Still Blessed?: A review of Voice Of The People by Ras Indio

Plus one. There is something very powerful about making a strong first impression. In almost any type of situation that I can think of, if you get someone's attention in a positive way and impress that person and give leave with something to remember you by, you have potentially done something special and laid a very important foundation for what is to come. You (YOU sitting right there) can think of situations where you've experienced such a thing. Maybe some of the best people you've ever met or some of your best friends are so because something they did or said right around the time when you first met them (then there's that one you have that has made awful impression after awful impression but you just love them for some reason) (biggup Loa). The obvious direction here goes to the position of a musician making a big tune and grabbing the initial attention of a listener and, at least potentially, making a lifelong fan out them. If you do that enough times it can help you immensely in not only widening your reach but also.... it's going to put some money in your pocket, which is always a good thing. On more simpler and personal terms I can think of a very nice group of artists who, from around the very first time I heard from them (and maybe even of them) managed to display some level of talent that, at the very least, went a great way in making them a name that stayed on my radars for quite some time. DEFINITELY the most interesting of this lot would be Turbulence and the very rocky 'relationship' that I have had with his music over the years. Turbulence is one of the most gifted artists in Reggae music that I have EVER heard. Period. He has a GREAT singing voice. He can chant. He is powerfully lyrically. He can literally do it all and that has been the case over the past quarter-century plus. He has, unfortunately, spent the better part of the last.... decade and a half or so (it's probably more like seventeen, eighteen years at this point) CONSISTENTLY making these uneven love songs dominate his catalogue and if he makes ten of them, maybe I'll enjoy one; maybe not. Still, because of what he showed so early on, I am convinced and will likely ALWAYS be convinced of his abilities, so whenever Turbulence makes new music, I'll be paying attention (new tune, 'Cut Off The Serpent Neck', w/Makaru) (good song) and hoping for the best. I could run through several names of artists who've impressed me through the years with some of the very first output that I heard from them (Pressure Busspipe would be another good example) and have remained at least interested in many years later and today we get an opportunity to take a long awaited look at another.

2009

You don't come across Belize too often in your 'travels' as a fan of Reggae music. I could name a few off the top of my head but really at the top is but a couple of names (unless I am REALLY forgetting someone). One would be the sweet voiced Eljai, who we don't hear from nearly enough and consistently churns out at least SOLID material. The obvious other and, arguably the most popular, is the esteemed Ras Indio of whom I'd like to think I spent quite a bit of time 'back in da day' doing my absolute best in trying make people aware. Why? I'd heard a few singles of Indio's (one in particular, 'Healing of the Nation', his cut of the MASSIVE Show Love Riddim) (biggup Itation) but a large portion of my attraction to his sound came via a very large (literally) album Indio did by the name of "Jah Bless Us". TO THIS DAY, "Jah Bless Us" holds a very strong (and strange) place in my affections as, although I'm not going to tell you that it is one of THE best albums that I've ever heard in my life - it was absolutely fantastic. Loaded full of wonderful songs (and familiar names) (including Turbulence) (as well as Lutan Fyah, Luciano, Chezidek and even Ras Attitude), "Jah Bless Us" was one of the very few sets that I've come across that, thought clearly overstuffed -- twenty three tracks -- it was NOT too long. Its signature and title track is likely one of the best... hundred or so songs that I have ever come across and it is just a beautiful piece of work. That album reached way back in 2009 and it made a fan out of me as I have been sure to keep an eye on what Ras Indio had been working on ever since. 

And 2025 has brought us very nice news. Though he's been remained fairly active over the years, it'd been awhile from the last time we'd heard from Indio in any type of full way. To my knowledge, "Jah Bless Us" remains his most recent album, but a decade ago, he did give us "One of A Kind", a love-centric EP which was probably better than you recall (and by "you", of course I mean me). There's been a bucket of singles as well, including 'Love & Inity' a HUGE track from just last year, done alongside the aforementioned Pressure Busspipe. I was hopeful -- I'm always hopeful for such things -- but I had no actual reason to believe that forthcoming was any type of new album from Ras Indio but look what we have here! 2025 has been a fun one so far and it goes even higher, courtesy of "Voice Of The People", the long awaited brand new album from Ras Indio! BOOM! Credited for production is a David L Smith (who is probably Ras Indio) and the same Indigenous Productions (also likely Ras Indio) that releases all of Ras Indio's work and I've also seen our friends at DaVille credited with its distribution as well (biggup ReggaeVille). I have to say that the feeling when I found out that Indio had FINALLY done a new album wasn't quite to this level, but it was awfully close to what I felt in 2023, when the incomparable Queen Omega ended the drought and delivered "Freedom Legacy": I WAS SO DAMN HAPPY! For someone who you try to make it a point of to 'check on', at least semi-routinely, when you come back to them and notice that they have an album, in general, is a very big deal (any day now, Reemah), but when it's Ras Indio, for me, it was a special feeling and maybe I'm the only one saying it but "Voice Of The People" IMMEDIATELY became one of the most anticipated sets of 2025. When I got my first taste of what was to come, it was magnified and all of that was even before we got to how good the actual album even was. 

