queen' is a very interesting selection for a few different reasons. First of all, if you just take it on a superficial level (which would be a mistake) (always a mistake to do that when listening to this man's music), you have a very strong selection. Benjamin, in somewhat of a biographical offering, tells us about a little girl who goes through many difficulties and endures to, ultimately, become a queen. Again, that alone, in a song is a compelling foundation and can lead you to think of ideas such as upliftment and inspiration. However, while listening I do hear a few parallels between the life of the subject of 'Became A Queen' and what I know of that of Empress Menen. He mentions her being a refugee and even mentions the role her uncle plays in her upbringing. And while I wouldn't at all say that it is directly biographical, I wouldn't at all be surprised if it were at least loosely based on Her Imperial Majesty. In any case, it's an excellent song and one of the finest highlights on the whole of "Righteous Synergy". I should also mention that 'Became A Queen', most fittingly, is armed with a ROYAL sounding vibe. By its end, the listener is left thinking that he/she has heard something of a grand significance and importance and that is precisely what has occurred.
7. 'Groove Stampede'
While the track before it may or may not be somewhat biographical, I'm even more confident (confidenter?) that 'Groove Stampede' is at least a little autobiographical which, at least as far as I can remember, would place it in a very select company. Vaughn Benjamin spends a great deal of time making music about a variety of things, but Vaughn Benjamin is not one of them (or is he???).
"Rastafari I deh yah seh Every since I set up pon di Lion's highway Mek a way in my spirit how to clean up my way Livity inna satis-fully whole journey Meeting singers and players of instruments along di way Forward to publish of The Almighty"
That is golden to my ears. We find Benjamin, rather matter-of-factly dealing with his own journey and what brought him to the music and to His Majesty. He talks about some of the people he's met and the overall importance that music has played in his life. Furthermore, he seems to acknowledge and embrace a further reaching RESPONSIBILITY that he and his peers have as they have a platform which is best utilized in spreading uplifting messages ["What ahgo happen fi you ignore His majestic decree? It's a formula for failure and finality. IT'S A RECIPE TO END UP INNA APOTHECARY"]. Despite its simplicity, and maybe even enhanced by it, 'Groove Stampede' is one of the finest lyrical efforts on this album and a joy to take in.
8. 'African Liberation Talk'
Before I even start to go into the words of 'African Liberation Talk', I definitely want to say that it is my choice as the most sonically pleasing song on 'Righteous Synergy'. BOOM! The riddim on this song is so beautiful. From its first beep, it comes with a sound I would describe as 'curious', but what is to come is a giant bar of gold. There's also this SWEET horn/saxophone which is particularly present later on which is such a powerful, yet subtle, addition. By its, you almost feel as if you've just heard three or four songs instead of one.
Vaughn Benjamin employs that wonderful composition to put forth a finacially-centric excellent social commentary. Covering several things, reaching all the way to the IMF, he speaks on the way money has been ill-used and misappropriated throughout the years and the result has been (or was it the intention all along?) that people have been impoverished, enslaved and just generally stuck in a never improving cycle of mistreatment. What I most enjoy here lyrically, however, is how Benjamin makes the separation between this awful behaviour and Rastafari.
"The Rastaman pass, royal garments and his harp Up in the park, African liberation talk"
It's almost as if he's saying, "We have no time for this nonsense. None at all. But we know exactly what you're doing". The next step he takes on that line of thinking is even more interesting in my opinion:
"Abusive power - skimming off the top They must be making cheese and bread non-stop Then they try to put a whale inna teacup The magnitude of offenses: They acknowledge not They must si man like a cub and like a pup WHEN RASTA DUN HAVE DEM BURDEN FI LIFT UP"
There, Rastafari ceases being this kind of non-interfering observer and becomes someone who is, literally, left to clean up the mess. The word which I first thought of was that Benjamin was making Rasta the CONSCIENCE on the message of this song (you could say "HEART", but for me heart is too... accommodating, it would mean supportive) (....I know, I'm a nerd). It is such a finely constructed song and one which, I'm sure, will keep me busy for quite awhile (like right now).
9. 'Covenant Ark'
The penultimate effort on "Righteous Synergy", once again, apparently finds Vaughn Benjamin in the mood to get straight down to work. And the work he does get around to doing on 'Covenant Ark' easily ranks amongst the most attractive (in every way) on the album. While there is a centralizing theme on the tune, it comes through almost as a freestyle. My thought was that the artist was doing a bit of cleaning in his mind and these were some ideas that he placed together in this outstanding selection, which he then goes on to provide an 'umbrella' for, lyrically (it kind of reminds me of an older song called 'Mic Row Assemble' from the "Infinite Quality" album. That was another one where it seemed as if Benjamin was just pouring out ideas that he had been working on for awhile) (".....Marvelous Marvin Hagler vs Mustafa Hamsho"), after going in so many different directions.
