The Genuine Article: A review of Grateful by Torch

Blocks. In traditional Dancehall music, there are what I've called the Three 3 G's: Girls, guns & ganja. What I mean when I say that is if you listen to [traditional, have I mentioned TRADITIONAL??] Dancehall music, while you will find songs about topics beyond those three, those are, far and away, the most popular that songs from the genre center around. Furthermore, you're likely to almost NEVER find a song which doesn't incorporate at least one of the three in some fashion or another. I won't spend a similar amount of time explaining it but if you listen to Soca music at all, I don't have to tell you the concept of "jump, wave & misbehave" or any of its... thousands of infectious incantations or full blown albums. When it comes to Roots music, there're also a number of very basic and foundational concepts that anchor the music to a large degree. One of them is omnipresent (LITERALLY) and is THE central Figure of the entire genre; the others tend to revolve around HIM and are intrinsically interwoven within it as well. Now, just as is the case with the more restrictive confines of the Dancehall (I gave you three options for Dancehall. There're... maybe ten-ish in Roots music), we reward and celebrate the makes of this wonderful sound by how well they can convey these themes and, furthermore, how they can manage to differentiate it from their peers. HOWEVER, with that being said, there does exist a very straightforward way to present Reggae music in a way that does not stray far from center AT ALL but is still able to win the affections of listeners. There's a set road and those who show themselves capable of trodding it -- in even the most basic way -- can still reach a certain level of success when certain factors are in order. I'll bring up someone who so wonderfully embodies such a quality and though he hasn't enjoyed a massive amount of accomplishments to date (and likely never will), Steve Machete has spent a significant amount of time making a beautiful brand of Roots Reggae music that I absolutely love that does not challenge or stress the typical  foundation of the genre AT ALL. When you spread that out in terms of an album form (DAMN I would love a Steve Machete album), it can be even more important and while I do LOVE uniqueness and will continue to push it to your attention when I find it done well, I have to admit that there is SOMETHING mightily attractive about digging into a pure, extremely well done piece of modern Roots Reggae. I've spent years and years lifting up such releases and have absolutely no problem with doing it again.

2026

....like today, for example! Earlier this year, Torch released an EP by the name of "Path To Success" which, for what it was, was incredibly well-received and fairly popular in its time. I remember being very pleased to see the response around it and it featured a number of big names in just a handful of tracks (more on that in a bit because all of those songs are on this album) - so that definitely helped bring in eyes and ears. We were all largely rewarded. "Path To Success was very good and, apparently, it was just a bite of what was forthcoming. I've never actually reviewed any of Torch's work (despite the fact that he's been making full projects for... almost a decade and a half or so and you'll find him mentioned around here as early as 2009!) and made a proper note to attempt to change that around the time of "PTS" and LOOK [!], he's given me the opportunity to change that and I am all over it. 

I don't want to paint a picture that Torch or his music (or this album) are bereft of uniqueness or originality: They most certainly are not. His style is a very pleasing blend of a loud chant (he almost sounds like Tony Rebel at times. Coincidentally, The Rebel would give him his name and has been a help throughout Torch's career to my understanding) with a more traditional singing voice that he occasionally employs to big effect. I've also read interviews where the Trench Town native lists the likes of Buju Banton and Sizzla Kalonji as artists who've inspired him musically and his approach also reminds, somewhat, of them as well. Now, were you one of the ones who caught onto Torch during the hype of "Path To Success", you should be REALLY happy (and even if you go back further than that, you'll be pleased as well) as that release has now been inhaled and a larger project has been constructed around it and we get "Grateful", the brand new album from the ever talented Torch. Torch has an actual background in music, apart from making it, I believe he was trained as an engineer and he also spent considerable time at the hallowed Penthouse Records, so it comes to no great shock that he, himself, handles production for "Grateful" and, after getting a listen to it, hopefully he spreads the joy around a bit because there is some WONDERFUL Roots music on this album. I got started down this road as far as the direction of this review because of that title and how being grateful and thankful, in general, is foundational tenet of this music and, as the album plays out, Torch and company really begin to touch so many of the others and in a very forthright and matter-of-fact manner. "Grateful" makes absolutely no illusions as to what it is. It is a modern Roots Reggae album - nothing more, nothing less. It's very well written, it sounds exceptional and it is just so beautifully presented. Such a set of circumstances may present certain limitations (and I'll touch on that in closing, SURELY) but it also will open it up to my opinion; for what it may lack in "legs" and diversity, "Grateful" more than makes up for with sincerity and an UNFAILING understanding as to exactly what it is. Let's talk about it! 

Something that I (a nerd) found really cool about "Grateful" in relation to "Path To Success" (that no one else will but who cares!) is the fact that of the seven songs present on "PTS" only four of them made it to the full release. To me that says that there was some sort of total vision for "Grateful". It isn't that they cut away some of the 'fat' (they most certainly did not. This album has seventeen tracks and it's an hour long); it's that Torch and company had an idea of what they wanted "Grateful" to be and the songs that fit in that image made it over and the ones that did not fit, did not. They weren't just attempting to flesh out a record. What they did see (whoever "they" may be, precisely) begins with a definite highlight and the first of what turns out to be NINE combinations in total, the GORGEOUS 'Travel Jah Road', featuring Vyzadon.  The guest here is an interesting one for a few reasons, not the least of which is that Vyzadon tends to sounds.... almost SAD to me at times. It isn't quite the same feeling (and they sound nothing alike) but the feeling of listening to his music sometimes reminds me of Bugle to a degree. Of course SAD does not mean BAD at all and, like I said, 'Travel Jah Road' is outstanding. Specifically, the tune deals with things such as perseverance, overcoming obstacles and not being too proud to ask for help when needed. There's a lovely spot right in the middle where 'Travel Jah Road' REALLY settles in, musically, and when the vocals return we get a bit of back and forth between the Torch and Vyzadon for one of the more dynamic stretches of the album before the instruments return and send us out soaring on a golden start. In next is, arguably, the even higher 'Agenda', which is downright brilliant.

"So sharpen di vampire stick

Pass through, stab wicked heart wid di prick

A DIS YAH FLAME BUN NASTINESS"

"Full time no deh pon shift

DI MISSION IS TO SAVE DI PEOPLE DEM FROM A FIERY PIT

Dem waan fi stop mi from seh dat and dis:

Waan control di narrative wid lies and tricks

So dem come and seh 'excuse mi, yuh fire too red!'

