Attached: A review of Infinity by Cali P

Check up. The massive nerd in me does and likely will always feel some sort of connection to a select group of the artists that we cover around here. These things are not terribly easy to write (and as I get older, they become more and more difficult. In my 'prime' --whenever that was-- I could churn out one of these in a day or two NO PROBLEM) so, in some of these cases, I have literally spent HUNDREDS OF HOURS listening (and listening and listening) and writing and researching, so I've become attached to a few individuals who I've... never ever met in person and likely never will. Forgive me. I'm a fan. I'm invested to the degree that the twists and turns that their careers may take can be HALTING moments for me (if the 'right' artist has a new tune or a new album release, I will stop almost anything I'm doing to take a listen) as well as one of the most pleasing experiences in being a fan of music. I could throw you names that you're likely well familiar with but, instead, I'll go straight to the core this time as today we're talking about a loooooooongtime favourite of ours, Cali P. I'll also spare you (most of) the story of the matter but I will say that the Gwada born (biggup Teddy Riner) chanter's debut, "Lyrical Faya" (great album) released wayyyy back in 2008 and we're nearing a couple of decades that I have been at least emotionally invested in his career. What I heard back then was a very skilled and potential-latent and while that isn't something, AT ALL, that is very rare in terms of what I listen to (we are fortunate), the rarity in his case comes in the fact that Cali P has gone on to fulfill on every bit of that budding ability demonstrated on "Lyrical Faya", while missing virtually not a beat along the way. THAT is rare, as I can think of dozens of artists who I hold in at least equal esteem, for whom I cannot say the same (Sizzla is still my favourite and Sizzla, particularly as of late but even in his overactive prime, has released work non-representative of his otherworldly gifts). Cali P's career has also taken certain steps forward. When you look at some of the names and labels with which he's been able to work, he has definitely shown himself to have attained a certain level of respect amongst his peers. Along with that, we've encountered Cali P a few times throughout the years and he's always been very nice to us; at one point he literally sent a message asking us to do a write-up for an EP release he had at the time, 2014's "Healing Of The Nation" and he's also left a message or two on these pages throughout the years, praising our works. Cali P's music has made a fan out of me and Cali P, HIMSELF, has made a fan out of me as well.  

2011

Musically speaking, Cali P's music has covered quite a few different bases but he usually comes back to 'center'. If I were to make a blanketed statement by saying that Cali P makes Roots Reggae music, it wouldn't be wrong but it wouldn't be all-encompassing either. While it has been the genre he most frequently touches, I could point to an entire album of work, the Riga produced "Unstoppable", which is.... something else (despite being crowned by the MAMMOTH 'Jah Rule The World' ["MY PEOPLE REJOICE AND SHOUT IT OUT LOUD! JAH RULE THE WORLD!"] [WHAT!] [BOOM!]. It was a bit of Dancehall, a bit of Electronic and maybe even a dash of Hip-Hop. Call it what you will, but "Unstoppable" was also VERY GOOD (song on that album called 'Sweet Greens' - probably one of the most overlooked ganja tunes that I've ever heard. It was outstanding). That set, on the biggest scale, showed a much earlier level of versatility which, unsurprisingly, was also high quality. More recently, the artist's latest creation, "Vizion" from 2021 (no way in hell that album is that old), also featured a more varied sound with, again, big results. So, at this point I neither know nor really even care what type of vibes Cali P comes up with because he's earned my trust that, whatever he does, will be quality. 

So when we get a press release saying something along the lines of Cali P's newest album is "his most personal to date", I'm curious and you have my attention (...even if it didn't say that, you'd still have it. "NEW CALI P ALBUM" is more than enough) (DUH!) and that was what the material that came in support of "Infinity" read. Cali P had been well active in the months leading towards the release of "Infinity" and what ended up happening was a more micro version of what happened with the aforementioned "Vizion". The predecessor was an album compiled of a couple of previously set EPs so, had we paid attention, listeners had already experienced a very large chunk (if not all of it) of what was to come through the full album. Similarly, the chanter tipped his hand on much of what was to become 'Infinity" (right down to the cover), through the singles that he had released largely throughout earlier 2024. So, when we saw the official tracklist (and, again, the cover) we kind of had an idea of what to expect. <THAT was another bite of a more diverse type of vibe and one which, thankfully, also includes more than enough of a 'terrestrial' appeal for old heads like You and I. The album comes via Senmbelek Music which, I BELIEVE, is Cali P's own label and the always active Evidence and features the handiwork of a number of different maestros including Teka (who helmed "Vizion), the great Suku of Ward 21 (the presence of whom almost always guarantees legit, 100% Dancehall music), Derrick Sound and even Cali P, himself. I was hoping (and I figured) that the link with Teka would produce more music at some point and I would go as far as to suggest that the two might still work together throughout the rest of their careers and I have no problem with that. The early shots of what would turn out to be "Infinity" were what I am going to call 'vibrantly mellow'. It was a little R&Bish, a little Zoukish, little Dancehall with maybe a dash of Hip-Hop sprinkled in as well as a couple of nuggets of Roots music as well. I prefer Roots Reggae music, of course, but I'm open to such things and I did end up enjoying "Infinity" for a couple of different reasons though I do admit that I would ultimately find a level of delightful confusion within it all by its end. Let's discusssssssssssss!