"Dem studying this ting yah from race and class People now all make all kind of a racist remark- About who light-bright skinned and about who dark People all now encouraging is not afraid fi talk Inna di public interaction, inna restaurant and commercial park VOLATILITY AND VITRIOL INNA DI MEDITATION AH SHUT OFF Dem nah go spare di cow, dem neva spare di calf Upon di thoroughfare, upon di highway, sometime a nuff bloodbath"
After the musical voyage that we are taken on here (which includes a stop at, "That is not rehydration, that is a little shot glass"), our final destination is one of SOURCE -- the source of all things. Which makes you wonder if he actually did takes us... very far... at all?
"Tell heaven and earth that Ethiopia have the covenant ark Tell heaven and earth Ethiopia have the covenant ark"
Oh and I love the horns! Thank you!
10. 'Spirit Of Love'
And lastly, 'Spirit Of Love' provides us all with a final moment of relection and a time to just appreciate some of the simpler and more obvious things that we have in life ["Need food to eat - must put seed in ground"]. For me, this is a composition about 'decluttering' yourself and your mind. Here, Vaughn Benjamin speaks about things such as nature, emotions and others -- things over which we, ultimately, have no control -- and he suggests that we find a joy in not only those things, themselves, but the fact that are existing without our guidance. That we depend on them. They do not depend on us.
I simply HAVE TO say something about the cover art on this album. You look at that! Look at it! I believe the credit goes to the same Ras Elijah Tafari who has done many album covers for Vaughn Benjamin albums including every other album from Fifth Son Records. That man is a genius. A talented genius!
Tafari's visuals have made a powerful and righteous synergy with the audios of Vaughn Benjamin and Fifth Son Records over the years and, in this latest iteration, they've reached with one of their finest pieces of work. The FSR albums always seem to come with a very heavy type of sound and its been my experience that more seasoned fans of Benjamin's tend to react more with them. However, half of this album, at least in my opinion, should be easier for even newer listeners to enjoy. Again, I SURE do hope that this isn't the end of this wonderful union and there is another project to come from that vault, but if it is, "Righteous Synergy" and its older 'siblings' have absolutely thrilled us and will surely continue to.
"Righteous Synergy" by Akae Beka is currently available digitally via Zojak Worldwide, as well as physically (CD AND LP). FIFTHSONRECORDS.COM
Sustain. If you ‘do' it well enough, being a fan of music, in general, can be a very rewarding experience. Besides just being able to listen to a wide variety of good music and benefiting from all of the good that it may do for you, what inevitably happens is that you begin to build these incredible moments which you not only attach to certain sounds or individuals, but to your life as well. For example, if I were to ask you to think of your favourite song, after lamenting the fact that you have to just pick one, when you eventually did, whichever it is you that choose will surely have some type of connection to your life. Be it a single moment or a specific time around when you first heard it or something which is ever evolving and you may even be able to discuss that right now as a still developing reason why it is #1 for you. Even more vivid, perhaps, would be the best concert you've ever been to, as you shared that moment with multiple you's and had this joyous occasion. When you take this view of some of your favourite artists, the link, hopefully, is defined inherently by a particular amount of evolution or at least it is for me. I can talk to you endlessly about how Soca music so wonderfully helps me connect to my children (I'm a very, very old thirty-five years old, but if you put on the right song at the moment (currently that tune is ‘Godzilla' by Skinny Fabulous) I will drop everything instantly and jump and lose it like a teenager and do so happily!) and how I envision being in my seventies with a pair of busted hips and repaired knees, still trying to jump up and wave with my grandchildren and I look forward to it! Similarly, I attach the prime years of Sizzla Kalonji to a point in my life, my young adulthood, where I desperately needed to make some changes and how much it helped me to get through those times. That lingers to this day where, with or without expectations, high or low, there remains a faint glow surrounding anything Sizzla does to my ears because I know where the ceiling is and how powerfully elevated it can be. And there're others such as Beres Hammond where my tastes finally began to cross those of my Wife's (so brilliantly extended by whom??? We call her Lugo. Sara Lugo) and even people like Turbulence whose career, in my mind, has been one of the most interesting, for better or for worse, of the modern era of Reggae music. With that being said, however, I think that when it comes to music making links in life, outside of Sizzla Kalonji, for me, that next great step comes when I learned that… yeah, I was getting older and in doing so, I realized I had suddenly become capable of tip-toeing, gingerly, through the musical kingdom known as Midnite.