KNOW SEH MI NAH PARTIAL

BUN YOU OUTTA YOUR BED"

'Agenda' Torch's shot back against a general level of nastiness being expressed in the world and he does it with such a HEAVY HAND! I mean this tune is dripping with confidence and wit. Torch tackles this one like someone who is taking a test that he's been studying for his entire life. There are no surprises to be had; HE'S GOT THIS! 'Agenda' is a special song and though I do find one stronger than it on "Grateful", were I to just pick one to present Torch's music to someone, 'Agenda' might get the call. I'll skip ahead a bit to another excellent selection and one with a title that you'd fully expect to see on a release such as this one, 'Don't Give Up'. I just mentioned how "confident" Torch struck me on 'Agenda' and I think that CONFIDENCE, particularly self-confidence and assurance is the main theme behind 'Don't Give Up'. This isn't necessarily that piece solely about dealing with things that you encounter in life and going through the things that give you trouble (as is the case on the opener); although that is certainly apart of it, 'Don't Give Up' is more about what's going on inside of your head. We've had bad times that we've experienced and we knew that they were passing. Maybe you were working on something that wasn't going quite to plan but you were fine with it. You were patient and knew you had a good chance of turning it around; 'Don't Give Up' is when THAT is gone. When you've lost that inner belief, 

"So no give up on yourself

ONE DAY YOU'LL HAVE A STORY TO TELL"

'By The Cover' was a legit surprise to me and a damn powerful one. I didn't make the connection but it's quite clever. This one is about not underestimating people and places and circumstances (and ALBUMS) (I may've thrown in that last one) ["Dem judge di book dem by di cover and wasn't sure of what was inside. And now dem wishing dem discover, cause it was more than what meets di eye"], for better or for worse. There's just LOADS of common sense and knowledge behind 'By The Cover' as well and you get the point, without knowing him at all, that Torch is someone who writes with a level of life-experience that he pushes into a song like 'By The Cover' and several others on "Grateful" as well. Before I switch gears, I will mention out obligatory love song on the album, 'Still Believe In Love'. You don't dwell on these tunes unless they're exceptional or really bad and 'Still Believe In Love' is neither. It's just fine for what it is and it actually does a nice job in showing off Torch's vocals when he sits on them just a little. You should have expected such a piece to be in this mix and, if you did, you probably expected it to sound pretty close to 'Still Believe In Love'. 

Now, let's talk about the other seven individuals who, along with the aforementioned Vyzadon, join Torch in making "Grateful" the project that it is, as he taps a wonderful variety of names you know and maybe others that you should/will know. Let's just pick a random one... let's say... 'All I Need'! This fine track features veteran singer, Little Kirk. Little Kirk is [delightful] an interesting one because he was never the type to hop on every single riddim -- even at his pinnacle -- and though he's strung together a fine career for himself, the urge is to always bring up his generational talent of a brother when his name comes up but he's more than deserving of a significant amount of credit on his own merit and I was DAMN happy to see him aboard "Grateful" and he does not disappoint. 'All I Need' is a very straightforward, but BEAUTIFULLY done, praiser and that's about all of the explaining it needs, but DAMN this song is so nice to listen to! Biggup Little Kirk. You wish he came around more often after tracks like this one (but he won't). Just ahead of Little Kirk's appearance on "Grateful", Aneillyon makes a contribution on the somewhat melancholy 'No Procrastinating'. Like the song just behind it, 'No Procrastinating' is song exalting The Almighty but it takes a little bit of a twisting route to arrive there. I'm actually pretty curious as to how they came up with it but the song's punchline:

"No procrastinating, we've got work to do

Trust in Jah, and HE will see us through"

It's pretty SMART. What they're saying is that NO ONE, not even HIM, is going to do everything for you and you have to try, at the very least, to meet someone halfway. You do your part and I'll do mine and we'll be just fine. Again, the vibes of the song are pretty different; this is not a joyful tune but it's one that you'll make a mistake in not taking in should you pass on it when realizing that it doesn't immediately grab your attention. You should have no such issues AT ALL with the all sorts of fun 'Wheel Again' which enlists the talents of Bingi (who, himself, has a new EP for this year by the name of "The Beginning"). I'm not going to call it a 'love song' or a 'lust song' ["She seh she a nuh door but she loving how mi jam it"] but it is kind of relationship-ish and flirty. HOWEVER you come to qualify it - it is outstanding and a damn joy to listen to. Just as impressive as Torch & Bingi on the vocals is the actual riddim and whoever is on that guitar on this song deserves a bonus with the performance they put on for 'Wheel Again'.  'Be careful of the company you keep' is the sentiment behind another winner, 'False Pretense', which links Torch with the always interesting (for one reason or another) Turbulence. The tune was one of the few making it over from "Path To Success" and I can actually recall the first few times that I heard it (because I can literally still hear what my critique of it was at the time) because it sounds a little uneven in combining the vocals with riddim at times (especially at the beginning) but it subsequently settles down and you get a really nice vibes between these two across an old school bounce of a riddim ["TRY TO DESTROY MI FOR SELFISH REASONS AND IN MY EYES, THAT IS A TREASON"]. You've heard songs like this many times in the past on Roots sets (Ickarus had one of the finest I've ever heard called 'Mind Who U Lime Round' ["Spend time round. They could be the same one that's putting you down"] and they do so nicely fit into the ideology of the genre as well as far as uplifting positive works and putting away negative ones. Torch also taps German star, Gentleman, for a cut on "Grateful", the glowing 'I Will Be There'. RIDICULOUSLY COINCIDENTALLY, Gentleman, himself, also recently released a very similarly titled album by the name of "Gratitude" and it also just happens to have seventeen tracks as well! No stranger at all to combinations, himself ("Gratitude" has TEN of them), Gentleman at least has the propensity to work well with others, Gentleman can pretty much work well with just about anyone - CLEARLY Torch isn't an exception (and I am fully expecting to see Torch on Gentleman's next album or EP, whenever it may get here). As its title would suggest, 'I Will Be There' is just a track about accepting and asking for a helping hand when you need it. It's also about serving that purpose for someone else when you're able and just such a nice vibes altogether and one which sort of indirectly (almost directly) gets into things such as depression and mental health. Now, with supreme respect to Gentleman, Turbulence and everyone else whose name I've mentioned thus far playing a guesting role on "Grateful" there's a trio of others who really turn in efforts that set them apart from the rest. One of the names I was most curious about hearing was Natty King. Natty King is a really big deal for me but he seems to not be as active as I would like (which would explain why I was more looking forward to his tune than another one here which happens to feature one of my absolute favourites artists) (more on him in a second) which makes it an even bigger deal when he does come around. His contribution to Torch's album comes on a song called 'Give Thanks'... you know damn well you can't have a Roots Reggae album without a tune called 'Give Thanks' or something like it. The actual music echoes the simplicity of its name and it definitely is cursory but in a lovely way. The two have a nice amount of chemistry with one another, the song sounds excellent and it isn't necessarily lacking lyrically either. 