Ras Indio's style is a subtly interesting one. On its surface, it is fairly straight forward modern Roots Reggae chanting and if that's how you want to describe it, that is fine and accurate. However, when you dig into just a bit more, his methods do open up just a bit. He has a very strong command of melody but it isn't a sound that you would call 'loose' or 'wild' to any degree. What results is a very entertaining brand of Roots music, via kind of 'gruff' and clever delivery. You won't actually get your first taste of that on Ras Indio's new album, "Voice Of The People", until the second and title track because the first is an Intro, which appears to be a part of an interview, where Indio declares himself one of the people ["How can I be the voice of the people, if I am not a part of the people?"]. On 'Voice of The People', he formalizes matters. This song actually turned out to be, lyrically, nothing like what I expected. After its beginnings, it basically drifts into a VERY general direction where Indio goes through pretty typical topics for the genre. I was looking forward to something far more specific. Of course, that doesn't mean that the 'Voice of The People' is a bad song necessarily (it is not) but given what happened the last time, the title track for a Ras Indio album had VERY large shoes to fill.   One third of the twelve tunes here are combinations and we get the first of the lot on the excellent 'Strong Everywhere', which taps the golden vocals of Jamaican singer Ginjah, displaying his talents alongside Indio. This is actually a remix of an old tune of Ginjah's, which now features Indio. Presumably, the Belizean was a fan and wanted the song for his album and while Ginjah largely dominates (as you would imagine. That man's voice can literally be OVERWHELMING at times) but Ras Indio makes his presence known in adding a colour to what was already a big piece of work, in tribute to the all-powerful, ever-present nature of Rastafari. Later on, Indio is joined by a pair of Hip-Hoppers from out of Belize (I THINK), Big Bang Manifest (cool name) and Kassa for 'Bang Bang' (with a helping hand [SAMPLE] from Eek-a-mouse). I have never much of a fan of Hip-Hop and this song won't change that at all but I do not hate it and the anti-violence creation definitely does has its place on an album such as "Voice Of The People" in my opinion. No less than FIVE other artists join in on 'Time Is Now', King Siege, Wonder Boy, Fobi, World Foe (who is the only one I'm confident in saying that I've heard of) and Fuego. This one is also kind of leaning towards more of a Hip-Hop side and, as you would expect with so many names on board, it's sort of all over the place. It is VERY animated and made for ears other than mine although you definitely give credit to Indio for putting together such a tune, giving exposure to other artists to people like You and I; providing them with a chance to make a fine first impression of their own.  I'll also add, right here, a later track also of a more of a Hip-Hop sound, the rather solid 'Bad Mind'. Musically speaking, 'Bad Mind' doesn't do much for me at all but it damn near SOARS when you actually tune in what Indio is saying ["Certain thing wi just nah go tolerate yah. As a Rastaman, it's just my Rasta nature"]. Song won't change your life and you've likely heard dozens like it beforehand (probably with the exact same title), but some of the things said on an otherwise largely nondescript track are not to go overlooked. 

If you've spent anytime at all around here, you won't at all be surprised to know that 'No Curse' is my absolute favourite song on this album. Why would that be so obvious?? Well, 'No Curse' just so happens to feature Norris Man who's also been a favourite of mine, particularly in recent times. This song just makes me SMILE! It's about being upfull, having a positive attitude and treating others well (even when they don't reciprocate) (.... ESPECIALLY when they don't reciprocate). 

"Wi neva do dem no harm

Neva bring dem no hurt

ALWAYS PRAY FI DEM FI BE BLESSED

Never bring dem no curse"

The full vibes from this one are just so powerful and attractive, making for the signature moment of "Voice Of The People" in my opinion. Desire you another winner? Check the album's obligatory ganja tune, 'I Blaze'. 'I Blaze' is just a COOL song. It has some slightly more aggressive elements to it but, for the most part, it comes through as a very chilled herb tune and I have to mention how Indio seems to combine a couple of different older songs in his lyrics. I (and maybe only I) hear an ode to a personal favourite of mine, 'Bun It' by Mr. Vegas and Ele, but regardless of its possible inspirations, 'I Blaze' is excellent. On a similar level is the tune chasing 'I Blaze', 'Me Against the World'. 

"For He is all I need, throughout my times of tribulation

He's all I need, to keep me from those devil temptations

Jah is all I need, to give I & I a daily inspiration

JAH IS ALL I NEED, THE AIR I BREATHE, WHILE DEEP INNA MI MEDITATION

So in tims when you are down and feel like no one's there

Search and He's all around

Always keeping you safe and sound, oh yeah

In times when you're in need and the rocky roads still ah get steep

Put your faith inna The Most High

My forever Guide and Shield"

This song is a praise, wrapped up in a vibe dealing with perseverance and determination, with the lasting sentiment being that when you're in a bad place in life, Indio is saying that it may not be as bleak as it seems because SOMEONE always has your back, should you seek HIM out.

If you didn't get enough fire, Ras Indio has you covered between two songs helmeting (just make ANYTHING a verb. "Helmeting" = 'at the beginning of') the second half of "Voice Of The People", 'Rise & Fall' and 'Hotta Fyah'. Both are pretty mid-level and fun Dancehall (I mean real Dancehall) tunes, with the latter being the better of the pair. I was very happy that both of these songs were on the album because it kind of gives the project more of a balance. You have Roots and then you have some Hip-Hop. The PERFECT stop between the two is definitely Dancehall and, coming from someone who is obviously and admittedly biased towards one side, the Dancehall tracks are CLEARLY better in every way than the Hip-Hop on "Voice Of The People". Lastly, and I hate to say it but I can explain myself is a song with which I was VERY disappointed: An acoustic version of version of the aforementioned 'Jah Bless Us'. Initially, when I saw this included I got super excited because the original version of the tune begins with an acoustic sound before developing into that... chunk of diamond that thing was (it is SO beautiful), so I thought this version would just be an expansion on the first half or so of the original. It isn't. This is an entirely newly sang tune and it just isn't as good. It isn't BAD but I was expecting a slightly more streamlined cut of the original and, again, that is not what this is. 

Overall, obviously it goes without saying that this album does not quite reach the levels of "Jah Bless Us" and that's fine. I wasn't expecting it to and would have been shocked if it did. However, "Voice Of The People" is still an entertaining and compelling piece of work and I think that much of the crowd that began listening to Ras Indio because of that earlier masterpiece will find at least something here to enjoy. I do wish it were a bit more Reggae-centric (and so do you) and maybe more consistent but I'm not disappointed, wholly, with "Voice Of The People". Regardless of how it registers, there's nothing that I've experienced here which will shake me from whatever it turns out that Ras Indio releases next. It is the case when you make such a fine entrance. Maybe a more varied type of fan will have that moment with this album, more Reggae heavy listeners, look to get on where I did.