I would immediately like to make the point that if you're attempting to expose someone to the work of Cali P, then a very good starting point would definitely be "Infinity". Along with carrying music of a number of different genres which probably would appeal to someone not of a rigidly Reggae persuasion, but what is here is also fairly easily digestible in terms of the direction of the songs and much of "Infinity" is very easy to listen to. For example, try out the album's opener and song that it is named after. 'Infinity' is, BASICALLY, an R&B tune, musically, but  the attraction to this one is much deeper than finding an appropriate genre to categorize it within. 'Infinity' is likely one of the best done intros that I've ever heard. It starts off musical (and does so pretty strong) before ascending into the artist going into what appears to be an unplanned monologue. Parts of it (especially at the beginning) seem to be more planned than others but this track pinnacles during its parts where Cali P comes off as more organic and spontaneous:

"We never come to please people

Always ask yourself the question, do you please The Most High"

Those things stay with you, not only for the ten tunes which're to follow, but beyond. Cali P taps Akiyo for the first of several combination for "Infinity". I know Akiyo as being a group -- although "collective" might be a better term for how I understand them to be situated -- from out of Gwada so, certainly, he's well familiar with their work. Akiyo lends their talents to the GORGEOUS 'Numbers'. There is a very modern musical point here which I will leave for you (for probably the first time ever. Though I will say it isn't very superficial as it may seem should you just listen to it superficially and ONLY associate the title with money) to work out in favour of dealing with the VIBE of 'Numbers'. This one is futuristic but traditional at the same time - if such a thing is possible. Somewhere in the midst of a sound which may come from Mars or Saturn is an oft-revisited but random chant which is divine. There's something very Modern Dubbish on the Randy Valentine produced tune which plants its flag as an early winner for "Infinity". The well traveled and quite popular 'Energy' brings us back to terra firma, with a helping hand from German Reggae superstar, Gentleman. Gentleman SHINES on this song and he well lives up to its name while Cali P does as well, though he brings a more mellow vibes to matters during the chorus, making for a powerfully unique blending of sounds. What I took from 'Energy', primarily, was a couple of things, with the first being the idea of creating (and maintaining) a positive energy - whatever that may mean to you. Gentleman introduces several ways in which this is done with one of the more fascinating being HARD WORK. You can LITERALLY produce a positive energy in grinding and doing what you have to do to improve yourself and others. The other thing which stayed with me from 'Energy' was more basic with the music, itself, being that energy and the song somewhat becomes a celebration of the music and all that it is capable of. There aren't many finer moments on this album than 'Energy' (only one, for certain) and I wasn't surprised given the firepower of talent assembled here. If you're familiar with his work and take a brief skim through this album, you'd likely come to the conclusion that the track which features the work of Suku is hypnotic 'Secret Hater' and you would be correct in that. The riddim on that song, whatever it is, is BRUTAL and Cali P makes the most of it by shredding those who hide behind two faces.

'Caan ramp wid di bad friend dem from The Netherlands

A dem will send you go a neverland 

Gwadada and di mad Nigerians-

GRIND YOU, LIKE A CINNAMON

Badness gone international, Jamaican dem cold like man from Paksitan

Dem will hunt you, wid Remington

DEM HAVE A B ULLET WEH FLY OUT YUH SKELETON

Shot buss, man don't send no telegram

Scammmer police - haffi watch what you tell a man"

Grrrrr! For what it is, it's fun, but 'Ready - Bend' is also NINETY-EIGHT seconds long... it comes and goes so quickly that it never gets a chance to settle down but, like I said, it is a good time. I mentioned that the press release from "Infinity" claimed it to be the most personal piece of work of Cali P's career to date and I would assume that the presence of 'Sunside' is a large part of the reason why that is the case. This one almost comes off as an unusual -- and often vicious -- tribute to some of Cali P's favourite places (not terribly unlike what I just transcribed from 'Secret Hater', actually) and places that he's visited. It speaks to many of the hardships faced in the areas but there's also a clear reverence paid to the places and, specifically, their people and their hardworking and adaptable nature ["It's either we get up and get it or left it and die"]. The song is kind of melancholy throughout and.... yeah, it's fair to call it bleak but there is A BIT of light on 'Sunside' outside of its title.

You could make a solid case that, despite its strong start, the second part of "Infinity" is even stronger than the first as it features a couple of HUGE moments (three, REALLY), including the album's crown as well as some serious fun. Check 'Mi Ruff Road' and its interesting backing, drifting somewhere between Hip-Hop and what they call Dancehall these days. Typically, I'd condemn such things but there is something to the riddim on this one which I doesn't put me off and there's also a vocalist CLEARLY enjoying himself. Cali P literally sounds like he was eager to go on this track and the torrent of lyrics he gives is evidence to that case. Far stronger is 'My Temple' which brings in a Swiss rapper who was new to my ears and eyes by the name of Theylovepiet. Unless the two link again (and they just might someday), I'm probably unlikely to ever encounter the work of Theylovepiet ever again but he's left a solid impression on me, even for someone who isn't much of a Hip-Hop fan. The real attraction on 'My Temple' is its sonics. Where 'Mi Ruff Road' combines Hip-Hop and... on 'My Temple', I hear it blended with Afrobeat, I hear a more traditional form of Dancehall and I LIKES IT! It is all sorts of infectious and absolute CANDY to the ears. Speaking of being sweet, in a downright brilliant stroke of song placement on "Infinity", chasing 'Mi Ruff Road' and 'My Temple' is a tune which I didn't know that I needed until it popped up, 'Family'. Blessed with Derrick Sound's STUNNING Fight Again Riddim from 2024 (riddim had several big tunes from the likes of Chezidek, Tiwony, Eesah, Bugle and Lutan Fyah ["And when mi check di news, a just 'blahblahblah'"]), Cali P gives a massive credit to closed ones who have helped him along the way and continue to do so. In the midst of "Infinity"and all of its uniqueness and different sounds, unbeknownst to me I was longing for (biggup Jah Cure) something more terrestrial and that hunger was well sated here on this immaculately organized piece of music. Things go right back as they were on the song in 'Wine Up', which taps another Swiss artist, Mercee who, interestingly, delivers in Spanish (reading through her background, Mercee's roots are everywhere. Switzerland, Cuba and Italy). This is done on an almost Groovy Soca-ish track and, again, it's just a really fun vibes that's bringing together a variety of different sounds and styles.

And wrapping things up is the single finest moment "Infinity" has to offer in my opinion, the outlandish 'Jah Blessing'... TEARS! There is a certain level of gorgeous humility to this one and with a title like that, it is definitely something that you would hope for but it comes BLARING through in this instance.

