Modern Classics Vol. XLIV: Jah Grid by Akae Beka

We've spoken quite a bit in the past about the shift that I experienced in regards to the music of Vaughn Benjamin and Midnite. When I was much younger, the sound wasn't something that I was capable of appreciating. It wasn't very catchy. It often seemed like he did not care much at all for melodies or even if he was in-tune with the riddim behind him. It was not (and often still is not) the type of music that immediately draws you in and that's fine. While I don't think that there is an age requirement for enjoying the music of Akae Beka, I do think there may be a life experience requirement. Benjamin's music, at least in my opinion, is best served as a tool for PROVOKING THOUGHT and the depth of your thoughts surely increases with the amount of life that you've lived... with the amount of things that you have gone through, personally. 

Today I want to take a look at an album which is a personal landmark for me because, if I recall correctly, it was one of the ones which directly opened the door for me to Benjamin's work. I can remember buying "Jah Grid". I was still in university, it was probably a week or two old and I bought it just to buy it (and it wasn't my first Midnite album either. I THINK that distinction belongs to "Ainshant Maps" and I'm still working on that one as well)! A trait that I inherited from my wonderful Mother (and her wonderful Mother, both of whom are healthily and happily still with us) forces me to occasionally buy things just because I like buying stuff (a problem for a habitually broke college student at the time). I'd listened to Midnite's music before and, as I said, I didn't particularly care for it and I bought "Jah Grid" presuming that I wouldn't care for it either and, at least initially, I was correct. "Jah Grid" was... skeletal. The music was just fine but for someone who Dancehall would have been what I was listening to most at the time (and I was definitely listening to Roots music as well but it would have been... Sizzla, Capleton, Anthony B... kind of Dancehallish Roots music) Midnite's music was a bridge I had yet to even attempt to cross. But I paid my money for it, it was mine and, every so often, I'd come back and listen to "Jah Grid" and somewhere along the line, the shift began. Prior to that, however, I had begun to listen to the works of the likes of NiyoRah, Yahadanai, Army & Aincent King whose work came via a label that also would stick with me, I Grade Records, which also helped. I want to say that it didn't take THAT long for an album released in 2006 but I can remember a point when "Jah Grid" ceased to have any semblance of a presupposed (on my part and my part, alone) 'barrier' to it and what stood in its place was the start of a WONDERFUL journey of comprehension that continues to this day and will only end for me at my grave. 

In the latest addition to our Modern Classics series, we take a look at an album which helped to open a very large door for me, personally: "Jah Grid" by Akae Beka.

1. 'Enter'

I've spoken about this one previously. 'Enter' is one of the greatest songs I've ever heard... from like anyone and it so PERFECTLY exemplifies the process that I've gone through with this music. 

"If you plan fi live good, open Jah door and enter"

I don't know if this is the case but I'd like to think that someone specifically decided that it was so powerfully positioned at the beginning of the album because it sets the stage for what is to come not only musically but, specifically, by what Vaughn Benjamin says. ESSENTIALLY, he is saying that if you are willing to continue down this road, something immensely powerful awaits you. I should also mention just how damn THICK this song is, musically. The riddim sounds like something that grew out of the ground (oooooold, fertile ground) - a credit to the extremely gifted players of instruments behind it.

2. 'In Tent'

'In Tent' is a song where Benjamin actually does make an honest attempt at being melodic and I can actually remember a point, before this album fully opened up for me, where it may've actually been my favourite song here. These days while it may not rank as high, comparatively, I'm even more fond of it because I hear things in 2026 that simply did not exist for me in 2006. 'In Tent' is a very FULL experience and it exists for me as a social/life commentary (with a spiritual helm, of course) as Benjamin covers a variety of different topics and that's what stands out so brightly for me in this time. It's almost as if he jumps in and tackles one thing; jumps out, jumps back in and goes on something else. Take them all in a fractured state and you have something very solid (which I would have actually been capable of appreciating twenty years ago. Kind of viewing this tune as an impressive string of one liners), however, if you are capable of finding a common ground for them all and thus, receiving them all at once - well, then you have something special. 'In Tent' was special.

3. 'My Joy'

Grrrr. Despite its title, 'My Joy' came in with a bit of fury and is a more than welcomed deviation in its delivery. 'My Joy' does actually stay true to its name but in an expectedly very spiraling manner (a signature of Vaughn Benjamin's). The song was, essentially, him gardening. He was cleansing away the impurities and strengthening the soil so something would grow and he was mowing the lawn clear of overgrowth.