Rated 3/5

Indigenous Productions

2025

Bounce Back?: A review of the Recoup Riddim

Come again. As I'm sure I've said in the past, one of the worst things about getting older, specifically as a music fan, is having to powerlessly accept and/or just deal with just how much things have changed. When I was younger I steadfastly wanted to ensure that I wouldn't become some spiteful old creep walking around talking about, "back in my day...", essentially pissing on current music and artists which is why I tend to just refrain from talking about such things except when I'm impressed (biggup Eesah) and keep the negativity in my head. Looking at how Reggae is these days, there're several things which I definitely do miss and not the least of which is my beloved DANCEHALL. The saying is that 'you don't know what you've got till it's gone' and that is SO true and applicable in this instance because I don't know that I would have ever been capable of processing just how precious something that I considered to be so BASIC was. Who knew that we'd all wake up one day and 'DANCEHALL' would not be Dancehall anymore??? How the hell did that happen? Where was I?? What is referred to as Dancehall these days is basically Caribbean Hip-Hop and it's something that we all have to manage. I do foresee a return to that candy-like two-drop sound (that's what I call it. Roots is the one-drop. Dancehall is two-drop) at some point, but I may or may not be around to actually experience it and that makes me sad! The days of a producer making a riddim (of actual Dancehall music) and spreading it around have become increasingly rare over the past half decade or so (I remember Red Rat having something to say about it a couple of years ago). Expanding on that sentiment, one of the products of that older sound is the once downright overly-prevalent riddim album. In the not too distant past, Reggae album shelves were dominated by albums (by people named Marley) featuring multiple artists going on the same riddim which were seemingly released multiple times over by albums starring a single vocalist. Some of these were very big deals as well as both genre leading labels, VP Records and Greensleeves, once released such sets as part of their running series, Riddim Driven and Greensleeves Rhythm Album, which were very popular in their day; with the former even birthing a still active (as far as I know) clothing line of the same name. Personally, I reviewed quite a few of these things (once upon a time, some idiot I know even went as far as to catalogue both series). They were FUN in their day and now, looking back, I miss them both... a lot.

And OCCASIONALLY we get to go home. Coincidentally, as Riddim Driven as a functioning entity was coming to an end, one of its most frequent contributors was a producer by the name of Kemar 'Flava' McGregor and, if you enjoyed Roots Reggae music during the late 2000's/2010's or so, Flava's is a name with which you should be well familiar. The once mighty producer of No Doubt Records was responsible for supplying the genre at the with some of its largest releases from the likes of Richie Spice, Nesbeth ["Mi boardhouse bun dung inna gang war wah day. Now mi nah have nowhere fi stayyyyyy!"], Ginjah, Etana  (more on her later) and others. He also released some of the biggest riddims, several of which featured prominently as apart of the aforementioned Riddim Driven series and if there is never another edition of the series (and I would be surprised if there were), Flava McGregor and No Doubt Records will be known as having produced the final Riddim Driven ever in the form of 2010's VICIOUSLY SWEET Classic Riddim ["We only got one, life, to live. We should make no apologies"] [BOOM!]. He'd also produce full albums for many including Anthony B, Sizzla Kalonji, Turbulence (personal favourite of mine, "Join Us"), Natty King and was just... EASILY one of my absolute favourite producers going during his day. When No Doubt Records was on top, they were consistently spectacular.... but nothing lasts forever.

There would come a point where I would legitimately come to DISLIKE what McGregor was up to or at least someone using his music. At the start of the digital/streaming age a few years back, SOMEONE would end up flooding the market with release after re-release after re-release of.... the same shit everyone had already heard. It seemed as if a couple of weeks or so wouldn't go by without SOMETHING being released on that front with a new cover and, as for McGregor himself, he seemed to be spending more time making news for goings on inside courtrooms than what he was doing in the studio and it made me sad! I had given up on Flava McGregor and and No Doubt Records and had no reason to return.... at least not until very recently. As I said, though the days of that giant Dancehall riddim (and subsequent album) just destroying absolutely everything in sight may be a thing of the past (for now) OCCASIONALLY there can be exceptions, or at least ATTEMPTS at exceptions. The case could be made that the single greatest producer that the Dancehall has ever seen has been the great, enigmatic and downright reclusive Dave Kelly. For the better part of four decades the brother of the great Tony "CD" Kelly (also still going strong and one of the greatest Reggae maestros EVER) has been responsible for what has to be considered some of the most colourful and ingenious tracks in Dancehall history, largely for his Madhouse Records imprint (my own favourite would be.... maybe The Return Riddim?) and, were you to go traversing through Kelly's amazing vault, eventually you'd stop around 2000 or so and land on the Bounce Riddim. The Bounce, done for X-Tra Large Productions, didn't necessarily carry the biggest of hits, but it was BRILLIANT! These days it is likely best known for a pair of Baby Cham tunes, the unforgiving 'Man A Man' and 'Babylon Bwoy', but stellar efforts also came from the great Spragga Benz, Beenie Man and, ESPECIALLY, General Degree who scored a nice sized hit with his 'Ooh Yeahee'. Now [!], had you told me at any time during the last decade or so that we would get to a point where Flava McGregor would be remaking an old Dave Kelly riddim, I would have laughed my entire ass off at you and I would owe you an apology because, lo and behold, here is the Recoup Riddim from McGregor, it's a remake of the Bounce and it is, in fact, 2024. WHAT THE HELL IS GOING ON??! It defies all logic and common sense, but I am here for it! Why is this happening? I don't know and I probably don't care. CLEARLY, McGregor was a giant fan of the track and thought to himself that, if he had the chance, he'd love to do a remake and it's worked out. The Recoup Riddim comes through a channel simply called Kemar McGregor (that's the literal name of the label it's on) and it is a relatively unchanged remake of the original, nearly quarter of a century old Bounce Riddim.... but how good is it, REALLY??