"JAH BLESSINGS NEVER SHORT CAUSE WE HAVE ENOUGH"

It is a chunk of ideology that I have always appreciated as it says to BE HAPPY FOR WHAT YOU HAVE because you know that, regardless of what it may [or may not] be, there's someone, somewhere out there who wishes they were in your position. Apart from that, 'Jah Blessing' is STERLING. It sits as not only the entry on this album, but one of the finest of Cali P's entire career in my opinion.

"Infinity" is entirely too short. It is. That's my largest critique. Eleven Cali P tracks, thirty and a half minutes. You couldn't have paid me to complain (yes you could have) were it a bit longer. 

Overall, for what is here, "Infinity" does impress. If you come looking for that straight forward Roots project, you will be disappointed (though, for you, I would direct you to a new tune from Cali P, 'Chant A Prayer') to a degree but I would also caution you to just let it, because you might run into something [called 'Family'] that will surprise you. As I said, I've been doing these for quite awhile with Cali P and, I imagine, we still have quite a ways to go. Judging by what is on "Inifinity", who knows what is to come and how it might sound, but I will HAPPILY be there to find out..... hell, even if it was awful, he's not getting rid of me that easily! Varied and solid. 

Rated: 4.15/5

Senmbelek/Evidence

2024

Big Man: A review of Mad World by Gentleman

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

2002 & 2004 [Absolute genius - both of them]

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

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

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

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

Over the hills and valleys mi ah climb

All where rules are clearly defined, by Nature

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

Tired of di city, where di gunshots ringing

Hype after hype a weh di artists flinging

SOUL AH RUN DRY. MI NEED SOME REFILLING 

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

Back inna mi medi, leave di poison dart

Everybody round ya act so wise and smart

MI READY FI A BRAND NEW START 

So woman mek wi pack up wi things and gwaan

And plant some trees pon di farm

Come mek wi pack our things and gwaan

Calm after storm"

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

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

"When strangers come knocking at your door

Rearrangers don't want you to feel secure

DEM GET IT ALL, BUT DEM STILL WAAN MORE

Dem seh dem rich, but wi know dem poor

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

When you fi feel di groove you gone upon a holiday 

YOU TALK BOUT TOMORROW WHEN YOU FI TALK BOUT TODAY

Get it all, remember, don't delay

Wah dem ahgo do?

When wi start bun di fyah

Heathen ahgo run go seek di prayer

Wah dem ahgo do?

When dem caan quench dem desire

No matta wah you do, wi get higher

Why can't it be like it once was before

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

Everybody wanna be safe and secure

Dem caan take di blood ah run no more

Seh you are a toppa top -

And you gotta lotta glock

Seh you buss a lotta shot 

Wait til di atta clap

Wi no deal wid rat-ta-tat

NAH GI MAMI HEART ATTACK

WI NO TEK NO PART A DAT

CAUSE WI KNOW DO WRATH A DAT"

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

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

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

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

Rated: 4/5

URBAN/Universal

2022

CD + Vinyl + Digital

What I'm Listening To: November

"Back To Africa" by Harry Mo [Yellow Hill Music - 2008]

Definitely first up this week is one of a couple of albums which I've well gone back to take another listen to following the most recent release from the delightful Achis Reggae favourite, Harry Mo, "Roots & Lovers" (in stores now). One of those was his third piece, "On My Way", but just ahead of that was a bona fide classic around here and THE record which made a fan out of me, "Back To Africa". I had not heard it in awhile and such an album is always nice to dig up and go through and, immediately when I heard it again, one thing went through my mind: 

"I feel a breeze!

Cause I've got Jah - in my life"

That song, 'Jah In My Life' was placed alongside a whole heap of other terrific efforts such as the title track, 'Raging Storm’ [BOOM!], 'Mystic Man', 'Ithiopia' [BOOM AGAIN!] [WHAT!], 'St. Croix Rock', 'My Pride'… really I could mention every tune on the album. "Back To Africa" was golden and one of the best albums I've ever heard and six years have done absolutely nothing but highlighted this fact. Mandatory. 

CD + Digital

"Ten Strings" by Tuff Lion [I Grade Records - 2008]

The second (with another to come) modern classic which has also recently popped back up on my radars, largely due to the same album, I've wonderfully been back on the "Ten Strings" set which was and remains the opus of the most incomparable Tuff Lion, via I Grade Records. Every time I hear this album one major thing that goes through my mind is that how it is now more than six years old and both the Lion and IGR have continued to make amazing music since… wouldn't it be SO nice to have sequel to this one. I do love when Tuff Lion sings but his guitar is one of the strongest Reggae music has ever seen and IGR, particularly alongside The Zion I Kings these days have continued to turn out amazing tracks which I'd love to hear him take on. They did give us a SWEET taste of it just last year with the Songbird Riddim and more would be a lovely thing. Until then, however, there is "Ten Strings" to enjoy and enjoy and enjoy. These days it is a trio of selections which have grabbed most of my attention. 'Love Is All' is one I will always love because I always hear it and begin to sing NiyoRah's song on the same riddim in my head. And there's also 'Fly Away' - TEARS! TEARS! TEARS! And 'Coming Home' which does all types of things to my emotions and I love them all. "Ten Strings" was fully divine from beginning to end and, again, a true classic. 

CD + Digital

"Journey To Jah" by Gentleman [Four Music Productions - 2002]

And speaking of true classics - it was another one, "Confidence", along with a new live set (which I should really think about reviewing), which has drawn me back in the direction of another landmark set, "Journey To Jah" from German Reggae supernova, Gentleman. This album was in a class of its own and has definitely gone on to become one of the most crucial European Reggae sets in… forever! An album which has continued to grow through the years (and I talk so much about forgotten albums, this would be the exact opposite of one of those), "Journey To Jah" remains one of the most popular from the downright inescapable Gentleman and with great reason: It was fantastic! Songs like 'Dem Gone', 'Leave Us Alone' ["everything we build up, dem waan trample down"], 'See Dem Coming' 'Jah Ina Yuh Life' and, of course, 'Runaway' still stand out brightly as does the fact that the album featured contributions from the likes of Capleton, Bounty Killer, Junior Kelly, Luciano & Mikey General and Morgan Heritage - just to name a few. DAMN! 