[Who knew ^that^ paragraph was getting THAT damn long???] Junior Kelly has an album of his own which actually releases TODAY (currently writing this on the 2nd of October, 2026), "Care About Me". If it's at least halfway decent (and it should be), it'll probably be the next review that I start (listening to some of the early clips.... ain't looking good) (maybe I'll review it anyway) but until then, he pops up on "Grateful" for one of its largest moments, the downright triumphant 'Perseverance'. 'Perseverance' is GLORIOUS Roots Reggae music; both turn in excellent performances but you have to definitely big up Junior Kelly who provides the tune (and the entire album, actually) with one its most scintillating segments:

"I no born inna socks or nah grow up pon no carpet

No silver spoon inna mi mouth mi neva get yet

Yet, when rain ah fall - man a wet

Sun ah shine - man ah sweat 

Pon mi pride, mi dignity - dem waan mi step, step, step

I'm more

Mi nah less 

Mi nah sleep

Mi nah rest

Through all di blood and di sweat and all di stumble weh mi mek

AND WHEN YOU HIT ROCK-BOTTOM DI ONLY PLACE YOU CAN GO IS UP!

And when you lost everything then you got no more to lose!

So don't give up!"

BOOM! Similarly vibed is the final combination I have to tell you about, the title track, this one calling up the great Lutan Fyah. 'Grateful' is EPIC. It's one of the single best songs that I've heard ALTOGETHER in 2026 and, of course, the sitting GEM of the album named for it. Though 'Perseverance' has a more jovial type of vibe to it, it and 'Grateful' are quite similar to my ears and, again, they both WONDERFULLY encapsulate a couple of the longstanding and significant themes of modern Roots Reggae music. CHECK! 

And we're not done, I still have four really good solo songs to tell you about [!]: Check the easy-going and prayerful 'Goodness & Mercy'. This tune, which has a clearly established biblical core, is likely exactly what you're thinking but it might come as a surprise that it actually has some of the finest musicianship on the entire album. The riddim here exquisite and it seems to keep adding little [delightful] nuances as it goes on and on. First you get a little horn (not THAT kinda "horn") (biggup Soca); then A LOT of horn; then a keyboard; then some guitar and it all makes for one attention dominating piece of music. 'Goodness & Mercy' shares a heart with the closer of 'Grateful', 'We Shall Overcome'. While the sound of 'We Shall Overcome' is far more basic than 'Goodness & Mercy', I'll challenge you to listen to this album out and not find yourself singing, "we shall overcome, we shall overcome". It's musical 'modesty' is not only its most apparent characteristic, it's also its most charming and powerful in my opinion and I wouldn't be surprised if, somewhere in his background, is a more traditional amount of Gospel for Torch as well. Then there's 'I Am A Warrior'.

"Sometimes I feel so broken and battered

All my hopes and dreams, it seems shattered

And I know that faith is required

Even though I'm weary and tired

Time it waits on no man, so I just can't play around

Keep my head above the water, cause I man no plan fi drown"

I'm thinking 'I Am A Warrior' (and the next song that I'm about to tell you about) will kind of go overlooked because it definitely doesn't have some of the more... IMMEDIATE qualities that you hear on some of the others but it is a very nice selection! It's well-written, it's catchy (that chorus ranks amongst the album's finest in my opinion), the vocals are lovely and it's just a high-quality, total effort from Torch. Finally, 'Oh Jah Jah' is a sweet praise of The Almighty which instantly translates to a more terrestrial and tangible idea in using a level of praise and inspiration to overcome certain things in life (more on that in a second) and it is lovely. Take a listen for yourself! 

"One day my sorrows will ovah!"

There're a couple of things that stood out to me as I was putting this review together that I think deserve to be stressed. The first is that "Grateful" definitely does cover many of the bases of its genre but it pinpoints things like perseverance and struggling, specifically. While I won't say that it does to that topic what Akae Beka did with unity on the unforgettable "Beauty For Ashes" because not the entire album is on the same topic but what Torch does manage to do here is extremely impressive, particularly considering that "Grateful" remains fresh and exciting throughout. It never wears out the subject and becomes flat. To that end, credit goes to the wonderful music and writing. The other thing I want to mention is just how nice of a showcase this set is for Torch's VOICE. He sounds fantastic, consistently, within every approach he takes (he almost sounds like Natty King at times, which is a huge compliment). If he's chanting, full singing or bringing in the fire, Torch shows himself to be amongst the most gifted, CAPABLE and versatile lights on the scene today with what he does throughout this release. 

Overall, if you cannot tell (shame on you), I REALLY like "Grateful". It's long overdue that I review one of Torch's albums but I picked a good one to get to work on. Because of how it goes, and its full quality, I would first specifically recommend "Grateful" as a great doorway into Torch's work. Maybe you'll find a better set somewhere in his catalogue (and if you know of one off the top of your head, feel free to let me know), maybe not, but if you're just catching on to his work, this is a FINE entry point. Furthermore, I'd go as far as to say that, even in a year as ridiculously STACKED as 2026 has been, "Grateful" stands as one of the strongest displays of talent that I've come across. Let's specify that for just a moment: I'm not saying it's THE best album that I've heard (it is not but it is up there) but as far as showing what its star is capable of, it's great at that. Along with its sound, its display and everything that it has going in its favour, "Grateful" by Torch is an album that should register with fans for one reason or another. Maybe it isn't the greatest you've ever heard or maybe it doesn't blow you away but IF YOU ENJOY MODERN ROOTS REGGAE, YOU WILL LIKE THIS ALBUM. Period. 

Rated: 4.45/5

Bad-Hasai Muzyk

2026

Aging Gracefully: A review of "Gratitude" by Gentleman

Indomitable. I think that as you age, you begin to make certain concessions in regards to the passage of time and, even if you don't, Mother Nature makes them for you. You wake up one day and you're forty-five years old and most of us aren't what we used to be, physically, and maybe you have to watch what you eat a bit closer than you ever did (....if you ever did) if you're at all concerned with sticking around on the planet. Similarly, you'll also have to start making room for the younger generation. If you have kids, they'll grow up and, perhaps, start showing less and less interest in you and what you've taught them (which isn't necessarily a total bad thing, they're allowed to make their own way) and start seeking other sources of guidance - just like you did when you were their age. They'll be interested in more interested in other things (if you've done what youre supposed to do as a parent). They'll also begin to make their own sound and you'll probably [SURELY] not like it as much as they do and maybe not even understand it very well at all - also fine. I say that because, I look at things now and I find myself likely mentioning people who either weren't around when I started writing these things or, if they were, were very, very young and I'm probably the same age (if not older) than the whoever raised them. I'm definitely enjoying some of the younger talents but, unsurprisingly, I still spend more of my time writing about the work of people with whom I am far more familiar. These're people who I either grew up listening to or began hearing as a young adult. The last review I actually completed as I write this now was for an album called "World Of Love" by Anthony B: He definitely qualifies as such an artist and so do the Capletons, Bujus and Beenies of the world, all of whom have released albums this year and we've covered them all (and I'm sure I'm forgetting someone else in there). So when I saw the album we're dealing with on the schedule today, one of the first things that went through my mind was just HOW DAMN LONG, I've been listening to this 'German guy'. I can remember hearing so much about him in the early days, to the point where I went and tracked down an album of his... and it would become a Modern Classic and then another album he did a couple of years later.... also a Modern Classic ["Intoxication of a certain kind!"]. More than twenty years later now and we're all still here and it's time for another party!