"Situation of the dream: Well nightmare haunt

ANYWHERE DEM KILL SEED, DIMENSION PLANT"

If you do these things well, what stands will deliver goodness for YEARS and, all of this time later, I am still enjoying the ripe fruits from 'My Joy'. 

4. 'Kin Dread'

One of the undeniable signatures from "Jah Grid", 'Kin Dread', finds the chanter (in a very SMOOTH way, particularly when compared to 'My Joy' just ahead of it)... just.... obliterating and annihilating everything, EVERYWHERE! Seriously, what the hell is this:

"New methodology, dem have it inna dem ghetto, mi seet

Dem new ghetto: Di chatroom

You don't have di password

You can't afford di software

You don't fit in yahso

Dem have it set up so dem deh alone can be pon di cutting-edge of di scientific community

Anything dem waan fi sociology do-

Anything dem waan fi economically do, dem can just do it"

"Whole heap a critic-

Dem just labba, run off dem mouth ah talk seh-

'Wi shoulda dun gone Addis Ababa'

'Wi shoulda dung deh a Shashamane'

Here a small story, mi ah tell you short story about a farmer

Plant up di most itiful garden, but di youths dem only want softdrinks and Babylon flavour

But hear yah now

Dem ya a mi kin dread

Dem a mi kin dread

Dem a mi kin dread

Di harvest is ripe and di labourers are few

Selfishly, dem waan fi depart when dem know seh that dem deh pocketbook can take care of dem deh just dem few"

At its core, 'Kin Dread' is a unity piece. It's about bringing us all together, warts and flaws and all but the journey to get there may take us AGES (and I ain't complaining about it). I would suppose that the majority of this song was a vibe. I've actually seen video of Vaughn Benjamin actually writing lyrics and while I would guess (and do so acknowledging that I could be completely wrong) that it was his preferred method of writing songs, I wouldn't think that he wrote much of 'Kin Dread' at all before he started it. It has a very LOOSE feel to it which isn't a frequent occurrence in his work (his delivery often comes off as unrehearsed but the man seems to know PRECISELY what he wants to say most times) and was one of several reasons that 'Kin Dread' left its mark.

5. 'Under Management'

Along with maybe one or two others, 'Under Management' is a song that has experienced as much of a SHIFT that I can think of. I can recall a point where I listened through "Jah Grid" and came upon 'Under Management' and... literally, had NO CLUE what I was listening to. It might as well have been recorded in Japanese or Latin - not because I couldn't understand what was being said but because I would have had just as much of an opportunity of digging sustenance out of it in those days had I been totally walled-off to what was being said. On top of that, can you find a melody here? Benjamin didn't give a damn about it and what little of it there was was very difficult to get to. 'Under Management' was just a tough song to listen to and remained so, even after much of the album had begun to develop for me.

Today? There is a group of my absolute favourite songs on "Jah Grid"; there're three of them. I just told you about one of them and the other, 'Enter', started us off. Outside of those... I cannot definitively say that there is a better song than 'Under Management' on this album (one might be pretty close). There are a few others that I will, depending on the day (and maybe even the time of day), rank higher, but if you were to come back and ask me what I think a few minutes later, I'd probably change my mind. 'Under Management' is GOLDEN as Vaughn Benjamin puts on a display of the spoken word for the ages. He says SO much on this one and covers SO much ground that you can stop it TRULY anywhere and hear something powerful. For example:

"Multiple psychology experiment on tv look like entertainment"

And it allows you an entry point into such a powerful track of thought. And there is a melody! The riddim also ranks as one of the finest compositions on the whole of "Jah Grid" for, as minimal as it may be (and it is), if you REALLY listen to it closely, there is a certain intensity behind this song that does not leap out at you but is definitely there. 

"I've seen it recently"

6. 'Spin Doctor'

The word that comes to mind today in reference to 'Spin Doctor' is "dilution". The term 'spin doctor' is used to describe a mouthpiece of a person who will often change and DILUTE a thought or a message to make it receivable amongst whoever it is being presented to. It is often used in the political sense.

"Teams of people who've been hired just to do this thing, believe it or not

They get on the news and in the room 

Sit around and decide how the outcome must come down, smooth-

And shape it in the news"

Certain messages require no "mouthpiece", however, and certain 'Candidates' are beyond the "spin". In order to illuminate this point, Benjamin takes a route which  goes through physics, looking at the nature of spin doctors on a molecular level. For its unusual sound (and it is strange, with a kind of a Jazzy vibes to it), 'Spin Doctor' is a HEALTHY point of discussion and one of the finest written songs on "Jah Grid".