…because it didn't use to sound like this. When I was younger, I heard skeletons. I heard obscure. I heard confusion. I heard no melody or harmony. I saw strangely intentionally misspelled song titles and wondered why (I still those, biggup 'Daughtaz & Sunz', but I just don't care anymore) and I saw a whole heap of curiously attached fans who were clearly very, VERY far ahead of me at the time and had limitless passion for something I didn't even comprehend. Unfortunately I also saw a few albums come and go that I had picked up and passed on to others for lack of quality (could have saved some money in buying some of them for the second time later). But I just didn't get it. I didn't hear what they did.
"In Awe" [2012] & "Be Strong" [2013]
However, it is years later and OBVIOUSLY things have changed as I actually did pause for a second or two when I learned what had become of my suddenly precious 'Midnite'. It was only a "second or two" because I had a feeling that not much was going to change. Last year, after spending the last few years crawling into my head to the point where 'their' music had become a part of daily and sometimes hourly routine, the Virgin Islands powerhouse had re-identified 'themselves' as AKAE BEKA. In retrospect, it actually seems as if many of their fans had a similar reaction as I did. I was curious but ultimately I was convinced that as long as THE principal had remained, that not much would change. Of course I'm referring to Vaughn Benjamin whose name had virtually blended into the Midnite. Anytime you saw 'featuring Midnite' behind a title, you knew what to expect and it was a guest spot from Benjamin. Because of that, to this day, I don't think that I've ever felt compelled to take in the entire story regarding the change (though I'm pretty sure it has something to do with the permanent change of members in the full band). My entire mindset as that fan looking for something to hold on to was something along the lines of, 'okay, it's Akae Beka… can I please have a new album from Midn… Akae Beka?'. Yes, yes you can. And who became the first label to deliver such a set? It actually was not one of the Zion I Kings (that would come second) (and third) but instead it was the also entirely dependable US based Fifth Son Records, with whom Vaughn Benjamin had already produced absolute genuine magic. Those miraculous moments came wrapped up in several albums with perhaps the most noted being the double set, "Standing Ground" from way back in 2008 ["He ever was so, Jah know, He ever was so"] [BOOM!], but more recently a pair of fantastic releases from Midnite and FSR, "Be Strong" ["Children running for nothing but the joy of creation. Ambivalent to everything but dem youth and strong"] in 2013 and definitely "In Awe" from the year prior (there was also the very solid "Momentum" and "Standing Ground" was re-released in a Dubbed out form). Those two albums, in particular, though they may have gone overlooked by many fans, have become favourites of mine and I could well make the case that "In Awe" is one of the finest sets ever featuring the work of Vaughn Benjamin. So, perhaps you'll forgive me for not having the largest reaction to the latest piece of work in this union, "Homage To The Land", as this landmark, first album from Akae Beka, but instead having the same amount of anticipation and FIRE for a the latest from a functioning artist/producer combination which has done nothing but impress and impress in recent years. There was no great musical shift and I've still yet to hear one (and will be completely surprised if ever I do) (can you imagine if Vaughn Benjamin turned… Mad Cobra one day and just started aiming at everything that moved). Instead there was more of the same mastery which had welcomed me into the next stage of my life. Let's take a listen.
In contrast to the ZIK releases and those from I Grade Records in particular (although given their first effort, I suppose I need not make that distinction anymore with Zion High Productions soaring), the Midnite albums coming from Fifth Son Records are typified by a darker and more subtle sound. The results of that approach, to my ears tend to be sets which require more time to grow and would seemingly be less immediately gratifying, especially to newer fans, but hold and infinite amount of power just the same. I've recently been digging into the "Be Strong" heavily, with tracks such as 'Bless The Nest', 'Dem Kinda Heights' and especially 'Dandy Lion' having taken off even greater. In a year or two from now I'll likely be saying the same thing reference to several tracks from the most recent drop from the newly minted Akae Beka and Fifth Son Records, "Homage To The Land", from last year (and some of them are currently at the beginning of that stage which makes this a fun review to write now). And maybe one of them will be 'All We Be' which gets the album started.