CD + Digital

"Jah" by Iwan [Gideon Music - 2014]

I'm also definitely paying a whole heap of attention to the recently released third album from Ghanaian veteran, Iwan, the simply titled "Jah". Iwan is someone who has certainly done some big, big works in the past and although I admit that I haven't given the biggest notice to his work, "Jah", as a project, is the finest material that I've heard from him to date. And, obviously, it's a piece I'm still working on. There're some really heavy songs on "Jah" and I've paid particularly close attention to tracks such as 'Rastafari Rising', the stirring 'Gideon Boot', 'Food Is Medicine' (which rides a cut of the old Liberation Riddim (which you know as having backed Capleton's classic 'Jah Jah City'), 'Face of Jah', 'Chant A Psalm' and others. It's really turning out to be a very solid project and one you should definitely have a listen to if you favour modern Roots Reggae music… and you wouldn't be reading this if you didn't, so pick it up. 

CD + Digital

"Zion Awake" by Luciano [JamStyle Records - 2014]

Finally is yet another new album this year from the legendary 'Messenjah', Luciano (three albums for Iwan altogether, three in about half a year for Luciano) who has quietly had a pretty good 2014. His latest release, "Zion Awake" is kind of a 'blast from the past' as, at least as far as I can tell, it is a compilation of older tunes, some of which may even date back to the nineties. The set is put  together by JamStyle Records and who is the executive producer??? Homer Harris. While this may not be Luciano's best album (it isn't), it's still a pretty nice piece and it's of an age where you can hear like subtle differences in certain sounds (including Luciano's voice at times) which, curiously, kind of gives it a very fresh type of vibes and you know that Luciano at 75% is considerably better than most of his peers at 100%. A very decent album and an interesting listen. Check it out today.

CD + Digital

Completely Random Thoughts #57: COMPLETELY!

I was going to save this one for the next What I'm Listening To, which should be tomorrow or Monday or whenever but I decided to make this one even randomer and attach it here. AGAIN [!] (because we've done this before), along with new albums from Etana and Sara Lugo THE piece which has gotten most of my attention is actually an album from a decade ago, the opus of German star, Gentleman, "Confidence" (I almost always refer to this one as 'Superior' for some reason, but the actual name of it is "Confidence" and for some reason I was surprised to remember). A pair of songs in 'Superior' and 'Intoxication' virtually guarantees that this one will likely never fall too far away from my players but these days it's been damn comfortable in the rotation on the strength of another few songs. Most notably has definitely been the wicked combination with Ras Shiloh, 'Blessing Of Jah'.

"My eyes behold the blessings of Jah

I've told the message of Jah!"

"Right now you better know, whoi -

That love it a di order

No badmind can cross over we border

WICKEDNESS SO NARROW, RIGHTEOUSNESS MUCH BROADER

So tell me what you really rather"

WHAT! The Bobby Digital steered track has wonderfully snuck up on me and is one of my favourite and most listened to these days. Similar is a handful of other songs from "Confidence" which, for some reason or another have really just taken me over recently. Songs like 'Weary No More', DEFINITELY 'Strange Things', 'All That You Had' ["If you did prepare for those rainy days, you wouldn't be swept away by the storm"], 'Be Yourself' with Cocoa Tea ["Cause their identity's coming from the nozzle of dem gun. But I and I identity is coming from the Nyahbinghi drum"] and even others. "Confidence" was TREMENDOUS and sitting here just going through my head, it probably is somewhere in the top ten best albums I've ever heard. So, if for some truly ridiculous reason, you never picked it up, do so now! RIGHT NOW! Don't even finish reading this, it's about to get silly anyway. 

What else??? 

"Don't let the poor and the needy be devoured

The chastisement of poverty is in imminence yah

Inna di whole world, mi mean look at di bigga picture -

AN ELEVEN FOOT, SIX HUNDRED POUND TIGER

Him get fed up all of a sudden, what dem ah pet him mouth fuh?

Inna an instant, HE REMEMBER HIS TRUE NATURE

Not to mention black mamba -

And King Cobra"

That's what else! BOOM! 

Speaking of Midnite, am I the only one who didn't notice what happened with the cover of 'their' last album and its singles??? Ahead of the album, "Stand The Test" , being released, there were three singles, 'Ina Culcha', 'Stand The Test' and 'Upfull Day'.

Then when the full album did reach, the cover looked like this.

Did anyone else NOT notice that the covers for the singles were portions of the album cover??? WHAT! Yes, I feel really stupid (an unfortunately all too familiar emotion for me) (especially lately, I've done some really DUMB stuff recently!) and it isn't the only case. Someone else which really puts my intelligence into question is 'Jah9'. Besides writing amazing songs, she also shares (basically), a name with outstanding Bahamian singing chanter, Jah Nyne… which is a connection that I have failed to make for years. 'Jah9' reportedly has a video loaded and ready to reach for one of the most clever love songs that I've ever heard in my entire life, 'Avocado' from her soon to be classic debut album, "New Name". As for 'Jah Nyne'… anytime with a new album Jah Nyne. 

Jah9

Jah Nyne

Something else - which you may not have noticed is the seemingly never-ending and very odd re-re-re-re-re-re-re-re-re-re-re-re-re-releasing of Flava McGregor's catalogue, digitally. If you haven't been attention to it, it almost seems as if every few weeks or so, ALL of his old material gets redone for the digital medium. They get new covers and are compiled in new ways and are sold to the masses. WHAT! I don't know who is doing it but the last time I heard anything about that, McGregor is very protective of his material (and he should be, he's made some amazing music over the past decade or so). Recently getting the re-release treatment has been Natty King who has had so much of his work with McGregor released via digital singles (and all of them have the same cover, apparently). 