7. 'Royal Habits'

I've alluded to 'Royal Habits' here already: When I was talking about 'Under Management', I mentioned that I have a group of three all-conquering favourites on this album but outside of those maybe only one more tune could lay claim to being better than 'Under Management'. That song was 'Royal Habits' and it is a flawless example of what a song that would not have done a damn thing for me when I first came across it but now does the world for me. This song is messy, it's scattered and it's pretty consistently off-key.

It's also beautiful. It's brilliant and it's poignantly POWERFUL. 'Royal Habits' also stands as one of the few tunes on which Benjamin had a little 'over-fun' with on the vocals. You'll know exactly what I mean if you're familiar with it but for the balance of the tune, it's what you're thinking that it is. We all need to do a bit better because we know a bit better. That's the source behind this song which, though it may take awhile, will reveal its true power only if given the opportunity.

"If you have it, exhibit royal habits"

8. 'The Bringers'

Though its music threatens to steal the show, 'The Bringers' does turn out to be a wonderful tune. First of all we do have to talk about that riddim: Silky, syrupy SMOOOOTH it is. Sounding like something directly halfway between Reggae and Jazz, the composition for 'The Bringers' features the handiwork of the venerable likes of Tippy I, the incomparable Tuff Lion (who DESTROYS on this song) and others. Just as a piece of music, it's winning but now we get to add in the works of Vaughn Benjamin. For his part, the chanter seems intent to match the fluidity of the players of instruments and while we can debate on how well he does on that end, what he does do (as he always does) is excel with his words. Here, he puts on a LOVELY display that I took in tribute and honour to our "bringers" [DUH!], meaning our parents, our forebears and ancestors who have done so much in bringing us to where we now are.

"Enough praise, I cannot give

Enough thanks, I cannot give"

Benjamin levels 'The Bringers' up when he goes EVEN HIGHER at one point when he asks one question:

"Should I not give all these things and more unto Jah?"

And I won't get into it... YES I WILL! 

"His Majesty unified all these minds into one place

Wrote the law on their hearts in one place

Solidified by distance

3,000 miles away"

HE who set bloodlines and lineage into motion is THE BRINGER. THE is The Bringer who brought 'the bringers'. I listen to these songs and I wonder if its my overactive brain that piles on ideas here or if I'm really on to something but songs like this one mean so much me now.

9. 'YHWH'

I'll come back and explain it, in closing, fully, later but 'YHWH' sits as sort of the GLUE of "Jah Grid". It is the source code behind it all as far as my experience with the album has gone. However, until then, there's this. 

"Choose before a place where no choices be

HIM, Haile Selassie spoke to these issues in specificity

Before the escalate happened early, happened early

Humbling to livity

Now it's not for triviality

Rastaman elevate the wisdom tree-

For souls to live in joy

Resonating, marinating in beauty

Let the positive rhetoric and economics interlock and purify I & I wholly

Haile. Holy"

"This" is one of the single finest written tracks on this album and I say that, again (kind of), without giving its true strength here but 'YHWH', along with 'Enter' has positioned my line of thinking in regards to this sound so perfectly and here we are There isn't a chorus to this song; such a thing would have only held it back and yet it is still quite pleasing to listen  to. More on this one in a second. 

10. 'Before I Lose My Strength'

I say "TEARS" when I want to let the reader know that whatever song I'm talking about makes me kind of emotional; it gets me "in my feels", as the kids like to say. I'm not going to say that about 'Before I Lose My Strength'; instead, I'll say this: THIS SONG MAKES ME CRY. It does and has been doing that for the last.... seventeen or eighteen years probably, but especially nowadays. The third of the trio of mountainous songs on "Jah Grid", 'Before I Lose My Strength' hits me heavily and I'll tell you why. For me, this song is about making the absolute most out of life that you possibly can - WHATEVER that may mean for you. It's about contributing and doing your part to improve life on this planet during the time you have on it. 

"Before I lose my strength

ALL OF THE DAYS OF SINGING

All my days of strength

ALL OF I DAYS HAVE VIBES"

Now, let's specify a little bit about whom we are discussing. Vaughn Benjamin left us, physically, in late 2019. 

"Before I lose my strength

ALL.