"Sounds like the uniqueness of the terrain
The land and the blood in the veins
The people took the character and the character took the demeanour
Of the soil and the survivours sustained
And Rastafari reigned"
If you've really listened to this track -- I mean REALLY listened to it, you already know what a bona fide GEM it was. It was an absolutely scorching composition which did its own form of rising throughout its four minutes. A slow and almost delicate sound becomes this horn-heavy dynamic symphony which well compliments the vocals. Speaking of those vocals, Vaughn Benjamin shines as expected. 'All We Be' is about living up to a standard, or at least attempting to, set by His Majesty and doing your best in life (being 'all you can be'). I really like how he doesn't personalize the message WHOLLY and instead he makes the leap that it isn't only about you 'doing you', but it's also about how you treat others and have relationships with them as well because it isn't you alone walking the planet. Next up was 'Promises' which goes even further into interpersonal associations with others. My opinion of this song has been that it is a word of caution from Benjamin as he vividly paints pictures of two different types of individuals and groups of people - one of which is entirely worthy of trust and the other… not so much. Of course, he goes into great detail regarding both and even seems to finely show where they split ["It have to do with paths chosen and good choices"]. There's also a fantastically simple musical display behind that one which is well afforded its own time in the spotlight throughout. The third song on "Homage To The Land", the skyscraping 'Just Decided', is its best and DEFINITELY one of the best from Vaughn Benjamin that I have EVER heard.
"The Emperor - Haile Selassie I
I hail and acknowledge right -
The people who bear - the ignorance, scorn and the unfair pride
For the herbs life and disappear
THE LAWMAKERS IN THE EARTH BEGIN TO SEE THE LIGHT
The verdict come and destigmatize
PERSPECTIVES WILL HAVE TO REALIGN
ALL POINT OF VIEWS WILL HAVE TO REALIZE -
That many cities have just decided -
To let ganja contribute to the standard of life
HEALTH AND ECONOMICS DECIDED
Psychology came following and finding light
Many cities have just decided - to regulate and moderate within state lines
Benefit the treasury in municipal eyes
Seeking truth and spirit and balance in time
You have seen many heroes in the villainous light
Seen many villains in the heroes' light
Set things in order as is 'good and right'
Realize who really paid the price
Prosecution say "Your honour, this ain't right"
FORGET THE MISCALCULATION, LET'S ALL REJOICE"
Call it a 'ganja tune' (because that's exactly what it is), but it is more of a victory lap as Benjamin begins to celebrate the changing culture of and attitude towards marijuana throughout the world. Not only that but he also appears to bring in an 'all is forgiven' attitude if things are to continue to improve, which is remarkable! It is a piece which well has a HAPPY vibes surrounding it which is a rare qualifier to throw at a tune from Vaughn Benjamin, but you can literally hear him having a great time recording it. And speaking of that, I simply HAVE TO mention a stretch of perfection in this song which is about ten or twelve seconds beginning at ~2:35 in. It is SPECTACULAR. 'Just Decided' was MAMMOTH and has become the calling card and main attraction from "Homage To The Land" in my mind. And there was more such as 'Call Out To Jah' and 'Psalm' which immediately follow that giant. The social commentary former is, rather easily, one of the best songs on this album as well. Here, Benjamin deals with the confusion of the social state in the world today and does so from an all-encompassing perspective. Allow me to get ridiculous for a second here: Like I mentioned about the stretch in 'Just Decided', there is a lyrical blip from 'Call Out To Jah' which I found not only SO potent here, but also emblematic of how my own point of view of this music has changed - and it also so very simple:
"When just the joy of a child makes the day right
No one knows tomorrow clientele - wise
Who will be in need of what service, I -
Consult in HIM, Rastafari"
Such a run would have just confused me years ago and now it jumps up as such a skillful moment and you can listen to virtually any of this man's work and, while you may not LOVE everything you hear, you'll find flashes like this everywhere and I hope we all (or as many of us as possible) can appreciate that. And I have to give a musical credit here also as the riddim for 'Call Out To Jah' plays, essentially without vocals for most of the final ninety seconds of the song which is an excellent touch. For its part, 'Psalm' has a very interesting sound in both music and the kind of 'fainting' vocals utilized. Take just a superficial listen to the track and you'll hear a mountain being constructed. There is something being built there and it all comes together by songs' end. I love the free-flowing spirit behind a drop like this and given the amount of 'space' that it covers, it fits snugly and biggup the horn player here and throughout this homage.