Yet still forthcoming, in a week or so, is an EP from the singer, "Roots Songs". Similar collections from Sizzla Kalonji, Chezidek and who knows who else are also in the offering as well. In Natty King's case, I always pay attention to his output as, in my opinion, the singer is likely to go down as one of THE most underrated and overlooked talents of his generation and with great reason. But I do hope that I'm wrong and, before his prime years are completed, he gets his due respect. Incidentally, while I don't know if these recent mixes of his music are legit, I have no doubt about "Trodding", which is the fantastic album Natty King did with Flava McGregor on Tad's Records a few years back which is still relatively easy to find both on CD and digitally (… and it also features virtually ALL of the music on the EP and the singles), so check it out.

"Trodding" [2009]

The Best Reggae Albums of 2013

Because we see no reason at all to stop celebrating (because there exists no such reason), today we go in the direction of albums and put together the finest of what turned out to be a very strong year, 2013. Though its predecessor was amazing and the new year, ultimately, didn't materialize some of the big named rumoured projects which were expected form the likes of Tarrus Riley and Queen Ifrica, in retrospect, it did offer many BRILLIANT 'unexpectations' from loooooong time veterans and installed superstars alike. Still, it was a newcomer who shone the brightest and gave the year its signature moment, but the journey there was a beautiful one. Take it with us! It's the best of the best: The Best Reggae Albums of 2013!

#20 "New Scroll" by Cornel Campbell [Zion High Productions]

Sing on. L-E-G-E-N-D, Cornel Campbell, had an outstanding year in 2013, once again demonstrating that a voice and a style that he had been developing for nearly SIXTY years had yet to reach a time zone in which it could not thrive. The biggest of his highlights in my opinion was this gorgeous release via Zion High Productions and the Zion I Kings collective, "New Scroll". While the "scroll" may have been new, what remained familiar and wonderfully so was one of the genre's most legendary voices which was giving a sublimely old school vibed mix by ZHP and the ZIK. They, too, had a great campaign this past year, and you'll hear from them again before the end of this list, but "New Scroll" still holds a very special place as being, truly, one of the best arranged and most fulfilling albums of 2013. 

See Review

#19 "The 8 Year Affair" by Protoje [Don Corleon Records]

No one like you. One of Reggae music's most addictively unique figures, Protoje, returned in 2013 with his sophomore set, "The 8 Year Affair". Like its predecessor (and probably most of its successors) the album was helmed by Protoje's esteemed kin, Don Corleon and, again, the two pushed a set with eyes directed towards the old school arena where at least a part of Protoje's sizable unusual talents dwell most comfortably. Watching Protoje go about his career is most interesting because it almost unfolds like a movie: You kind of get the feeling the feeling that it has all been laid out and you just have to watch the rest of it. I don't know how it ends, but I do know that the second 'scene' was fantastic and I cannot wait for the next. Romain Virgo and even Tessanne Chin guest.

See Review

#18 "Freedom Fighters" by Chezidek [One Drop Records]

Bonus. Chezidek offered one MAMMOTH moment of an album for 2013 which you'll find bubbling somewhere near the head of this list and deservedly so, but he also, very quietly, did something else. Unfortunately (and yet, somewhat coolly), the biggest story around his other offering from the year, "Freedom Fighters" was and remains just how few people actually knew it existed. Released by the US based One Drop Productions and produced by Andrew 'Bassie' Campbell like their previous two albums (one of which, Lutan Fyah's "Truly" made last year's edition of this list), this set went well under the radar and although it did so likely attracting only the attentions of people like You and I, ultimately you do hope that more of the singer's fans get to hear this album. While it wasn't the other album here, "Freedom Fighters" was good Chezidek and as someone who has stringed together more than a couple of solid years recently, that's saying something very substantial. Songs such as 'Dem A Dweet', the title  track, 'Mr. President', 'Jah Jah Tabernacle' and several others anchored an album which didn't make much noise, but clearly not for a lack of quality.

See Review

#17 "Much More To Life" by Norris Man [Tiger Records]

Rolling. Following a RIDICULOUS 2012, veteran chanter Norris Man kept things going in the year by continuing with his most fascinating run of album releases. Offering what would  turn out to be two solid sets, he would, again, impress in a way which has come as a very sudden and unlikely surprise. The best of his contributions came courtesy of a very familiar source, Sherkhan and company at Tiger Records who (would give it away for free later in the year) had, for years, made Norris Man a staple and struck a good idea in deciding to do a full album with him. The results were "Much More To Life", and album which persists in delivering more and more material to the listener through every subsequent spin. Though it would not receive a great deal of attention either, "Much More To Life" was one of Norris Man's best albums ever. Perhaps what was most interesting here was how the album was presented. It carried on like an evolving story, with the artist chiming in through six skits, helping things along, like a narrator. One thing really sticks out, in retrospect, for this album - Two songs 'All Day Long' and 'Dreaming' which utilized the same riddim, with the latter seeming to be this spontaneously vibed track. Norris Man later confirms this on a skit and I just really enjoy how that played out from the standpoint of a listener. Also quite difficult to forget were big tunes such as 'Murdera', 'Jah Rule Always' and 'The Soul'.

See Review

See Rewind 

#16 "Shining Hope" by Gappy Ranks [Hot Coffee Music/VP Records]

Nuts & bolts. Though its place on this list was virtually guaranteed, it was probably most difficult in deciding exactly where to land "Shining Hope", the third studio release from burgeoning star, Gappy Ranks. And one of the best things about making a list like this (and making it in a way where you actually place albums in direct comparison to one another) is that you get to go back and listen, in detail, to them and make the choice which was better. I'm starting to think that "Shining Hope" was a bit better than I gave it credit for being (and it was #20 here for a while). Though the sound was definitely varied, what I always enjoy so much about Gappy is his obvious attention to forwarding his skill. This album would contain one of the most devastating exhibitions of his monstrous gifts in the form of one of the year's best tunes, 'Carpenter' and it was not alone with 'Back To Reality' leading a pack of very solid supporting acts.