OF.

THE.

DAYS.

OF.

MY SINGING."

"ALL OF I DAYS HAVE VIBES"

Now I don't want to exaggerate or embellish or over-dramatize the moment but this man stated a mission... I don't even know if I want to use that word, "mission"... he stated a natural urge, an "instinct" (something implanted him by The Most High) - something he had to do [!] before the end of his days. Why???

"To maintain internal heights"

It made him feel good. It was something his biology required of him and he did it BEAUTIFULLY. Also, I wouldn't be doing a good job if I didn't talk about the music here. 'Before I Lose My Strength' is another kind of crawling sounding tune and it is gorgeous (THAT THING IS CRISP!). It'll take you a bit to arrive at that point (I'm an example of that) but this song, in particular, is the type of music that changes people's lives in my opinion. It is of THAT ilk. This man never lost his strength. He wrote HUNDREDS of wills and left it to the world.

11. 'Third Eye' by Jah Rubal

Let's talk a little about Jah Rubal. I'd like to think that -- both indirectly and directly -- Akae Beka did a great deal of work in terms of bringing along others and introducing them to the masses. I would think that we're already enjoying a generation of Rootsmen and women who have, in one way or another, been inspired by Vaughn Benjamin's work (I've always thought that about someone like Reemah) (and you see what she's gone on to do. That woman is a genius) but he's also brought some of them along for the ride. He's produced full albums for some of his peers (like Ancient King) and then there's Jah Rubal. I think most people first became acquainted with Rubal's work via his appearing on several Midnite projects and now he's a fully decorated and esteemed veteran with at least three full albums of his own off the top of my head (I should probably review one of them one of these days... think I might start researching that after this). EASILY, one of his most memorable features was on 'Third Eye' from "Jah Grid" - it also ranks, at least in my opinion, as one of his single strongest tunes to date. 

Rubal's style is a little messy but simple (and I mean both of those in good ways) and he's aided here by Benjamin, himself, who provides 'Third Eye' with a bit of background singing and harmonies. At times, such as this one, he also doesn't give a damn about melodies or song arrangement and things like such. He has something on his mind to get off and that's what Jah Rubal does, for the most part (he has a very unusual way of... doing unexpected choruses. They just kind of pop up when you are not expecting them). Although 'Third Eye' definitely does summit in its first verse, the entire thing -- after a nice long period of working on it -- does not head back down to the nadir and, again, at least for me 'Third Eye' sits as one of the finest pieces of output that Rubal has done to date as he suggests that we all take a closer, and perhaps more unconventional, look at the world around us. 

12. 'High Place'

"I have seen the high place"

TEARS! 'High Place', at least for me, has become this kind of lumbering... hard working giant of a song. It has something to do and somewhere to go but it isn't in the slightest hurry to get it done or to get there. It's going to take its slow ass time and you're going to sit there and let it. As it does progress, however, what you end up with is a tune which is wholly STUNNING at times.

"I have seen the high place

Inna likkle youth with the strangest question:

'How come they don't have lions?

How come they don't have mane?'

I say, 'hey, well ask ya daddy'

But it's the high place CURIOSITY"

The song is about non underestimating people and being able to appreciate BEAUTY and POWER everywhere you find it - even in the simplest, most innocuous of things. There is a joy here that I was incapable of appreciating AT ALL, initially and, even today, I can hear why I was lost. Now? Vaughn Benjamin says that he has seen the "high place".

I've seen it as well: On an album that I once left for dead.

13. 'On'

Courtesy of 'On', "Jah Grid" literally CRAWLS over the finish line. There was a point where I would have actually said that I disliked 'On' and if you're there as of now, I probably shouldn't fault you for it... but I am. 'On' is one the best songs on this album to my ears nowadays. Take its rather odd pacing and 'delicacy' out of play for a minute (we'll come back to it in a second) and just HEAR it for what it is.

"Let the vibes of reciprocation flow on and on

Those who have been the recepient of good and have done wrong

Remember, in your day, in your time when you can make a difference with your mind

With your deeds

Remembering the day, the people who have made your way"

The song is one about progression and progressing! Benjamin takes a good look at the good and the bad (and he almost had to in a song like this but it circles around so PERFECTLY and SUCCINCTLY. 