If you do not know who I'm talking about (you have selective vision because his name is literally at the top of this post), of course I'm referring to German big man, Gentleman. For as long as I can recall (perhaps at least partially due to the sizable Carribean population in the UK), Europe has been a hotbed for Reggae music. And you can go back to THE 70's and acts such as Steel Pulse and Aswad and even UB40 (if you don't like UB40 you are unworthy of love) (SERIOUSLY) or, further up the line, to the likes of the brilliant Maxi Priest (who is still going and on his way to SEVENTY years old). I don't know that such a background exists in Germany, however, and though I'm sure there must've been someone ahead of him, Gentleman's is the very first name that I can think of and, definitely, to the degree of the impact that he's made in his career. You have to think that Gentleman has not only inspired many Germans to listen to and to actually start making Reggae music but I'd go as far as to think that he's inspired a large number of Europeans, in general, to do the same with the strides that he's made over the course of the last... damn near three decades or so. 

2022

But apparently Gentleman, now well into his 50's, isn't ready for some lifetime achievement award. He's not ready for the rocking chair. He still has a few things on his mind and one of those things (or seventeen of them) is "Gratitude". I THINK the last time we heard from Gentleman in album form would have been just four years ago, with "Mad World" (seems longer than that for some reason). That album, like pretty much everything he's done, was very well received and, listening back through it right now for the first time in a few minutes, it has aged very well (when I find myself listening to albums like this, I'm always curious as to what I thought was its best song when I reviewed it. In the case of "Mad World", it was 'What Them A Go Do'. It's still fantastic but 'Defining Love' is running it close these days) You knew you'd hear from Gentleman again (more on that in a second) and probably in the not too distant future; four years later is just fine. He's also been relatively active over the course of the past few years or so. I have to say that Gentleman makes such an... OPEN and SPRAWLING form of Roots music (for the most part), that he's someone whose work, whether I mention him a great deal or not, I really find myself looking forward to hearing. His music is very catchy and immediately gratifying. In fact, in a year where we've seen CONSTANT big names arriving and re-arriving with albums and projects, "Gratitude" was in the small lot that I was most anticipating digging my claws into (biggup Capleton). When the actual background info surrounding "Gratitude" began to come out, I got even more intrigued as the new album features quite a bit of the handiwork of the great Don Corleon. I think a legitimate case could be made that Don is THE greatest producer in Reggae... like ever. He at least has earned a seat at the table so anything he puts his work into is at least worth hearing. Furthermore, the two have a history together as Corleon has been behind some of the biggest work of Gentleman's career including, arguably, THE biggest, the previously alluded to 'Intoxication', across the legendary Drop Leaf Riddim. Just a couple of years ago, the two reunited for 'Watch Over Me', Gentleman's lovely cut of Corleon's STERLING Finally Riddim; so the link has remained strong. Also, along with Corleon, Stephen "Di Genius" McGregor and Clayton "Claye" Morrison also provide production and, of course, it's a Gentleman album, so you know that the vocal guests will be damn interesting as well. If all of that hasn't sold you on "Gratitude", at least on paper, then.... just listen to it anyway. You will not be disappointed in what you hear. 

Gentleman has always struck as a bit of a music junkie. What I mean is that - if he never made a dime for his work, I think he'd be, by far, one of the most enthusiastic of music hobbyists in the world. Because of that, I almost look at the way he does things as how a fan might. If I were a musician, I think I'd hear someone and really want to work with them. Gentleman does that. He's done full albums with other artists (coincidentally, one of whom was Ky-Mani Marley who released an album on the exact same day as "Gratitude") and it's usually one of the most compelling aspects surrounding his releases: Seeing with whom he'll work this time around. We'll get more into that in shortly but 'Genkleman' begins his brand new album, "Gratitude" all by himself, with what is undeniably one of its biggest moments, 'Lion'. This tune may've been one of the (if not THE) first singles from what turned out to be "Gratitude" as it launched way back in the winter or so and even a cursory glance of a listen to it shows you exactly why it was chosen. 

Not only is 'Lion' excellent but, again, it's signature Gentleman. It's open, EXCITING and very catchy Roots music. I do have to mention that... GRUMBLE sound on the riddim. It kinda/sorta sounds like it's a little angry at us all (and that's fine) (we're flawed. It probably should be mad at us) and IT IS GORGEOUS! Gentleman shines, arguably, just as bright but Don gave him a damn DIAMOND of track to do his best on. Next in is, EASILY, one of the most interesting efforts on the whole of "Gratitude" and at least partially the reason why I structured this review in the way I did, the absolutely LOVELY 'I'll Be There'. Let's go back for a second: In 2007, Gentleman did an album by the name of "Another Intensity". That release carried a nice tune by the name of 'Lack Of Love', which just so happened to feature the great Sizzla Kalonji. Nearly twenty years on and Gentleman now does 'I'll Be There' alongside Meleku, who is Kalonji's son. You know you've put in some serious checks in the longevity column when you're knocking around with GENERATIONS of families (not named Marley or Morgan). And you aren't just hanging out and sticking around, you're also maintaining some level of stature as well (particularly given who else is here) (Gentleman & Sizzla would make at least one more song as well. It was called 'Don't Worry' and it also featured Mark Wonder). 'I'll Be There' is really good stuff as a love song and it finds Meleku employing that high pitched kind of wail that his father often does and it works from beginning to end and as the first of TEN combinations on "Gratitude", it really gets us off to a great start. Just as Anthony B did with his ridiculously addictive 'Jet Ski' from his most recent release, "World Of Love", Gentleman also tackles the Hill & Gully Riddim and he also dazzles, with 'Nah Worry'. 

"Coulda hill top weh a di grades, man grow

Dung inna di gully, a di same love show

Still ah carry love pon di journey, mi know

IT'S A HILL AND GULLY RIDE FULLA HIGHS AND LOWS

Jamaica just open di door and say 'come Gentleman, cah yuh heart to di core'

Cologne, where it start unfold, wid a real yard influence: Cultural gold!"