See Review

#15 "Be Strong" by Midnite [Fifth Son Records]

Kinda high. The conversation surrounding "Be Strong" the first of two albums from Vaughn Benjamin and Midnite that you'll find on this list, fittingly, has shifted, at least from me. It has gone from celebrating and admiring that this album was the direct descendant of "In Awe", which marked the last time that Midnite linked with Fifth Son Records (and was SPECTACULAR), to being about just how good "Be Strong" was. Coincidentally, that too is a sign of following "In Awe", as the album would travel a similar path to being regarded as good as it was. Though not quite that good (at least not yet), "Be Strong" finds a place on this list, without question, by virtue of being yet another finely crafted and downright BRILLIANT display by Vaughn Benjamin and Fifth Son. Over the years they've worked magic together and, "Be Strong" was one of the best. 'With Regret', 'Dem Kinda Heights', 'Be Strong', 'Bless The Nest'… pretty much all ten of these songs helped to lead the way on an album which probably finds its way in the top ten of this list if I were to redo it in a few years. 

See Review

See Rewind

#14 "Urban Jungle" by Brinsley Forde [JahSolidRock]

Lion have mane. The fact that longtime frontman of the great Aswad, Brinsley Forde, finds himself on a list like this comes to the surprise of absolutely no one, but what was remarkable was how he did. Linking with someone who you'll certainly hear from again today, JahSolidRock, Forde delivered his debut solo release, "Urban Jungle", in 2013. Didn't you just assume that he had already had a few of these? The album, much like #20 on this list, was an example of an elder really being pushed in a direction which would, easily, make his music more accessible to another generation of fans, but do so without alienating the multitudes of fans that he's touched throughout his career. "Urban Jungle" was, also, another album which seemed to sprawl further and further on your tastes and, again, now looking back at it, I was damn happy to rediscover just how GOOD this album was. 

See Review

#13 "Over The Top" by Perfect Giddimani [House of Riddim]

Colours. When you have someone as wholly diverse and unpredictable as Perfect Giddimani, I suppose that you can try a variety of different ways to work, but the one which was chosen by Austrian label, House of Riddim, is probably my personal favourite: Release him! Artist and label linked together on "Over The Top" and album which, as its title would suggest, was without boundary and covered SO much musical ground. As I've said in the recent past, I am of the belief that Perfect has reached his prime. In his recent form, he has shown himself capable of making some of the best music of his entire career and 2013's stop was yet another example of that. "Over The Top' was a blistering mix of straightforward winners with Perfect's typically pausing moments. Guesting roles from the likes of Menny More, Ras Attitude and Pressure Busspipe (on the album's biggest tune, 'I Hail Jah') [FOREVER!] [BOOM!], certainly did not hurt and neither did an album which thoroughly entertaining and compelling from beginning to end. 

See Review

#12 "Rootical" by Lloyd Brown [Zion High Productions]

Turn it on. Certainly it couldn't be labeled a 'comeback' in the most genuine sense of the term, but that is exactly what "Rootical" was for someone who I regard as one of the greatest GEMS in the current landscape of Reggae music, Mr. Lloyd Brown. Though he had an album just months prior (and if I did an 'honourable mentions' portion for this list, that album, "New Veteran", would be in it), "Rootical" would mark the veteran's return to significance and PROPER form on a very well pushed album which generated all the appropriate buzz, from Zion High Productions and the Zion I Kings, as a project from someone of his stature deserves. Fortunately and predictably, the actual album did not disappoint (and it could not disappoint even if it tried). Despite alluding the spotlight for the past couple of years prior to this one, Brown had not seen a drop in form and he's continued to deliver albums of the same level that he established back in the mid 2000's. "Rootical" was a downright elegant and classy set which also brought out the signature cleverness and charm from Lloyd Brown. It also brought out some of the signature tricks from the label as well as ZHP tapped a very impressive group of guests which would include Pressure Busspipe, Jahdan Blakkamoore and Queen Omega.

See Review

#11 "Take Heed" by Nahyubi Joseph [Nahyubi Hodge]

The fittest. It seems like every year that someone jumps up from almost out of nowhere (or at least nowhere, seemingly, positioning themselves to be about to drop a wonderful album) and just brings forth a sizably surprising set and, for 2013, that distinction definitely belongs to St. Thomas native, Nahyubi Joseph, who gave us the DELIGHTFUL "Take Heed". You're almost guaranteed to not find this album on any other list of this kind, but it has well earned its position on my list. Why? In a year headlined and underlined by LYRICS, "Take Heed" was one of the finest lyrical performances on an album of the entire year in my opinion. Joseph  showed himself to be a dazzling combination of FIRE and common sense, both of which were to be found in abundance on his debut solo release. Furthermore, there is just a very POWERFUL attraction to his music. He has this interesting way of lyrically 'wrapping' the things that he says which really kind of send them screaming at the listener and places even more emphasis on what he says. This was most evident on pieces like 'Gun Play', 'Fittest', the very clever 'Anywhere Jah Goes', 'Up You Mighty Race' and others. Nahyubi Joseph made a giant introduction of himself on "Take Heed" and, simultaneously, delivered one of the year's strongest albums. 

See Review

#10 "Life Of A King" by Lutan Fyah [Grillaras Productions]

Kingly character. After having spent awhile and gone through more than a couple of album releases which weren't so well known, Reggae lyrics factory Lutan Fyah came through on his second album of the year with a piece which has to be regarded as one of his more well known drops, "Life Of A King" for Grillaras Productions. The album's title track, easily one of the best songs of the year, would do much of the damage even ahead of the set named after it and when we finally did get a look at the full project, it was damn impressive. Still anchored by that MASSIVE tune, "Life Of A King" did a great deal of work in just forty minutes. Most notably, on paper, was a tune called 'Cyaan Do We Nothing' which featured someone who we, hopefully, get to see on next year's edition of this list, Chronixx, but there were also big tunes such as 'Defend The Throne', 'See To It', 'Justice', 'Economical Crisis' and more. As an album, musically, this release was deserving of this list, but I so enjoyed the response to it and the fact that it received every opportunity to succeed - a set of circumstances which was not wasted on a HUGE album. 