The nearly six-minutes long title track from "Homage To The Land" comes through almost as a musical mini-film. This thing has scenes and moods and action sequences and everything that you would need for a most visual experience of sound, if such a thing is possible (and it is). During the first half or so, Vaughn Benjamin tells us to give credit to those who came before us. It doesn't matter who they were in your particular case (though he will tell you), but you have to pay them the homage they deserve for setting the foundation for you. And it is the ACT of paying that respect which you brings us closer to who we are to be in this world. Later on in the composition, Benjamin basically becomes the riddim! We hear from him here and there, but this GOLDEN creation of sound which backs him takes a most appropriate and deserved center-stage and it THRILLS for nearly two and a half minutes. And this isn't the type of sound I would expect to hear on an IGR release, it is uniquely a Fifth Son Records reverberation. It's bouncy but still kind of dark and unpredictable and, every few seconds or so, some new element is introduced. AMAZING! As is his habit from time to time, 'Right Away' is a quick homage of a different kind as Akae Beka makes a stereotypically multi-faceted praise to music. I've wondered if the title might not be better printed as 'Write Away' given the fact that I'm sure I cannot possibly be the only one wondering exactly how this man writes music like this and does so ENDLESSLY. It is a very nice song, centered around this music and the nice effects it can have on those fortunate enough to receive it. Check the beautifully unifying theme of 'World Citizenship' which sets out to bring us all a bit closer through the influence of His Majesty.
"No matter what dem nationality -
If dem see, see in evidentiality -
What world citizenship means
And international morality
RASTAFARI FORM SINGULAR PLURALITY -
Means each bearing fruits of Rastafari livity
The people I-nite around I Majesty peace and His throne
They see that inna HIM, is solutions a road, abroad"
For me this was a call to stop looking for things to separate one another and to really just focus on how surprisingly similar we all may be. Such a tune does a great job in complimenting the track which follows it, 'To Live', which, in its own way, serves a similar purpose. Here, the artist gives credit to and observes everything everyone does 'to get by' and 'to live' ["Make sure seh that the vendors have a niche and the people feel well-adjusted"]. Most interesting about this one is how Benjamin addresses it using exclusively the feminine pronouns. It is a very subtle touch but one which actually places extra life in the sound in my opinion. For me… say whatever you like, but things regarding PEOPLE and FAMILY just make more sense and carry more weight when they come via the Woman (things such as common sense). Finally, (yep, that's it) (more on that in a minute) closing out "Homage To The Land" is the downright ROYALLY vibed 'Cone' which I hold as one of its signature moments. Listen to 'Cone' with one ear, pay it very little attention and even in doing just that, you can tell that something very momentous is occurring. It has such compelling and gripping sound to it, that you can feel something special going on and the moment is not exhausted by the vocals. Those vocals come in with an ultra-focused and flaring sound (it almost reminds you, if you remember him, of Jah Rubal) (biggup Jah Rubal) (had an album years ago called "Fire Chariot", probably isn't too difficult find still) and, in my head they essentially pick up where our title track stopped. This is a tune about being respectful and mindful of things that happened in the world (and are still happening) before WE got here. It is giving credit to just how far we have come, as a species, over the years and just how necessary it is for You and for I to continue to make a similar level of progression. It is one of our greatest responsibilities as living and functioning human beings. Here, it sounds as powerful as ever and was utilized as a lovely bow on an awesome ["I hold His Majesty in awe"] ["In awe"] ["In awe"] gift of an album.
I do want to mention that, like its two most immediate predecessors from Fifth Son Records, there're only ten selections in full on "Homage To The Land". That isn't a lot and in the age of never-ending Reggae EP's, it is a number which, on paper, fits in more like such. HOWEVER, this album, like "Be Strong" and "In Awe" is no damn EP (not that I have a problem with EP's. Biggup Ziggi). Only one tune, 'To Live' is less than four minutes long (and only by a few seconds) and everything here is STOCKED with a clear attention paid to detail and, subsequently, it all combines for a most memorable set.
Overall, while I attempted to stress this point somewhat consistently here (I probably didn't do a very good job of it), I'll do it once more: MUSICALLY, this album is excellent. Again, it won't register in the same immediately digestible way as some of the other Akae Beka/Midnite releases, but even that is a bit of a 'mark'. It so completely fills the cast of albums coming from Fifth Son Records with that SOUND. The interesting bit is here: As you listen more and more to those albums, not only do they begin to explode lyrically because they are Vaughn Benjamin albums, but they also do so musically and the results are ever evolving and potentially ever expanding musical experiences. "Homage To The Land" also ranks quite well with its predecessors in terms of its quality. This is a very strong release and one which has only an upside and I can speak from experience. We didn't review this one immediately from last year (because I took a year) (biggup being nasty and sick) (or don't) and I well hold it in (awe) higher esteem now than I did a year ago. So while it may be best remembered by most as THE FIRST OFFICIAL AKAE BEKA ALBUM [!], "Homage To The Land" was more of the same brilliance that fans have come to expect from the outfit over the years - under any name.