The song goes through Gentleman's journey to prominence a bit but what I REALLY get from 'Nuh Worry' is just HOW DAMN APPRECIATIVE he is. It comes off more, to me, as a THANK YOU. Gentleman is thanking a culture, his fans, an artform, a place and he's grateful for everything -- "the highs and lows" -- that he's experienced along the way. That is a HUGE thought for me and I love all of 'Nah Worry'.  The R&Bish 'Unity' is another winner here with its somewhat unusual sound. I call "R&Bish" and I'll stand by it but you'll get nothing of the typical R&B fare in terms of direction from it at all. 'Unity' is pretty much exactly what you'd think it would be if you follow Reggae music to any degree ["Mi waan di people spread di love so mi ah nudge dem. For our part wi use di music and wi touch dem"] and it is a substantial body of work, lyrically. I don't want to be a 'prisoner of the moment' but, seriously.... 'Unity' is one of the best written tunes that I've heard from Gentleman in quite some time and he's always pretty dependable in that area, so that is a considerable statement. Here is another considerable statement: QUEEN OMEGA IS ON THIS ALBUM. Her contribution comes on a tune called 'What If' that reminds me of a personal all time classic for me by the name of 'Stay Like Bees' from Agent Sasco; as the Queen and the Gentleman ask a most basic question: What if things were different? I don't think that the perfect picture (or perfect MODEL of a picture) here is some type of utopia where things are both better and simpler (he literally says "what if reality is just a mirage") but I took this one in more of a combined way. This is a tune where so many different little topics come together to make ask that question. Maybe they would be better in some cases or maybe not but these two go about posing that scenario in a most DEVASTATING fashion together. And... I MEAN, DAMN! IT'S GENTLEMAN & QUEEN OMEGA ON THE SAME SONG! BOOM! 

The floodgates open after Meleku and Queen Omega as EIGHT of the final twelve selections on "Gratitude" are combinations of some sort; featuring a very healthy variety of names joining Gentleman. The album actually completely introduces me to someone who I've never come across in any capacity, the wonderful voice of German songstress, Milaa, who joins in on the glowing 'Show Me A Sign'. My little research tells me that Milaa typically sings R&B and CLEARLY that gold bar of a track from Don Corleon made her feel completely at home because she does a BEAUTIFUL job with Gentleman here. The song is lovey-ish but it has a certain DEPTH to it and, much like the opener, the riddim comes equipped with this terrifyingly delicious GRUMBLE to it. It isn't as strong as it is on 'Lion' (and it shouldn't be) but it is so damn addictive when it pops in. Even stronger is the track behind 'Bypass The Sorrow' which features impressive German singer, Nico Santos. I am not crazy about 'Bypass The Sorrow', on the whole, as a song; lyrically, it isn't very strong (it isn't bad but it's kind of meh). But just LISTENING to it... DAMN! It is a heavy piece of art and, strictly in that capacity, it's probably one of the finest listens on the entire album. Just play that thing in the background to your day and you'll truly enjoy it. Curious voiced Irishman, Michael Patrick Kelly, makes an appearance on "Gratitude" through 'Wildfire'. My friend, Google, told me that, about a decade ago, Kelly and Gentleman worked together on 'iD', which I'm listening to right now and am probably going to have a difficult time shaking. 'Wildfire' may not be quite as immediately captivating but it is a better song in my opinion (probably due to all of that actual Reggae going on) ('iD' was a little Poppish) and it really does pick up. Much like the situation with Meleku & Sizzla, this is pretty nice as you make a song with someone who doesn't really fit into the landscape of the music that you typically make and, several years on, you're both still around and are able to run it back and do so at a level where it's still crucial to your fans. The THICK and unusual 'Fireflies' brings in both Jahmiel and Claye (who also produces the song). I call it unusual because I don't.... quite know how to qualify it in terms of sound. It isn't Reggae really and I almost want to call it Hip Hop to some degree but not quite. Regardless, while I can't rank it amongst my favourites, I'm still working on 'Fireflies' because I'm damn confident that there is something in here that is slowly building on me. I don't think that I ever get to the point where I LOVE 'Fireflies'.... but we will see. And I'll put it here (as it may just be the shortest combination that I've ever heard) but 'Same Struggle' is at least a little better than every song I've told you about since 'What If'. 

 

"Careful cah di rat dem out fi get yuh cheese

Mind yuh enemies cah dem will try fi put yuh pon yuh knees

Solid as a rock, it's like wi concrete

 Neva tek a loss, it's like wi bawn fi it

HAFFI LIVE MI DREAMS, THAT'S WHY MI CAAN SLEEP"

I THINK I may've come across Richie Campbell but I'm not entirely and IF I did, I did not hear THAT from the Portugal native. He SCORCHES the semi-social commentary (I say "semi" because it is but it's also pretty personal and specific) with his piece to the tune of one of the most thrilling verses on the whole of "Gratitude" and I will definitely be seeking out more of Campbell's work in the future. 

I have no idea how many songs Gentleman has done with Capleton and I don't feel like looking it up but I'm going to go ahead and immediately install their collective tune on "Gratitude", 'They Don't Care', as one of my favourites from the duo. Let's stay here for just a second because I have a couple of things on my mind. The first thing I'm going to do is to give HUGE credit to one Gardel Fulvio Stuart who produces and comes up with a riddim literally DRIPPING with nostalgia. This thing sounds like.... gorgeous, BRUTAL late 1990s Dancehall and if you don't know, you just happen to be in the presence of one of the genuine masters of the era in Capleton and he absolutely annihilates this sweet, sweet track (the KNOCK on 'They Don't Care' almost reminds me of a tune King Shango did called 'Melting Pot' a hundred and twenty years ago) 

"After mi gi dem di torch and dem drop it

Show dem di door and all now dem caan knock it

Give dem di code and all now dem caan crack it 

How dem si mi wid di key and ah ask 'a who lock it'?

Capleton and Gentleman, di one yah shoot like rocket

Not even AI, nuttin can stop it

Go fi cybernetic and dem still couldn't hack it

Mek mi tell dem one more thing: 

Mi love di people uplifted

Blessed from birth, so mi know seh mi gifted

ANYTHING THAT GOOD, IT HAFFI GET RESTRICTED

Real organic, well a dat wi ah stick wid

And mi nah lef mi clip wid"

Grrrr! Gentleman, himself, also turns in a stellar effort and the pair blaze hot enough to the point where if 'Lion' is not the best song on this album (and it is), 'They Don't Care' makes a MIGHTY argument for itself! Don returns to steer Gentleman with Christopher Martin on the postively golden 'Open My Eyes'. This is another pairing that isn't first as the two vocalists have linked on multiple occasions; most notably, perhaps, on 'People', atop Kabaka Pyramid's winning Victory Rock Riddim. Though 'Open My Eyes' may not quite hit those lofty levels, it's running it very close as a total composition. 'Open Your Eyes' isn't Reggae music at all. It just is not. It's somewhere between R&B and Jazz and it's one of those songs that people would say has "Caribbean undertones" or something like that, strictly because of the vocals but it doesn't have that either (and we'll get back there before closing this one out). It does have a very uplifting message and, again, regardless of its genre, 'Open Your Eyes' is undeniably wonderful music. Finally (besides the other... four songs I still have to tell you about), Bermy star, the well qualified Collie Buddz, is featured on "Gratitude" as well with his track, 'Friends' ranking amongst the very finest it has to offer altogether. On paper, Gentleman with Collie Buddz is a HUGE FUCKING DEAL. The thought of it is a very one exciting one and it pans out as well as you could have imagined.