See Review

#9 "New Day Dawn" by Gentleman [Universal]

Get personal. German star, Gentleman, did his part in making 2013 a big one via the delivery of his latest creation, "New Day Dawn". The initial word from this album was one which pervaded through during most of its time. "New Day Dawn" was an album which was produced by Gentleman, himself. As someone who has spent his time working with so much of the finest maestros in Reggae music, Gentleman put himself in that position and gave us one unforgettable record. This album would go to showcase that big, bright and BRILLIANT style which has aided the artist in his massive rise to prominence and do so in, seemingly, a very personal way. The album was also one of his best and one of the best from a bonafide star in the genre is a big deal. The biggest winner here, in my opinion (and probably only my opinion - but who cares), was 'Humanity's Glory', but the album also dealt with 'In My Arms' (which, in retrospect, can lay claim to being one of the best love songs Gentleman has ever done and has greatly grown on me over time), 'Heart of Rub-A-Dub', 'You Remember', 'Closer To The Light' and definitely 'Another Drama'. It should also be said that despite he didn't get the credit for it (and I didn't think that he would), "New Day Dawn" is a giant lyrical achievement from Gentleman and, in that arena, may only be matched by his earlier classics, "Journey To Jah" and "Confidence". This album wasn't on those levels, but it was probably the closest he's ever come to reaching them again. 

See Review

#8 "Free Indeed" by Midnite [Higher Bound Productions]

An unconceivable power. The shortsightedness of immediate history may not recognize it as so, but I think that, eventually, we may come to regard 2013 as one of the best in the lifespan of Midnite. Along with providing this list with a pair of entries, they also lent their name to a very solid Dub album as well doing (officially) yet another album, "Lion Out of Zion". At the head of it all, in my opinion, was a piece which I believe I will someday soon come to regard as one of my favourite Midnite albums ever, the scalding "Free Indeed". The album was powered by the US label, Higher Bound Productions, who (we'll hear from again shortly) used 2013 as a grand showcase for their label, particularly in relation to Virgin Island artists and, of course, when you do that, having a Midnite album is a big deal and one of this quality is even bigger. Yes, this album carried my favourite song of the year, 'Hemp Scroll', but there was so much more. 'Healah', 'Don't Be So', 'Perceptual Vortex', 'Mock Off', 'Outcome' and 'Envision' were all standouts from an album which remains an utter JOY to listen to and the best from Midnite in 2013. 

See Review

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#7 "The Race" by Malika Madremana [Big Cup Music]

Checkpoint. The DELIGHTFUL Malika Madremana surprisingly jumped back into the ring with her third album and first in more than half a decade, "The Race". What was shocking was the fact that I did not expect to be talking about a new album from Madremana in 2013. What was not at all unexpected, however, was the fact that it was a GREAT release. The somewhat brief set was one which was highlighted by a grand amount of superior writing and in a year where, again, lyrics lead the way (and lyrics from females in particular), Madremana more than did her part. Produced by Big Cup Music, the album would mark the very first time the singer would deviate from her long time musical partner, Blaak Lung (who we also heard from in 2013), and obviously sometimes change can be good. While not taking to a terrain which would forbid longer standing fans (like myself) from following, "The Race" was a wonderfully FRESH vibe and one which, hopefully, lays a great foundation for the future works of Malika Madremana. The album's eponymous effort was surrounded with gems such as 'Mi Deyah', the damn difficult to forget 'Someone To Dance Wit', the first single 'Good People', 'Let Mi Lion Roam', 'Invisible Beauty', 'Tradition', 'Miles and Miles', 'Love Is Easy', 'Jah Is Wit Me' and… I just named every song on the album.

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#6 "The Messiah" by Sizzla Kalonji [VP Records]

What a joy! Similar to the case of the artist from #17 on this list (only FAR more dramatic and immediate), whenever we get an album from Sizzla Kalonji which finds him in a good form, it is going to take my attention (and virtually LOCK itself a place within the top half of a list such as this one) to an entirely different level. On top of that, when he is not only featured in a good form, but is so with such an intense buzz behind him, I fall in line like most people and begin to think that another PERFECT album is on its way. "The Messiah" was not without flaw, but it was a powerhouse of an album from the greatest to ever do it. Produced by longtime Kalonji collaborator, Richard Bramwell and Breadback Productions, the album was absolutely saturated in vintage Sizzla sound and, perhaps even more important than being what it was, it allowed people like me to continue to push that idea that the next life-changing, landmark release from the chanter was inevitable. For what it was, "The Messiah" was close enough - to be one of the largest highlights of the year as well as being one of its most discussed and well-regarded sets as well. 

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#5 "Dredlocks Time" by Army [Higher Bound Productions]

Pausing. When it comes to albums, 2013 was a particularly impressive one for music from out of the Virgin Islands. There was, of course, Midnite in all its typical glory and a very nice debut from the soon to be great Nahyubi Joseph and that wasn't all. Veteran chanters Ras Abja and Ancient King also chimed in, as did Danny I with his much talked about debut Spanish album and I Grade Records supplied us with the Songbird Riddim, which would subsequently be the subject of the single best compilation album that I heard, from anyone, in the year. It was very, very good! Playing a large hand in that was the aforementioned Higher Bound Productions who not only dealt  with Midnite, but also Ancient King, Abja and played a hand in Danny I's "Tribu Especial". The label was also on board the VI's greatest release of the year, for me, the MAMMOTH "Dredlocks Time" from the brilliantly serene Army. I go back now and, as is the case with all of the albums this high on the list, I'm looking for reasons NOT to place them here, but there're albums ranked higher than this one which have more questionable moments. "Dredlocks Time" was as good as it possibly could have been. There is not a single even remotely reasonable thing that I think could have been done to make it a finer record. Here, Army rose with an album which just made me feel really good and hasn't stopped. I hope it never does and I'm sure it never will. 'Modern World', 'Jah Will Guide', 'Push De Limit' and many of the other fifteen selections (like 'Bid Dem Goodbye') were the biggest winners on what may someday be one of the best albums I've ever heard. It was THAT good. 