"Let the vibes of Jah flow on and on"

That is a signature of the man's work. I'm not going to say no one else CAN do it, but no one else DOES do it (at least not in the consistent sense). It is one of a kind. It belongs to him. Now, about the way that 'On' sounds - it GROWS! First of all is that riddim which is a five minute chunk of divinity within its simpleness. And the delivery on it, this kind of singing/chanting which sits around a more straightforward talk, works so well for it. He has something to get off his mind and he's acknowledging the moment:

"A caring thought

A considerate remembrance"

And, as it turns out, 'On' goes on to be one of the more sonically pleasing selections on the whole of this grid. 

Synopsis

"IT'S GONNA TAKE OVERSTANDING AND MATURITY"

I mentioned that I consider 'YHWH' to be the "glue" of Jah Grid. It's what holds my experience with the album all together and it's because Benjamin says things like this. I hear blips of so much of what I've gone through on this journey (and am still going through, DELIGHTFULLY) in this record.

"THINGS ARE COMING CLEAR, TRUE

IT TAKE A PAINFUL, A LOT OF ERA

A LOT OF MISCUE"

That final word there, "miscue", means so much to me here. I'm sure he didn't have it in mind when he wrote it but it was going to help open up my ears (and maybe, HOPEFULLY, many other pairs as well. It's okay to make mistakes in here and it's also okay if you don't comprehend what you're hearing. I remember seeing an interview of Tippy I and he, himself, who's produced so much of Vaughn Benjamin's work said that he'd constantly ask questions when he couldn't follow along. If he heard something and couldn't figure out the intention, he'd ask Benjamin what he meant and he'd tell him. I'm almost jealous of such an opportunity on one hand, but on the other I am SO DAMN grateful for the opportunity to work my own way through this work and to draw my own conclusions. 

"Destiny is subject to the decisions I & I make"

But I had to grow up mature and live life in order to earn the opportunity to draw my own conclusions and make my own decisions. However, with that being said, all of the time that I spent thinking that this music just wasn't for me also wasn't exactly bereft of value. I've had so many conversations with readers about how it just doesn't work for them and because of all the work I've done, I'm able to point them in a certain direction and make suggestions and... who knows, maybe it still doesn't resonate but PERHAPS they hear their own 'YHWH'. Maybe it comes via more 'accessible' material like "Beauty For Ashes" or "Kings Bell" or "Better World Rasta" or maybe they find it in small pieces through HEAVIER work like "Be Strong" but the fact that I've done it, myself, makes it such a satisfying experience any time I can maybe pass along a vibe or steer someone in this direction because what comes after is... unspeakable. It's a lifelong journey. For me that trek began to make an actual progress through work such as that which is found on "Jah Grid", a bona fide Modern Reggae Classic!

{Note: Also credit goes to the presentation of this album. Artiste Marcus Wilson did the cover which has thirteen stones (including the center), mirroring the number of songs on the album and then the actual CD has the songs title also circling around on the perimeter of the disc}

THISALBUMISFANTASTIC: A review of Strength & Resilience by Lutan Fyah

Bonded. You know that feeling that you get when you meet someone that you REALLY vibe with. You come into contact with a person and their line of thinking melds so perfectly with yours - there's a certain level of excitement that you get in thinking of the possibilities of what you two can do with one another, going forward. This can apply in just about any (hopefully positive) situation, be it in meeting a potential partner or even someone with whom you are going to be working... and you see where this is going. From the standpoint of strictly a fan looking forward to hearing great music, there're very few things more appealing than being able to observe such a relationship begin and develop. Examples are all over the place. If I were to tell you that, somewhere, there existed long lost recordings of Sizzla Kalonji made by Bobby Digital and you had even the slightest bit of knowledge of what that relationship has produced, you are interested. The argument could be made that together, Digital and Kalonji have come up with two of the greatest albums in the history of the genre (not to mention "Good Ways"). Clearly, they worked well together and got the absolute best out of one another, which just so happened to be some of the best music that anyone has ever heard. Sizzla would also find riches recording with 'homebase', Xterminator consistently (particularly early in his career), and we've also seen other very fruitful artist/producer relationships as well. Most fittingly, a very interesting one to look at would be Akae Beka & I Grade Records. Much like Kalonji, the notoriously [over]active Vaughn Benjamin recorded with a very large group of maestros but the chanter would register, consistently, with maybe three or four, with the work he did alongside IGR being some of the most obvious standouts (Fifth Son Records would also be in that discussion, in my opinion). Furthermore, while some of Akae Beka's albums would be out for a bit while being difficult to find and virtually un-promoted, the sets that came from I Grade Records were readily available and fans knew of their arrival weeks (if not more, on occasion) ahead of release date. We could also get into other links such as those between, of course, Anthony B and the once mighty Star Trail, back in da day, with Mark Wonder & Oneness being an extremely fine more current one as examples of duos who've made sweet music together... sorry, I could not resist.