...meh. As far as the vocal artists appearing on the Recoup, it is a very healthy mixture of heavy-hitters and kind of next tier names, with up and comers. Generally speaking, to my experience, that is EXACTLY what you want to see on a big and well populated riddim. What happens when that does occur is that you, as a listener, are more likely to  gravitate towards something that they'll enjoy from someone that they are familiar with and (perhaps most importantly) you may come away with a new name to look forward to hearing in the future. Taking the first shot at the Recoup Riddim is, arguably, the heaviest of of the heavy hitters as Buju Banton blesses the track with his 'Slogan'. You take a moment and realize the magnitude of what happens here: This is Buju Banton on a classic Dave Kelly riddim that he never voiced. That is a really big fucking deal and what results is, clearly, the single best moment you'll find on the Recoup Riddim, although I'd stop just short of calling it a bona fide "GREAT" tune (although it is close). 'Slogan' is fun -- hear that chorus -- but it isn't necessarily vintage Buju. 'Fun but not vintage' would also be an appropriate description of the second tune here, 'Vibrating' which features the great Beenie Man alongside Denyque. This track has a very cool R&B vibe to it when Denyque comes on with those sterling vocals, making a most compelling blend with Beenie's consistently fairly aggressive delivery. It's at this point during the album for the Recoup Riddim where strange shit begins to happen and none are more downright bizarre than 'Mirror' by the aforementioned Etana. Let's get the review stuff out of the way first: 'Mirror' is bad. It's probably the first time I've ever said that about a piece from the August Town certified veteran (and may end up being the last time), but IT IS A BAD SONG. It's full of worn, tired and dirty Dancehall cliches and someone of Etana's abilities could probably roll out of bed and top what you'll hear on 'Mirror' with the slightest of effort in my opinion. On the other side of that is the fact that the tune is somewhat 'controversial' as the vocalist does go on the more sexual side of things, but I'm fine with that aspect. Many (like almost all of them at some point or another) of Etana's famous male peers have done similar things (including August Town's most famous resident) and we've gotten used to it through the years, so I'm not going to judge her harshly AT ALL for the direction here... but it is trash. I-Octane throws even more petrol on the dumpster fire with his effort on the Recoup 'Love Punanny'. To put it context: 'Love Punanny' is considerably better than 'Mirror' but it is still a few hours' drive away from being decent (and, it should also be said that Octane & Etana have dropped 'Ganja For You', a tune far more befitting of both of their monstrous gifts, also for Flava) (wouldn't be surprised if that's a single for McGregor's next track), Last year, I-Octane released a collection of songs called "Dancehall Gift" which proved to be a complete curse, it was terrible, but demonstrated the direction he's been working towards more often these days. If that is your type of thing then 'Love Punanny' will work for you because it's better than the vast majority of tunes featured there. So when you need someone to right the ship, who do you call after a couple of less than stellar offerings??? Of course you call the Energy God (are we still referring to him as that?? Ele's probably almost fifty years old and he has a comic-strip villain nickname) and Elephant Man doesn't disappoint (and when I saw his name on board, I had full confidence that he would shine on the Recoup) with 'Nuh Shaky' and he does while outlining the fact that he cut no corners and he earned his way to the top, legitimately

The bigger names return later on, while the middle portion of the Recoup Riddim album is, for the most part, carried by second tier names with up and comers and... it does not feature much [anything] in the way of memorable material at all. The biggest winner of the lot probably goes to 'Seh Dem Bad' which comes courtesy of wide voiced vet, Singer J (Singer J has a VERY unique voice if you REALLY listen to him). 'Seh Dem Bad', to be completely fair, is quite strong and very interesting as it features a route taken on the Recoup that no one had gone prior to it.

"I seh him mother call him

Tryin fi warn him

Sit him down neatly and inform him

Seh, inna badness thing - she don't want him

ONLY THING BADNESS GIVE IS A COFFIN

Di bwoy laughing, nah tek no talking"

The very next set is also well done as D'yani comes solid with '911', which takes the guidance of the previous tune and steps it forward in adding a more general social context to it. D'yani, effectively, comes up with a social commentary in a region (biggup JahSolidRock) where you probably weren't expecting to find one and, again, it won't be the best of its kind that you've EVER heard but with where you must go to locate it, '911' formidably serves its role.... and that's about it! The other three offerings in here, 'Say Yes', 'Glue' and 'Top Class' from Tifa, Honorebel and Zed Regal, respectively, range somewhere between 'nuh-uh' and ABSOLUTE RUBBISH. The worst??? Maybe 'Say Yes' and I say that probably relating it to 'Mirror' in some way or another (which probably isn't fair), but 'Mirror' is better than 'Say Yes' and we've already established that 'Mirror' is horrible. It, too, is built upon well traveled and should-have-been-buried concepts which, in my opinion, are not at all empowering of women as they are intended to be (suggesting, at least in part, that people should take pride in the.... snugness of certain parts of your anatomy....). It is a sentiment Honorebel would agree with as he makes, basically, the same damn song as Tifa but from a male perspective and, not to be outdone, Zed Regal doesn't stray far from either; although he does do far better than both with the wholly unremarkable 'Top Class'.

 Given the fact that he has had some well publicized not so nice interaction with Flava McGregor which took place in a courtroom, I was quite surprised to see Khago associated with Recoup Riddim but apparently bridges have been mended and all is at least well enough to work together. The result of this one is 'Whine Up For Me', which is another tune that I do not love, HOWEVER, 'Whine Up For Me' does have a few moments that set it apart from being a bad song, in my opinion. I've never been the hugest fan of Khago's but he is, at his best, talented and he's also one of those types of artists who've been around a lot longer than you may realize. The final vocal outing on the riddim is the 'old school' 'Scaleillan' from Turbulence. Given what Reggae has been through, you don't very often hear such tunes as this. They're very controversial (and, to be honest, their decline has been a good thing, in my opinion. There was a point, maybe fifteen years ago, where that discourse seemed to be THE single biggest and most prominent issue in the genre) and can be detrimental to the artist, as we have seen in the past. Turbulence, seemingly, doesn't give a damn and makes his point with 'Scaleillan' (although it isn't as... 'direct' as others and features a brand of condemnation which is less centralized and further reaching. You could very well make the argument that, even still, the biggest hit of Ginjah's career was a tune he did for Flava by the name of 'Never Lost My Way' ["WHEN MI SING, MI NO HAFFI RICH! A NO MONEY MAN AH LOOK AFTER THIS!"] (arguing against you would require some serious thought), so neither the presence of the golden voiced singer nor the quality of his effort on the Recoup Riddim, 'Judgement', came as any surprise at all. 'Judgement' soars and does so in a most interesting way with a theme that is part warning & part uplifting. Also have to mention the PASSION coming from Ginjah on this one, a feature of his music is absolutely saturated in when the Hanover native is at hist best. 'Finally' (literally have three more songs to talk about and I'm saying shit like "finally") (bad habit. My apologies) check 'Nuh Leany Leany' from Ghandi which I was so happy was included because it sorta/kinda makes up for some of the more filthy material you'll hear throughout the Recoup Riddim. 'Nuh Leany Leany' has elements to it that are definitely on the slack side ["STRAIGHT! Nuh leany leany. Tight pussy gal dem alone can pree mi Dem ah rub mi down like di bottle of di genie"], but it's also inventive and not.... tired as hell. The skill is present and, I most certainly am no prude and can appreciate such a piece when it is well done. 'Nuh Leany Leany' is fun (minus that small section where he does that annoying run-on thing with the delivery) (You'll know what I mean). Also included is a clean version of the Recoup Riddim, so you can try it for yourself at home. When I used to review riddim albums, nearly ad nauseam, this was a feature I always tried to highlight because the riddim, TECHNICALLY, is the actual star with projects like these and it deserves a chance to shine - all of these years and not much has changed. I still do appreciate them, greatly.