"Biggup di real ones and go have a laugh"

The tune is about the special people we meet along our journey and how they come and go (and how we come and go in their lives as well) with that specific select few sticking around to the very end. Also I just get from 'Friends' the idea of TREATING people better, in general. Also, just in case I haven't mentioned it over and over again but the riddim here, from Don, is a piece of glowing magic. I don't spend a lot of time talking about Collie Buddz but the man is super talented and he's been churning out some top notch material over the course of the past few years or so.

'So Good' is a solid love song. It isn't a GREAT one but it's pretty good but.... I hate to beat a dead horse (revive it and beat it again) and sound like a broken record but... DAMN! The riddim on that song is kinda divine. It's a gift from the Heavens or Don - one of them. The same EXACT source provides that thing you'll hear beneath 'Never Fail' so I'll spare you my thoughts on its quality... because you already know what I think about it. 'Never Fail' is excellent. The praising tune sits comfortably amongst the very best that "Gratitude" has to offer without a doubt and it's specifically one of the best on the lyrical end as well. I should also mention a VERY subtle horn that I hear in the background here. It is as faint as it could possibly be but my ears jump (biggup Shabba) each and every time I hear it, particularly during the sweet, SWEET chorus. Check the surprising modern Dancehall burner 'Warrior' which stands as a bit of a changeup for 'Gratitude' and one that is damn welcomed! I would have listened to this album and said that maybe something here is missing and I wouldn't have been able to qualify it.... it would have been 'Warrior'. 'Warrior' would have been missing. It's a FUN song that does have a semblance of a greater purpose but, like I said, Gentleman seems to me to be that music addict who is always thinking of something to add to the pot and it sounds like he had an endless amount of fun putting this one together; that stands out most glaringly, when it almost seems like he free-flows an entire verse to biting effect. 

"Mi just ah sekkle and flow pon di beat unu Don

Cooler than di breeze weh blow outta di fan

Hotter than di fya from out frying pan 

Lyrics dem ah shot but no gun inna mi hand" 

The final song on the album doesn't do much for me - 'When The Sun Goes Down'. It's largely acoustic and it has a nice, bright vibes to it which is fine but it doesn't move too much from that point. It's also the second shortest song on the album so it doesn't wear out its welcome and, who knows, you'll probably enjoy more than I do.

Sticking on that topic, quickly, I do want to just mention that, "Gratitude" definitely brings in a few different sounds which aren't typically/traditionally found in Reggae circles. It isn't overbearing to any degree and it isn't even all that shocking given just how many songs it carries but it is worth mentioning. So, just in case you're wanting every single tune to clunk you over your Reggae & Dancehall starved head, do beware. Also,.... have I mentioned just how DAMN GORGEOUS some of this music is??? In case I haven't (over and over and over again), you've now officially been notified. 

Overall, while I won't attempt to compare "Gratitude" to some of Gentleman's other releases, what I will say is that it is a very entertaining and fulfilling set. Again, given the sheer number of songs here (and all of that other stuff that I mentioned), I was expecting a lot here and I don't come away from it disappointed to any degree. While the album comes at an interesting and WELL DEVELOPED point in the career of Gentleman, it still sounds, wonderfully, like he's working on some things. He's still in the lab tinkering and mixing vials that probably shouldn't even be sitting next to each other; it's probably the same thing that got him started down this most interesting path in the first place. "Gratitude" is an album from an aging star that sounds like he still brings every ounce of the zeal and PASSION that initially put him on our radars in the first place.... way back when. Well done.

Rated: 4.2/5

Warner Music

2026

It's Still Burning: A review of World Of Love by Anthony B

Specifics. After a particular artist has been around long enough and established themselves at a certain level, we, as fans, begin to do certain things with their music outside of just enjoying it. It is the source of both discussions and arguments alike where the topic goes to things such as biggest hits and prime years and such. It can be interesting as hell and it's been fun analyzing in certain reviews and articles I've written through the years as well. Today, I'm going to not do either but, instead, jump somewhere in between because when I first laid ears on the album for today, I began hearing certain things that reminded me of certain others and I got a REALLY good feeling heading into it. When you talk about Anthony B, he most certainly has reached a place in his career where that conversation has long begun; to the point where I did consider doing a feature on him about my favourite tunes (and I may still someday) but ultimately talked myself out of it because I thought that the idea of 'Anthony B's Greatest Hits' has kind of been worn a little. Such things are not hard to find. What I want to look at today, in particular, however, are albums. Like his equally legendary peer, Sizzla Kalonji, Anthony B has been incredibly prodigious in putting out albums during his career. Though things have slowed in recent years (for everyone), once upon a time not long ago, he could be counted on deliver multiple sets every year for multiple producers and multiple labels and a brief look back into his catalogue can reveal certain things about Anthony B when he's in form. One of my personal favourite releases that he had which probably didn't get the respect that it deserved was a BEAUTIFUL album from over twenty years ago by the name of "My Hope". I bring that set up not just because I absolutely love it and I'm still trying to get the word out that it was excellent but, again, it went through my mind when I really began to take in Anthony B's latest creation that we're going to talk about today and it got me to thinking about exactly what works for Anthony B during the best of his album releases. He most certainly is not perfect (neither am I) (neither are You) and a trip through his vault will reveal an album or two that aren't the greatest (like "Untouchable") (and "Rasta Love") but when that man is ON, there is a certain, infectious BOUNCE to his music. It is an exciting, freeing brand of Roots music which manages to deliver the more 'standard' and cursory elements of the genre at the same time. "World Of Love" is that type of an album. 

What type, exactly??? What I really want to say about Anthony B at his best is that HE SOUNDS LIKE HE'S HAVING A REALLY GOOD TIME. Even if you go into tunes like 'the classics' in 'Fire Pon Rome', 'Raid Di Barn', 'Waan Back' and others, that's a quality that's present there as well. The man is having fun while slaying oppressors and chanting for The Almighty and that isn't a trait that is always present in everyone (I wouldn't necessarily say that is AT ALL the case for Sizzla at his best, for example) so it stands out to me when I do hear it. It also seems as if he, purposely, makes the type of music in the studio that he would enjoy performing in a live capacity. I hesitate to say it because he does touch some very serious topics but Anthony B almost has a 'playfulness' to his sound at its best ["What dat dem ah do? What dat dem ah does? Nowhere dem come from, no know where dem was"] and, obviously, I mean that as a compliment (and "playfulness" probably isn't the best word (but I'm sticking to it) easiness or effortlessness are likely more fitting). Fortunately, it seems as if the actual process of making music and not just singing songs (although that too) is a grind that Anthony B enjoys because a number of his albums and MOST of the good ones feature a version of the Trelawny native who is not only in a good form but seemingly a good mood as well. "My Hope" was a great demonstration of this, as were the likes of "Black Star", "Higher Meditation" and "Life Over Death" to not go too far back.