2005

I'm thinking it may just be time to add another pair of names to this list as, TECHNICALLY, we now have the third display of an extremely high level of proficiency. Literally twenty years ago, a label by the name of Lustre Kings Productions released an album by the name of "Time & Place" by an artist by the name of Lutan Fyah from a place by the name of Spanish Town. The album was fantastic. It was one of the best.... fifty or so that I've ever heard and has been declared a Modern Classic on these pages. Lutan Fyah had also worked with LKP from as far back as 2002 when he appeared on the oft-mentioned around these parts, "Culture Dem" compilation, and he would also be present on both the second and third installments of "Culture Dem" in 2007 and 2009, respectively. Want more?? In 2008, LKP released "Know The Road", a very nice album from Norris Man which contained 'Nah Pollute Your Faith', an excellent combination featuring Lutan Fyah ["All dem bad vibes - leave it alone. ONLY A CLEAN HEART TAKE YOU TO MOUNT ZION ZONE"]; and I could keep going but I have two more of these to do but, just in case you're interested, in 2015, the Fyah would also pop up on 'Cold War' a tune on the LKP released "Order Of Distinction" by Jahdan Blakkamoore (which I should probably do a vault review of sometime this year). Another label, Zion High Productions, was also involved in the production of "Time & Place" (I have the disc, it's sitting right next to me. Their logo is on the back cover) and, since then, Lutan Fyah has also worked on a considerable amount of their output as well. Including, but not limited to, "Jah Golden Throne", a WONDERFUL compilation from ZHP in 2012 and "Therapeutic", two years on, an overlooked but WICKED album from Ziggi Recado (his appearance there, 'Guide Ova', was MAMMOTH). So he's had a very long and distinguished history of recording with the "Zion" and the "Kings", has Lutan Fyah.

2017

He's also got the "I" covered as well. As far as I can tell (which means I'm completely wrong) one of the first times the aforementioned I Grade Records directly crossed paths with Lutan Fyah was on what may just be THE single greatest compilation that I've ever heard, 2009's "Joyful Noise". I don't know if that album, officially, put things together, but "Joyful Noise" was a full-on production of one of the greatest collectives Reggae has ever seen (and that is the type of thing we need to say NOW, while they are around to appreciate it and not withhold such OBVIOUS acclaim until people start passing away. THEY ARE SOME OF THE GREATEST TO EVER DO IT. PERIOD) the Zion I Kings. Subsequently, the chanter would go on to do a number of musical works with IGR, working on albums for The Nazarenes, Pressure Busspipe ["LET ME OFF NOW!"] and Akae Beka along the way. ALSO, it should be noted that I THINK (pretty confident in this one) Lutan Fyah is one of only a couple or so of artists to have appeared on every single installment of the ZIK's Riddim Series, with the most recent edition being the Full Bloom Riddim from just last year. In early 2017, I Grade Records with the Zion I Kings would make things 'official' with Lutan Fyah by releasing a full album, the much anticipated "Music Never Dies". Again, that album was excellent and, unless I'm forgetting something really special, the Zion I Kings, in one way or another, have been responsible for two out of Lutan Fyah's three best albums to date (of course the other one is "Phantom War", but you already knew that). Or is it four out of five??? A few weeks shy of eight years exactly from the release of "Music Never Dies", the Fyah is back on board with the Tippy, Moon and Bain, the fine folks who make up the ZIK, for yet another sterling piece of work, "Strength & Resilience". I had no clue that this album was in the offering. I hadn't heard anything about it but, in my weekly or so scanning to see what was up and coming (the latest of which revealed something very interesting from these exact same people (that looks like it would be fun to write about) as well as new albums from Alpha Blondy and Glen Washington), I did come across it and a video for its first single came up not too long after that. I did think that it was getting time for a big album from the ZIK, however, and from the very first time I laid eyes on "Strength & Resilience", I knew that it would fit the bill. Even if you were to ignore alllll of that history I gave you (which I would hate for you to do, since I spent so much time on it), it's a new Lutan Fyah album for the Zion I Kings.... c'mon now... stop playing. 