Overa.... WAIT! It took me so fucking long to write this review (I'm old), that Flava went ahead and released a Deluxe Version of the album which carries a couple of extra tunes, both come from The Doctor, Beenie Man, 'Yaadie' and 'Spend It'. The latter is useless. It sounds like a freestyle and you need not pay it any attention at all. I get the feeling that Beenie was just so damn happy to have another go at the Bounce, that he just stayed in the studio, doing whatever came to his mind and just got it all out.... but whatever "it" was, was CLEARLY emptied before the beginning of 'Spend It'. 'Yaadie', on the other hand, is FANTASTIC. It's better than 'Slogan', as Beenie sets fire to all those with hideously misguided attractions (not too dissimilar from his go on the Bounce Riddim, 'Troublemaker') and he spares no targets and leaves no stones unturned!

"Number one: No rest in peace fi Michael Jackson

My songs caan sing no Frankie Paul song

From di family playlist - R Kelly banned

How some big man waan fi play Peter Pan?!"

Overall (I mean it this time), no the Recoup Riddim, as an album, isn't very good. It seems as if several of the artists heard that beautiful old school riddim and decided to serve up some of the most basic... dirty Dancehall that they could muster and it really does manage to weigh things down which is unfortunate. However, when it does actually work, what results is just a HINT of that deplorably presumably gone.... sweet, sweet era of music. Unsurprisingly, it is genre of the veterans such as Beenie, Buju and Ele who arguably shine the brightest (with a big respect to Ginjah as well), and it would have been damn interesting had such a project been loaded with the likes (with the biggest name missing being that other B). However, while I'm not likely to look back at the Recoup Riddim completely kindly, Flava McGregor does deserve credit for pulling together an ambitious project and on which, at least in spurts, gives fun vibes from when everything felt like home.

Rated: 2.5/5

Flava McGregor

2024

What I'm Listening To: Dis Year!

"Rightful Ruler" by Earl Sixteen [Zion High Productions - 2022]

First up today is the latest from our old friends at Zion High Productions and the Zion I Kings as they recently pushed a more than solid EP from venerable Jamaican vocalist, Earl Sixteen, "Rightful Ruler". The eight tracks are comprised of four actual tunes with dubbed out version of each tune and, as you expect from both artist and label/s, it is EXCELLENT! For my listening 'habits' Earl Sixteen has generally been someone who I don't find myself listening to nearly enough as, virtually every time I do dive into his work, I am greatly impressed. "Rightful Ruler" is definitely not an exception as it comes out swinging with its mighty initial effort, the downright ROYAL sounding 'Jah Earth'. Subsequent offerings, both the title track and 'Take Some Time', definitely keep the vibes high, but I have to say that taking top honours on "Rightful Ruler" has to be 'Find A Way' which features Mr. Williamz in a golden form. 

"Well natty dread deh yeah fi step it

It no really matta anyway you waan tek it

System - a just to how dem set it

500 years, Binghi man nah forget it

Up inna di hills pon di farm where wi headed

Dung inna di city, yow a pure blood shedded

Marcus Garvey did dun come set it

And Earl Sixteen just ah sing out di message

Watch ya now-

I & I ah express it

Teach di ghetto youths, mek dem know seh wi blessed

Love an unity, wi haffi expect it

Don't let di wickedness get embedded

Certain type a thinking, Jah know wi haffi left it

Certain type a teaching, wi nah accept it

Youth inna di ghetto dem call mi aggressive

And then ah talk bout wi non-progressive

That is why -

I've got to find my way back home

And no more will I roam

Cause it's been so long-

We've been down inna babylon

And there's no place for the Rastaman"

'Find A Way' was probably amongst the best... ten or so tunes that I heard from ANYONE in 2022 and, for what it was, "Rightful Ruler" was DEFINITELY one of tehe year's strongest EP's altogether as well. 

"Look To The East" by Junior Campbell [Love Injection Production]

Quietly, one of my favourite labels over the past couple of decades or so has been Love Injection Production from out of the UK, as they've provided some well sturdy releases from the likes of Turbulence, Everton Blender, Mykal Rose and others, so when they do work, I try to pay attention. In early 2023, Rowen Johnson and company are back and work (twice, actually) with the debut album (I THINK) from sweet singing Jamaican vocalist, Junior Campbell, "Look To The East". Best known as the song of the legendary Cornell Campbell, Junior is set to build a legacy of his own and, judging from the early returns off of this one, he's doing quite well for himself. Along with the lovely eponymous piece, "Look To The East" contains a few other big tunes such as 'Give Jah the Glory', 'Nah Lef' and a pair of covers of his father's catalogue, 'Stars' and 'Boxing'. I'm still working on this one, but it sounds quite pleasant so far so definitely take it out for a listen, yourself.

{Note: Love Injection also has a new album out for Glen Washington, "Mr. Washington"}

"The Message Album" by Ginjah [Black Metro Music]

It was my intention originally to review "The Message Album", the latest body of work from big-voiced veteran singer from out of Hanover, Ginjah but, after listening to it quite a bit, I didn't think much of it, actually and I didn't have much passion for it (and, maybe it's just me, but this album seemed to have some type of 'disconnect' to it. There were several songs which seemed like the vocals and riddim weren't exactly in synch). A month or so later, while things still haven't changed on that front altogether (I'd be shocked if I ended up ever reviewing this album), it has found its way back on my players. I never thought it to be BAD to any degree, there just... wasn't much of anything in the way of SPECIAL for better or for worse. That isn't to say there wasn't good material here, however, and tunes such as 'I Love Papa', definitely 'Soul Lady' and the single best tune here, 'Jah Jah Real' were and remain something more than average. 