2023

Another snapshot of a fun-having Anthony B would come on his most recent release, 2023's stellar "Bread & Butter". For me, that album stands as a culmination of a string of excellent work for the chanter. The time just prior to its release (and including the actual material that would appear on it, if I recall correctly) featured some really excellent output and it put Anthony B's name near the head of a list of someone who I was REALLY looking forward to making a new full release. What resulted most certainly did not disappoint as "B&B" stood up as one of his finest bodies of work in yea... probably a decade at that point if you really think about it (looking at a it... it might be his best album from the aforementioned "Higher Meditation" from way back in 2007) ("Life Over Death" hasn't aged very well in my opinion but even at a depleted level, it'd still be good enough to be in that conversation as well). I want to say that it was maybe late last yearish... October or so, that I first heard that Anthony B would possibly have an album forthcoming. The roll that he was on just ahead of "B&B" has continued for the most part and I'd been well paying attention to the fact that, virtually every single time, he had something new, it was excellent. Because of that, he would be featured (literally first) on our "Most Wanted 2026" list and I was all in. If Anthony B were to have an album this year, I though it'd be a legit contender for Album Of The Year and look what we have here! "World Of Love" arises from the same background as its immediate predecessor - via union of his label with Ineffable Records and features a whole heap of interesting names in front of and behind the scenes. In production, of particular note are the likes of Jazzwad and J-Vibe; while I'll get into it more in just a second but on the vocal end, Anthony B and co. CLEARLY spared no expense as far as whom they brought in. Unsurprisingly, I can also liken the end sound of "World Of Love" to "B&B". As you would suspect, they definitely share more in common than just a strong version of their star (I should say that some of the tunes he was doing back then had me questioning whether or not a then damn-near fifty year old Anthony B (just hit half a century earlier this year) was still in his ascendancy) and, just like its elder sibling, "World Of Love" proves to be a delightful and SOLID set that most certainly will appear on a few 'best of' lists at year's end. Let's talk about it.

There is a proverbial elephant in the room of this album that I absolutely have to address and you'll agree with me: The title of the album is horrible. It's cliched and... just lame. It's a bad title and you know what else is bad? The cover! Neither one are any good but FORTUNATELY, this is about music and you cannot listen to an album title or a cover and that is the worst thing I have to say about this one, by far. While you cannot listen to an album title, you can listen to a song with the same name as the album and that song, 'World Of Love' gets the album named after it off to a very strong start. As I mentioned, Anthony B really brings in the talent to work alongside him and, arguably, the biggest star he does pull in is German star, Gentleman for the title track. This song is as BEAUTIFUL as it is entirely SIMPLE. Ultra-straightforward in just about every way on Anthony B's side; Gentleman does 'complicate' things a bit (not really) with his outstanding verse. The two have previously worked together, years ago, on an excellent tune called 'Face Off' ["Like a siren, you just ah waaah waaah waaah"], which would appear on an album... by the name of "My Hope". 'World Of Love' isn't far behind those levels at all and biggup Gentleman who has his own new album out, "Gratitude" (review coming soon). 'Rude Bwoy' was an all kinds of fun single from late last year or so that I loved from the first time I heard it and still love, nearly a year on. Anthony B absolutely TORCHES this song. He puts it to the sword!

"Rudeboy protect wi health as young, youths and baby

PROTECT WI COMMUNITY, NO ABUSE WI LADY

No violence pon di corner, yuh crazy?

Nobody can out Rasta fyah when wi blaze it

Wi no preach hate, wi preach love and duality

Bun babylon cah dem nuh show partiality

Memba - Rasta teach principality

Bun out illusion, let's face reality

Unity is strength, so wi need equality

Stop fight each other, dat a dutty mentality

Remember - everything ruled by gravity

So stop promote hypocrisy"

BOOM! You listen to certain tunes and get the feeling that the artist just sort of vibed it. They had a feeling and it, rather quickly, turned into a finished product on their side. That is not the case with 'Rude Bwoy'. This thing is immaculate! It is absolutely exquisitely modern Roots Reggae done by one of its greatest champions and if I had any common sense -- any at all -- I'd be declaring it the best moment from "World Of Love".... but I don't (more on that later). If you were familiar with 'Rube Bwoy', chances may be decent that your listening travels also took you in the vicinity of 'Good Music' which was another single from around that same timeframe. It is highly unlikely but maybe something from one of the first two songs didn't quite work for you. Maybe you aren't a Gentleman fan (shame on you) or maybe 'Rube Bwoy' was a little abrasive for you and that's fine. We all have different tastes. With that being said, however, I'm gonna have a very difficult time in listening to any complaint of 'Good Music' AT ALL. Along with being what its title says it is, it's just so damn joyful and wholesome (besides that "sex, weed and money" part, of course) and EASY that it'll take a Herculean effort to dislike, in my opinion. I didn't feel like putting in that type of work and, instead, I loved it. Sandwiched in there is a younger single from just earlier this year, 'Big City' which features Anthony B alongside talented Hawaiian, Fia, whose name was unknown to me prior to it. I do not know what type of music Fia typically makes (and I don't feel like looking it up) but if it's something other than Reggae, he may want to think about a career shift because what he does here is very impressive. The song is kind of a loose social commentary/observation and it is another fairly straightforward one but, again, it works so well and is so pleasing to listen to along with the substance it surely offers. 

I had a lot of [GOOD] problems on my hands when I SAW that Anthony B had a new tune with a favourite of mine, the incomparable Queen Omega, 'Made From Love'. Many, MANY years ago (almost twenty-five of 'em) Anthony B appeared on 'I Realize' which was the closer on Queen Omega's self-titled debut album, so she's come to return the favour (she's also on Gentleman's album "Gratitude") (did I already say review coming soon??) and the Trini Queen does not disappoint. She never does. She's incapable. Anthony B and the Queen are on a mission to spread love everywhere it is needed. You get love! Love for her and love for him too! Done at a nearly CRAWLING pace, it may take a few spins to really attach itself to you, I would tell you not to pass an early judgment and pay especially close attention on Queen Omega's offering. Taken as a whole, 'Made From Love' is SWEET stuff addition to "World Of Love". Later on, Anthony B taps overlooked well armed and unusually gifted Frenchie (biggup Frenchie), Mo' Kalamity for 'Little Cottage'. Let me say something about Kalamity because I don't think I've ever mentioned her around here but I've definitely spent a bit of time listening to her work (she had a song a long ass time ago called 'Me Say' that used to ANNIHILATE ME) (I love that tune). She has such an interesting voice and approach. When she starts singing, it sounds like her voice kind of limps out of her mouth.... and then it IMMEDIATELY starts sprinting. That gives her sound, whether you like the music or not, an inherent point of interest. On 'Little Cottage' she and Anthony B both lament the struggles of living in hardship and embrace the simplicity of a more natural lifestyle. One of these days I should probably get around to reviewing one of Mo'Kalamity's album but until then, join me in taking a visit to her and Anthony B's 'Little Cottage'... "somewhere by the sea". Anthony B is a veteran in this, he know that when you make a Reggae album, you have to give respect to The Queen so, along with bringing in a pair of them, he also gives you the obligatory Mamma song, fittingly called 'Mamma'. 'Mamma' exists to cover the basics (literally) (she covers the basics and sends you out to bump your head in the world) and that's exactly what it does. Nothing here will change your life or give you a new perspective but 'Mamma' is delightful and biggup my Mamma, Anthony B's and yours too! I couldn't fairly or accurately call 'The Best' a "love song" because it would be giving you an incorrect outlook on the tune: It isn't.... 'oh baby baby I love you'; it's more of an APPRECIATION song. 'The Best' has a riddim that, when it gets going, oddly reminds me (and maybe ONLY me) of the one that backs Sizzla's classic, 'Taking Over'. Where Kalonji used it to inspire each and every one who laid ears on it, Anthony B uses it to give a massive credit to the woman in his life ["This lion is a king and a strong one. Still you give I a shoulder to lean on. You help me to release the tension. Everyday with you is like a vacation"] in a very nice way.