There is something TRULY RIDICULOUS at the head of Lutan Fyah's brand new album with the ZIon I Kings, "Strength & Resilience". It took me a minute to figure it out (actually took a lot of minutes) but when I finally was able to put it together, I was absolutely shocked. The first tune here is called 'Warning Dem' and it is, for all intent and purposes, PERFECT. There is NOTHING at all wrong with 'Warning Dem'. From the second it really picks with those beautiful and ever so slightly understated horns and remaining throughout, in being nearly word-perfect from the Fyah: 'Warning Dem' is IMMACULATE. It's one of the best done tunes that I've heard in a while and a GEM! The "truly ridiculous" thing about it, however, is that 'Warning Dem' is not the best song on this album and it isn't the second best either! I had crowned it and made a note that it would be the top ranker here, but let's see how this goes (and I would change my mind). I do HAVE to mention a particularly SWEET portion of the opener, from about 2:50 in through about 3:15. They just let those horns take over and it is delightful as Lutan Fyah uses to moment to tell all that things are not as bright as they may seem. You just listen to the riddim on the obligatory mama tune from "Strength & Resilience", 'Listen Mama', and you're well aware that something special is going on and that's even before we get into the words. On that end, it is what is expected, but Lutan Fyah has stretches where he dazzles in showing his supreme appreciation for the most powerful being to walk the earth. Next in is the MAMMOTH 'Leader Before Me' where Lutan Fyah FIRMLY plants his feet on the ground and delivers a praising tune of the highest caliber

"Held by grace and Jah gave I wings - HE saved me

The mission is on: No failure in it 

It's a difficult time

This is it! This is it!

Have your own tactics and watch out fi di trick

AND BE WISE TO GET RID OF BADMINE PSYCHOSIS

Right there - stop, take a look inna di mirror

Find out you coulda paint a million picture

Most High say lead - I will follow"

There is a beautifully addictive BOUNCE that comes along with 'Leader Before Me' and I won't sit on this point too much (at least now for now, I MOST CERTAINLY WILL later) but it just so DAMN FUN to listen to. It is a very... full musical experience of a track.

It seems as if Lutan Fyah and the ZIK came to the conclusion that if you're going to add guest artists, that you should reach as high as you possibly can when it came to building "Strength & Resilience". There are only three of them but they are three huge names and all three show up in a major way [DUH!]. The first is the immortal Akae Beka, frequent spar of Lutan Fyah, who joins 'Just The Time'. I'll save you me verbally salivating all over this riddim (again, at least for now), even though it deserves it, and instead I'll focus on what I took away from this gorgeous tune. There's the idea of 'living in the moment' and dealing with what you have to deal with in life and, although it sounds simple as all hell, it's not actually something you hear sang about very often. It's always one side or the other - negative or positive. Here, Lutan Fyah & Vaughn Benjamin come together and, essentially, say that IT IS WHAT IT IS. No one is perfect, we all have problems and we have our good points as well. I am also contractually obligated to observe the moment when Benjamin LEVELS UP 'Just The Time':

"BUT I CAN FEEL IT NOW

MUSIC EFFECTING I CAUSE

AN UPFUL SPIRIT INNA HEART

STRIVING FOR BETTERMENT"

I mean.... what do you do with something like that. 'Just The Time' is spectacular. The second combination on "Strength & Resilience" is a bit 'tricky' (and I mean that in a good way), as the featuring artist wasn't named and I've even seen him billed as a "surprise special guest". When I first heard clips of 'Freedom Sound', I was certain it was Chronixx I was hearing and, for ONCE, I was correct. "LUTAN FYAH & CHRONIXX" -- on paper -- is golden. It's an incredibly attractive pairing and the two do not disappoint with one of the SWEETEST vibes on the whole of this album. There is a very free and open nature to this one (a typical strength of Chronixx') with the core of 'Freedom Sound' being precisely what its title says: That vibe! It is spiritually and mentally uplifting SOUND that resonates all throughout this set. I'm still wondering WHY they chose to have Chronixx go unnamed -- I would think "featuring Chronixx" would look very well attracted to "Strength & Resilience" -- but it's hard to question when the results come out sounding like this [and were you paying attention when Lutan Fyah said, "I took a selfie with Selassie and paste it on my wall"???!]. Finally (besides the other seven songs I have to tell you about, of course) is something by the name 'Days After Summer'. Hmmm. What to say about 'Days After Su- IT FEATURES QUEEN OMEGA! WHAT! As if need more of a reason to grab my attention, "Strength & Resilience" brings together a pair of my personal looooooooooongtime favourites and does so in a MAJESTIC way. The eco-friendly selection carries a theme of respecting Mother Nature and how important it is to treat the environment, because failure to do so can be disastrous (it isn't like we have a backup plan). There's a point here where Queen Omega really pushes her vocals. It's thrilling, it always is, and out of all the pairings that I have wished for over the years, here's one that I probably wasn't expecting anytime soon and I am so happy that the ZIK brought together. Also, and I could be wrong, but I don't think the ZIK has ever FULLY put their weight behind a project for a female artist and, while the brilliant Reemah would probably seem a more likely candidate (and I wouldn't complain about that), I think the Queen would be a PERFECT choice.