Tiwony [7 Seals Records]

Sickeningly, it's been over eight years from the last time Achis Reggae favourite, Tiwony, released a full length album. That set came, late 2014's "Roots Rebel", came via one 7 Seals Records so, as you might imagine, I got very interested when I saw that the same label (which, I think, is his own) had recently put out a pair of singles, the anchoring 'Rumours Of War' and 'Don't You Worry'. The former, vibed (and written, I THINK) by veteran Randy Valentine is a GORGEOUS social commentary, while the latter -- as its title would suggest -- is more of a love song with a very interesting pacing and arrangement of the delivery. It's also a very FUN vibe and carries a lot of POSITIVE energy. You know what I went to thinking when I saw two new singles from the same label in relatively short order (about five weeks in between their releases).... and it was true, as our research reveals that coming soon (maybe in February) is the brand new album from Tiwony on 7 Seals Records, "Frequency" and I cannot fucking wait!

The Bank Of Devon Riddim [Twelve Tribes Entertainment]

This one, I've forgotten to remember quite a few times when doing one of these... probably because I don't LOVE it, but it does have one tune which absolutely kills me. Biggup DJ Jahmar who sends his latest creation (might not be true anymore, actually), via Twelve Tribes Entertainment, the all kinds of interesting Bank Of Devon Riddim. If you've read these things to any degree, then you can probably guess what type of track this is although it is a bit different. The BOD, though definitely Dancehall, has an unusual and almost Arabian sounding vibes to it. It makes for a pretty good backdrop for Red Fox (who well impresses on his 'Badda'), TrapShotta Rally and Kiprich. HOWEVER. what remains of the riddim is put to the sword as WASP DESTROYS it with his track, 'Bob Marley' ["Man a rockstar like Bob Marley"].

"Mi shot di sheriff, but mi neva shot di deputy

Wi set trend, dem send threat, caan get to me

Never lef mi guitar, be careful how you step to me

UNDERESTIMATE ME, NOW DEM GYAL AH OPEN SESAME

Inna overdrive, put in work, lef a legacy

Bunny a di Wailer, Peter Tosh a wid di energy

Deadly combination: Hennessy mixed with enemy

Gal ah set di ting, Tuff Gong a di remedy

Bob Marley

Bob Marley

Bob Marley

Man a rockstar like Bob Marley"

"Reggae Max: Anthony B" [Jet Star - 2002]

And in our 'blast from the past' section this time - I've been listening to quite a bit of Anthony B lately. Though he didn't have a new album for us last year, he did deliver a fairly strong steady set of singles and I am well looking forward to what is to come in 2023. As is my habit, when you give me good NEW stuff to enjoy, I go mining! As of late, I have landed on this wonderful little gem from more than two decades ago now. Once upon a time, when Jet Star was in full swing, they had a very useful complation series by the name of Reggae Max. The were used on a variety of different names; from the legends, Dennis Brown, Marcia Griffiths and Gregory Isaacs; up to the currents such as Beres Hammond, Lloyd Brown and Glen Washington. A few artists even had two installments of Reggae Max such as Sizzla Kalonji, Beenie Man and Luciano. It was just a HEALTHY series (and I didn't even mention Garnet Silk, Peter Gunnigale, Alton Ellis etc.). In 2002, Anthony B would receive the RM treatment and his 18 track set would be amongst the very best of the contemporary run of Reggae Max' existence. The tune that I have focused on most from this one has been the BRILLIANT 'Me Dem A Ban', but this album also contained about ten full-on damaging, conquering tunes. 'Waan Back', 'Bobo Cloth', 'All Jah Children', 'God Above Everything', 'Universal Struggle', 'Damage', '$20 Coin' were all on Anthony B's Reggae Max album - still worth digging up after all of these years.

{Note: The digital version of this album has sixteen tracks, the physical edition had eighteen. The two differences are 'Mr. Heartless' and 'More Life'}

{Note 2: Who loves you! Who has you covered!}

Words of The Week: 'Never Lost My Way' by Ginjah

'Never Lost My Way' by Ginjah

Na na na
Na na na
Yeah

Never lost my way
Never turn fool when I reach at the crossroad
Never lost my way
Never see di hype and get confused
Never lost my way
Never turn fool when I reach at the crossroad
Never lost my way
Never see di hype and get confused

I’m the element of surprise!
Fittest of the fittest shall survive yeah!
Over the mountains I life my voice!
Angels harmonize yow!
Give dem another high pitch!
Light up another big spliff yow!
When mi sing mi no haffi rich!
Ah no money man ah look after dis, yow!

Never lost my way
Never turn fool when I reach at the crossroad
Never lost my way
Never see di hype and get confused
Never lost my way
Never turn fool when I reach at the crossroad
Never lost my way
Never see di hype and get confused

My heart could be bitter, but I choose not to, it’s love I prefer
I could be a murderah!
But I see no joy in being a killer
What makes the world go round?
Mi seh love. Some seh money, dem ah clown
Di truth is there to be found
So let it be known!

Never lost my way
Never turn fool when I reach at the crossroad
Never lost my way
Never see di hype and get confused
Never lost my way
Never turn fool when I reach at the crossroad
Never lost my way
Never see di hype and get confused

So long’s there is life, there is hope
So keep it real
This struggle may be long
But this is where I belong
The struggles make me stronger
And even much wiser
So the whole world will see, the power within me yow!

Never lost my way
Never turn fool when I reach at the crossroad
Never lost my way
Never see di hype and get confused
Never lost my way
Never turn fool when I reach at the crossroad
Never lost my way
Never see di hype and get confused

I’m the element of surprise!
Fittest of the fittest shall survive yeah!
Over the mountains I life my voice!
Angels harmonize yow!
Give dem another high pitch!
Light up another big spliff yow!
When mi sing mi no haffi rich!
Ah no money man ah look after dis yow!

Never lost my way
Never turn fool when I reach at the crossroad
Never lost my way
Never see di hype and get confused
Never lost my way
Never turn fool when I reach at the crossroad
Never lost my way
Never see di hype and get confused

Never lost my way
Never lost my way!
Never lost my way
Never lost my way!