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#4 "Bring Back The Vibes" by Lion D [Bizzarri Records]

Thanx again. Don't you just hate it when you have a person who is generally wrong in their predictions, but on the most odd occasion when they actually get it right, they make sure they make you know that they were - saying stuff like "I TOLD YOU SO"! 

Ehh-ehmm! I TOLD YOU SO! I TOLD YOU SO! I TOLD YOU SO! I TOLD YOU SO! I TOLD YOU SO! I TOLD YOU SO! I TOLD YOU SO! I TOLD YOU SO! I TOLD YOU SO! 

I knew it back it 2009 when Lion D headed that year's edition of this list with "The Burning Melody", that we had someone who was full of potential and could, potentially, serve up top notch albums for a couple of decades and in 2013, vindication came through in the form of "Bring Back The Vibes". Once again linking with the masterminds at Bizzarri Records, the chanter turned in another sterling, free-flowing and full on boundless display of his gifts and do so throughout another big album. And it hasn't ended at all! I'm still on board in telling everyone who will listen just how good I think he'll be someday and he gave me what I needed to I hear as the Lion came back roaring in 2013 for album #2. 

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#3 "The Order of Melchezedik" by Chezidek [JahSolidRock]

Searching and finding. Isn't it always nice to find someone with whom you have absolute chemistry? Particularly concerning something as strange and fleeting as making music - the history of Reggae music is brimming with legendary artist/producer combinations which have thrilled fans throughout the years. Well, as for Chezidek and the always active JahSolidRock, whatever it was that they were searching for, they found it in one another. Chezidek has made albums for so many different producers and labels and JSR hasn't been shy in making albums for a variety of different vocalists either, but neither of them have demonstrated the consistent level of GENIUS they do when they work together. If you needed more proof than what was to be found on 2010's MASSIVE "Judgement Time" album, it came blaring through in 2013 with the duo's followup, "The Order of Melchezedik". Just like its predecessor, this album was seamless and it bathed in some of the finest sonic appeal of any album in the genre, despite not even slightly dipping outside of its concept. You could close your eyes a find a winner on this tracklist. Though  my personal favourite is still 'Search and You Will Find', 'All My Life', 'Faya Pon Dem', 'Praises To Jah', 'Jah In Our Heart' and even others were in the discussion. It cannot possibly stop at a pair and though we may have to wait another three years to get it, the inexorability of a third album from Chezidek and JahSolidRock already has me excited.

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#2 "Better Tomorrow" by Etana [VP Records]

A guarantee. In music, very few things are ultimately reliable. Things change as often as people do and, even if they don't, your tastes change and what you liked today may not sound so good tomorrow. So while I cannot be assured that I will enjoy the next albums from Sizzla Kalonji or Norris Man; or that Lloyd Brown won't find himself back on digital-only shelves for his next album; or that I won't have to wait until I'm almost forty (which is only a very short and an even more ridiculous eight years away) (or seven and a half now) for the next time Malika Madremana to do another album or for the next time for everyone to, collectively, decide to pay attention to a new Lutan Fyah album - I can tell you RIGHT NOW that whether we get it in 2014, 2015 or 2016 or 2116, THE NEXT ALBUM FROM ETANA WILL BE GREAT! It has no choice. The woman makes great music as evidenced by now three GOLDEN projects. Her latest one is the first of its brood not to take top honours (and only because it ran into a new name), but one could make the case that "Better Tomorrow" was her greatest piece of work to date. We've all had the opportunity to watch Etana grow and grow as an artist and today she exists as one of a TINY group of names in Reggae music who you expect to make great albums and anything less will be a major disappointment. Fortunately, she'll never let you down. You'll lose your taste for the entire genre before Etana looses a step. Her offering this year, again, was a bright and beautiful set from 'The Strong One'. And, whenever it gets here, we'll be saying the same thing about album #4

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#1 "New Name" by Jah9 [RoryStoneLove]

TREMBLE. Wayyyyyyyy back in February Jah9 sewed, signed, sealed and delivered the single best album of 2013 and though we'd get great albums after that (like nearly every other album on this list), it was never a real question as to which direction to go here and I was so firm on that position because of the way this woman… made a game with only one player (named Jah9) - out of  the art of the spoken word.

'New Name'

Unless I am REALLY forgetting someone, I cannot remember a debut album which was as lyrically strong as "New Name" and the ranks of its equals are filled by bonafide stars and legends in the prime of her career - a lot further along than debut albums. The poet applied a poetic-like form and sensibility to writing songs where each and every tune had a subject from which it did not deviate (and I know that sounds simple, but if you listen to enough music, you know exactly how rare of a quality that is). Jah9 also has an amazing ability to write, simultaneously, from both her heart and head. When she does that, she makes songs such as 'Preacher Man' which are imbued with as much passion (and wholehearted disgust in that particular instance) as it is with common sense. You also, BRILLIANTLY, get pieces such as 'Avocado' which finds Jah9 fully attracted to someone who satisfies both body and mind. The fact that she even does a tune like 'Avocado' makes my point. That type of song does not exist from someone who has NOT thrown themselves in the moment in every way (instead it would have been some awful love song). We also got to enjoy songs like 'Jungle' and 'Imagine', 'Legitimate' with Protoje, 'Inner Voice', 'Intention' and, of course the pillaring title song which, again, gave a passionately intelligent praise to His Imperial Majesty.

'Jungle'

Jah9 made a fan out of me and many, many more. And in 2013, she also made "New Name", THE BEST REGGAE ALBUM OF  THE YEAR!

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