The track behind 'Lonely' which features a helping hand from big voiced Shuga (who I should probably be calling a veteran by now; she's been around a few minutes) sounds a lot like that thing behind Shaggy's giant hit, 'Angel' from a hundred years ago. This isn't a favourite of mine from "World Of Love" but it does have a nice sound to it, especially as it progresses and it also gives me an opportunity to talk about something else in regards to Anthony B being in this current stage and form in his career. He is SO GOOD at the moment that he can save just about any thing! There's nothing that he's going to be doing that I'm going to say is just trash and suggest that when you get to it, you skip on by. EVERY SINGLE THING that he's doing these days has a certain quality level to it 'Lonely' is organized very interestingly (I actually think I hear an even older song, from the 60s, in there as well, called 'Mr. Lonely'), it has nice vibes to it and the more I keep talking about it... I think I'm really starting to like it. Let's move on! Another example of what his talents can do when they aren't necessarily in the best situation would be both 'Bubbling' and 'Bring Me Joy'. The former is my least favourite tune on the entire album and comes dangerously close to falling into being just too damn sappy due to the chorus but it is ultimately saved with the verses which don't lay too heavy on the LOVE/MUSHY stuff and, instead, casts a much wider net. It comes off less of such a track and almost seems like Anthony B is relaying a day: Like he had a hard day and he's going home and wants to hang out with his woman and just relax but... like I said, this is a close one. 'Bring Me Joy, on the other hand, is probably me stretching it because it, while certainly not the best here by any means, is pretty good, actually. Beginning with that riddim which can lay claim to being amongst the album's finest, Anthony B charts a course not too dissimilar from that on 'Bubbling' where he present his love as a shelter from the hardships of everyday life ["There is so much things to bother me: The government , the war, the economy. But your love come and set me free, so I'm so happy that you honour me"]. Again, I'm probably being too harsh on 'Bring Me Joy' by placing it in this context with 'Bubbling' (but I thought that the similarities between the two warranted it) but, regardless, it is a track where Anthony B's talents get the absolute most out of it as possible. I mentioned that were I to have more common sense that I would named 'Rude Bwoy' as the best song on "World Of Love" but, FORTUNATELY, you'll find very little of that 'round these parts because the song that reigns supreme for me on this album is, WITHOUT QUESTION, 'Jet Ski'. 

"Mi mek gal change colour just like iguana

Gal ah rush wi from Jamdown to Ghana

Every man want a hot gal pon di cornah

Uptown, downtown gal - or foreignah

Any boy nah love woman, dem ah get lava"

Do you hear this song?? Here! I'll give it to you again. Pay attention this time.

Atop the absolutely absurdly delicious Hill & Gully Riddim, Anthony B puts forth a silly effort that will probably require a massive concussion or two to get out of your head and it's not worth it! JUST ENJOY! WHAT A TUNE! 

CLEARLY Anthony B, Jazzwad & co. knew what they had on their hands with 'Jet Ski' because they offer up the similarly vibed (not really) 'Move U Body' a song that, TRUST ME, is a better than its dreadful title (and its opening) would indicate. I'm not saying that it's a great song -- it most certainly is not -- but, again, you get into the middle of it and 'Move U Body' (...ugh!) does have its moments. 'Wake Up' has even more of those moments and it finds Anthony B giving thanks for pretty much everything that he can. While decent on the lyrical side, the biggest appeal of 'Wake Up' is the entire song, as a whole. With its big and vibrant sound that never threatens to overwhelm, 'Wake Up' is a song that you can leave on repeat endlessly. It almost comes off as a vibe. I wouldn't be surprised if Anthony B heard the riddim and came up with something, fairly quickly, because he enjoyed it so much. Regardless of its origins, however, 'Wake Up' is a winner. You know what else is a winner? 'Winner'! I used the word "playfulness" to describe a certain quality to Anthony B's music and it was for tunes such as 'Winner'. While the subject matter of it isn't super-serious, he has a way of saying things that maybe aren't done jokingly but definitely are light and very clever. 

"Got no time fi pose like statue

Is a good friend, alone, got you

Mi bredda, Fabian, seh him dream last night and get di winning number fi di lotto

I'm a winner!

I'm a winner, born as a winner

Mi no inna losing thing

I was born to win"

Also, much like was the case with 'Wake Up', 'Winner' is positively LOVELY. It's just such a nice and pleasing vibes to listen to and a mightily attractive tune! Closing things out on "World Of Love" is another of its biggest highlights, the prayerful 'Oh Jah'. A VERY solid praiser, 'Oh Jah' serves as an excellent way to end matters on the album and, in the process, Anthony B provides us with a very proper punchline:

"Oh Jah, you give I strength and always walk before me" 

And he also says a bunch of other cool stuff like:

"Rasta got one thing they can never take away-

It's the fire and wi keep it burning everyday 

To how you live, to how you work - that's how you'll get yuh pay

Bun di wicked, bun di evil, Rastafari seh

You haffi have a clean heart to go a Zion! 

NO GOAT CAN BE KING OVER THE LION!

No put yuh trust in politics and religion 

A NATION PERISH WITHOUT VISION"

BOOM!

Overall, throw another log on the fire that's been 2026 and that's been Anthony B's career as of late. I really wanted to drive home the point that the bottom of "World Of Love" really isn't THAT bad, which is a great sign of someone in good form. No. Not every single tune here is stellar but I don't have a problem with any of it, really. On the complete opposite end would be the fact that we also are treated to some truly impressive work and, in full, this one stands well with what we've been eating as of late as Reggae fans. If you stick around long enough, you'll get to a point in your life where age will start to take many things from you. WONDERFULLY and APPARENTLY, whenever that time is for Anthony B, musically, still seems to be quite far off. "World Of Love" is a more than solid set from someone who seems to be absolutely enjoying himself and his work these days. 

Rated: 4.2/5

Anthony B + Ineffable Records

2026

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