Taken from Ginjah's album "Never Lost My Way"
Ginjah @ Myspace

"No Rookie": A Review of Never Lost My Way by Ginjah

I absolutely love the fact that we’re kind of moving into this wonderful timeframe in Reggae music where we have so many artists who I think everyone has just become accustomed to referring to as ‘young’ and ‘up and coming’ - Who really aren’t that young and up and coming anymore. They’re more ‘normal aged’ and ‘already here’ and well, now it’s time to show and prove. It’s time to see who’s going to be the proverbial flash in the pan and who’s going to the type of artist that people like me write about for years and years to come. For example, I think it’s become kind of clichéd to refer to an artist such as Dancehall ace, Assassin, as young . . . Because that’s just what we’ve been doing from ever since he first came up as a disciple of Spragga Benz. Meanwhile the man is pushing twenty-eight this year and has a BIG history dating back longer than some of his peers who are years older. Similarly is Aidonia, who’s older than I am (and I’m virtually a geriatric at this point) and while he may still be in the process of distinguishing himself, at twenty-nine years of age and as a Dancehall artist, he has most certainly entered his prime years and has had long enough to become WELL comfortable in it. In terms of Roots Reggae music (which is why we’re here), we have the ‘big three’ of ‘young’ artists in Tarrus Riley, Etana and Queen Ifrica. Both Riley and Ifrica are in their thirties and Etana, while definitely young (either almost twenty-five or just twenty seven) in the traditional sense, her music has become part of the DIRECTION of the overall landscape (I.e. when Etana has a new tune, it is most certainly a big deal) and every time you look up, her musical age progresses further and further. So, instead of looking at this WONDERFUL crop of artists in terms of general age, I think we should just observe the fact it is THEM who are the here and now and ARE (not ‘will) ultimately the faces of the world’s most beautiful music. It is in that same ideology that I approach the artist with whom we deal today, the exceptional Ginjah. The very interesting singer has a musical history going back more than a decade at this point and really, when you look at the ‘up and coming’ (here and nowing) artists in the current landscape of Roots Reggae music, out of all of them, Ginjah is definitely one of the most interesting and also one who has reached the point in his respective career where it is DEFINITELY time to show and prove.

Thankfully he’s been having no problem doing exactly just that and continues to as one of the single most impressive artists I’ve heard in quite some time. I can remember hearing of Ginjah’s name quite some ago as a member of the legendary Beres Hammond’s Harmony House label. He voiced for Hammond (and with him, they have a big tune together by the name of ‘Rise Above’), toured with him and, presumably, just learned and took in so much from the legend that such an experience alone would have almost certainly made Ginjah’s a name to watch. And - Oh yeah, he’s also VERY talented on his own. He has quite the powerful, soulful and outside of Jah Cure and Chezidek, probably the most INTERESTING voice in Reggae today in my estimation and he’s used it over the years to craft some absolute GEMS of songs. Well hopefully now he’s well tuned up and ready to put his best foot forward as Ginjah now brings forth what is hopefully his very first of many album, Never Lost My Way. Having gotten his start at the highest level of the game working with someone like Beres Hammond, one would think that as far as actually doing the work goes, Ginjah would have nowhere to go but down in terms of quality, but he’s managed to put together quite a nice working relationship with the greatest Reggae producer in the world, Kemar ‘Flava’ McGregor (who Hammond, himself, also works with), who helms the album for his own No Doubt Records and Flava McGregor Records. Incidentally, the label(s) which has been literally flourishing for quite some time now (thinking about three years really now) also recently released Revelations, an album for Gyptian and altogether, Ginjah joins a very strong cast of ‘characters’ which includes the likes of Sizzla, Luciano, Lutan Fyah, Turbulence, Chuck Fenda, Chezidek and others who’ve had albums produced by McGregor, but, at least to my knowledge, he joins only Gyptian as artists who have had the honour of having Flava produce their debut sets. The album (as you might imagine) is put together, for the most part, with various tunes from Ginjah on Flava’s RIDICULOUSLY lovely riddims, some very familiar and some not so much. I’m very interested to see the impact the album has as Ginjah’s fan base is almost totally full of hardcore heads (like you and I) and although he may not be very well known outside of those circles, within the very devoted crowd Never Lost My Way IMMEDIATELY becomes a big deal. I actually recall from last year the thought was that his debut album would come via VP Records (the news was circulating roughly around the same time as the news of Chuck Fenda’s ultimately wicked Fulfillment album which VP did release), however, I’m hoping that people like you and I will pay this album SO MUCH attention that it will become a big deal in terms of commercial success. The question before that is, however, whether or not the album is a big deal musically - And the answer is an overwhelmingly expected YES. The thing about the album, even going in, is that you KNOW what you’re getting into if you know the setup. Ginjah sings, he just does, Flava builds fantastic riddims, again, he just does - And while certainly those two factors alone aren’t enough for a success, when you dash in the fact that the two have already proven that they work EXCELLENTLY together, the results most certainly do not disappoint.

The album, and Ginjah’s music in general in my opinion, very much seems to be centered on the celebration of the music itself. Of course, Ginjah is a Roots artist, so what you’ll encounter are the typical socially and spiritually conscious efforts on the album, but he is in a very select group of artists in my opinion who’re able to convey a genuine LOVE for the music that they’re doing. If I am correct in my assumption then Ginjah most certainly adores the title track of his debut album Never Lost My Way for No Doubt Records, because it’s the finest tune on the album and perhaps the finest of his entire career to date. The song utilizes Flava’s TIMELESS Rub-A-Dub Riddim and it’s quickly in the process of becoming my absolute favourite tune on that beautiful riddim (perhaps unseating Fantan Mojah’s EPIC drop, ‘The Most High’). For me, this tune is all about dedication - The dedication of oneself to what you’re doing and the commitment of it as well. It is absolutely a STUNNING tune (and you simply have to take it to heart when the singer says, “when mi sing, mi no haffi rich. Ah no money man ah look after dis”). HUGE! Carrying the vibes further is a bit of a hidden weapon I’d say in ‘Time’ which features on Flava’s most recent composition, The Classic Riddim. This one was seemingly intentionally held back from the big batch of tunes on the riddim, as well as the subsequent album as well for the riddim. This tune is, ostensibly, a love song, but it definitely isn’t your stereotypical straight ahead piece and to my ears it kind of expounds on the virtues of PATIENCE, particularly within the parameters of a relationship, but by extension, life itself. It’s definitely another beautiful tune and . . . Good luck finding it somewhere else besides this album. A similar tune is ‘Solidarity’, Ginjah’s cut of Flava’s 2009 Ghetto Riddim. While I certainly have heard this tune before, it too was absent from the riddim’s album (both times it was released) and that’s unfortunate, because it is very strong. The tune is mainly an antiviolence piece, but it speaks on another, more broad, level as well - So it’s one thing to put down the gun, but it’s another to put it down and start living clean INSTEAD which is the point Ginjah seems to be making with the song and wonderfully so.

As I said, I think it’s very likely that Never Lost My Way is going to predominately draw the interest of heavy fans, however, if you’re a newer fan or just a recent deep listener of Ginjah’s the album also offers quite the ‘tour’ of some of his past work. Perhaps the biggest example of such occurrences (besides the opener, of course) is his previous MAJOR hit, ‘Music Alone’. I think it’s so interesting that arguably the two strongest tunes on the album both seem to celebrate music for the sake of the music itself. This particular vibrantly beautiful effort hails and champions the music as a healing element (because it is) and just a TOOL which brings upliftment, just like Ginjah himself. Also certain to draw a bit of special attention is the tune which immediately follows ‘Music Alone’, ‘Get Out Of My Life’. The tune rides a riddim thought certainly destroyed and left for dead by Etana’s MASSIVE tune ‘Free’, but Ginjah definitely pushes a lovely vibes for it as well. The tune isn’t a love song or a jilted lovers song (which is what you’re thinking it is), instead it’s a very powerful (and seemingly personal) social commentary, as the entity Ginjah wants out of his life isn’t some misbehaving significant other, but instead is POVERTY! This song is so well sung and although he doesn’t push h is voice as much as he does on other records, I would say that it is actually one of the better delivered sets on the entire album. And later we get two less familiar love tunes in ‘My Dear Princess’, which has a very nice jazzy type of intro before ascending into one SPARKLING tune; and then ‘One Of A Kind’, which is nearly spectacular and I don’t believe that I’ve EVER heard this song before which is a great thing and it’s one of the stronger selections you’ll find on Never Lost My Way altogether.

Still, the solid majority of the balance of the album is certain to be familiar in one way or another because of the riddim of the actual tune, but in this case, that’s definitely a good thing. *Exhibit A* definitely goes to ‘No Regrets’, which is downright devastating! I’ve never heard this tune and it rides a riddim, the acoustic version of the Drop It (I THINK), which Ginjah’s certainly familiar with (more on that in a minute), so it seems like kind of a bonus (A HUGE BONUS). Call it ‘touching’, ‘halting’, or ‘moving’, it’s all of that and easily one of the biggest tunes on the album as well (the man says “I have no regrets in life” and it’s just pausing!) (also check the probable lyrical biggup to Beres Hammond when he says, “Don’t watch the crowd, they’re always going to be loud”). Ginjah gets to take the full Drop It Riddim out for a spin when he reaches the very strong ‘Welcome To My World’. Again, this is another unconventional love song, although more straight forward than ‘Time’, you get the feeling that Ginjah isn’t merely inviting a special lady to his “world”, but he’s kind of speaking on exactly what that entails and the tune was one of my favourites on that riddim as well (after Beres’ ‘I Surrender’, of course). Check ‘Where Is It’, Ginjah’s cut of the Rock Steady Riddim also. This is a song which has grown in quality to my opinion over the past year or so since when I first heard it and it’s still growing apparently as when I first spun t on this album, it just sounded so FRESH, as if I hadn’t ever heard it or maybe just once or twice, as Ginjah literally goes out searching for the way things were supposed to be (“and anytime you see a ‘meal‘, it‘s a sawmill or a cane mill“) (BIG). ‘Day Dreamer’ is another bit of a blast from the past like ‘Music Alone’, as it comes through over the 83 Riddim (which you know as having backed Queen Ifrica’s MAMMOTH shot ‘Daddy’, amongst others). This tune is, essentially, about procrastination and stagnation. Ginjah (rightly) believes those things ultimately lead to negative acts more times than not and it’s definitely a relatable tune, even if you don’t find yourself doing negative things, perhaps it can serve as a well needed kick in the ass to get you going, as he says, “Lazy is the man who loves to sleep. How you ahgo find food fi eat?”

As Never Lost My Way winds down, we get even more strong selections such as ‘Prayer’, from the Sweet Riddim. This one was one of the very few tunes on that riddim (if I recall correctly), which didn’t make usage of the kind of ‘built in vibes’ it presented most artists with love songs. Instead, Ginjah makes a very powerful statement of praise to His Majesty and one which just may be the strongest tune lyrically on the album. And speaking of praising His Imperial Majesty, the tune ‘Jah Miracle’ [aka ‘Jah Jah Watch Over Me’] is another one doing just that, while riding the HEAVY Nyah drum driven Higher Priest Riddim. This one is definitely a bit more in the way of a traditional chant and it’s very powerful and it also helps to give a bit of colour to the album as well in my opinion. Flava also pulls out what is, in my opinion, his opus riddim, the Triumphant, for Ginjah and he lives up to the LOFTY expectations on the master class creation with a master class of his own with ‘Love Mood’. This song is just GORGEOUS and the very fact that the riddim is here is HUGE! It’s one of my favourite of all time by anyone and Ginjah’s is yet another strong addition to it. And lastly, Never Lost My Way closes up with the acoustic love song, ‘The One’. The tune is a very simple, yet fittingly very nice wrap to an album which finds Ginjah stepping up to the plate and knocking one right out of the park, with yet another tune giving love to the creation of the music itself and in a very interesting manner.

Overall, Never Lost My Way is indeed Ginjah’s time to shine and he definitely doesn’t blow it. Before this album in general and on various singles from other sources as well (especially ‘Desperate In Need’, his recent single for the crisis in Haiti), I’ve just always been impressed with the way the singer carries himself and it’s so refreshing to hear someone sing a song and at least seemingly, see them try to LIVE UP to what the song says. On top of that, as I said, the album comes across, at least to me, very much as a celebration or a display of the power of the music. It’s not very glossy, you won’t find a single combination on the album at all and while there’re certainly tunes which have different vibes (like ‘Jah Miracle’), you really don’t hear anything here which pushes the boundaries of the genre and that’s actually very refreshing in my opinion. Ginjah’s time is very much in the NOW and although, collectively, I think the assumption to call him an ‘up and comer’ will continue, but listening through Never Lost My Way I think it’s hard to make that case. The material here CLEARLY features an artist who has already entered his prime years, it’s just a matter of the rest of the world paying attention. Are you? I am. Very well done.

Rated 4.5/5

No Doubt Records/Flava McGregor Records

2010

Ginjah @ Myspace

{Note: Want this album??? Of course you do. It is currently available exclusively at Flava's website - FlavaMcGregor.com}

New Ginjah Album!

Review Coming Friday!
(Get it now at FlavaMcGregor.com)