As far as I know, the album's beautiful title track is its official first single and you won't get very far into listening to it, AT ALL, before realizing exactly why that is the case. This thing has wings. It SOARS! Way up there with whatever else is up there is 'Strength and Resilience'. Somewhat broad on some level, the song is one not too different from the previously mentioned 'Just The Time', although this one is more about the struggles faced in life (but it isn't necessarily completely bleak ["I TURN MY WOUNDS INTO WISDOM"]) and how to progress in spite of them ["PUSH ON! PUSH ON!"]. There's also a certain serenity about this one. It's very chilled and, though there is emotion to it, the calm nature of 'Strength and Resilience' definitely prevails. While 'Strength and Resilience' isn't bleak, the tune which follows it, 'Pieces of Broken Soul' could certainly be labeled as such. Fortunately "bleak" doesn't mean bad because 'Pieces of Broken Soul' is sublime. It almost comes off as PERFORMANCE more than a song and what I mean is that, you get Lutan Fyah coming in and saying what he has to say ["There's a lot of hungry mouths to feed. Sleeping on the cold concrete"] and then backing off at one point and allowing the riddim to take the spotlight with him in the background a bit just helping things along the way. I REALLY enjoyed this and i have enjoyed similar stretches on other ZIK produced works. For me, things like that show that both artist and producer had a full confidence in the music they were working with to allow it to be given 100% to the listener and 'Pieces of Broken Soul' is better because of it. Then things go crazy on "Strength & Resilience". The real class of the album comes within a pair of back-to-back tracks in 'African Children' and 'Drain The Swamp'. 

"Babylon ah search fi di trouble, worldwide massacre

Move fast - dem ah hustle and wi don't answer

If you cross dem, you end up inna hold dung so

Sometime mi caan bodda kiss mi teeth and say cha

Wah you mean when you seh you coulda cure cancer-

And liberate di poverty weh inna Africa

Just a talk, never mean it

DEM A WARMONGER

Still ah move like a backra master"

The former features Lutan Fyah absolutely blazing right out of the gate as he speaks on the childen of Africa dealing with oppression all around the world and how our persistence is mandatory for reversing things; and he continues burning everything in sight.

"If a brick-by-brick, wi ah build it back strong

No matta what it takes, now wi ah get a chance 

Mek wi turn a page, meanwhile wi advance

No time to wait, no time to gallivant

Hey, let's clean up di palce and build railroads and bridges

School to educate and good, clean house to live in 

SELASSIE AH DI BRACE WI AH PLACE FI THANKS GIVING

Di rules and di discipline rigid

Whoi, it's been a mess

Now Africa has reached crossraods

This time, wi have to refresh

THE MOTHERLAND NEEDS US NOW!"

Were you listening through this album and waiting for that kind of forceful, fiery moment, you got in the form of 'African Children' and if that need wasn't quite sated, check the absolutely FILTHY 'Drain The Swamp'.

"Too much biting ants, cockroach and mosquitoes

Full time to drain di swamp

See dem narcissist devil, they pack up inna di alligator pool

Drain the swamp!"

'Let's uproot corruption

No freaks tainting my soul 

Let's set things straight, because wi need options, tell dem brave and bold

Mi nah feel safe inna babylon system

Mi nah join dem mind-control 

WHEN DEM COME VIOLATE MY RIGHTS, OVERBOARD MI HAFFI THROW DEM 

Kick di cover, full-time mi haffi expose dem

Nah stop, til di underbelly come down

Can take another day

Bun di fyah and dun

Cah dem love talk hard an dem ah tell wi untruth

Babylon yah foot too big for yah shoes

And you can keep yah brainwash in yuh schools 

Cah mi no waan fi si none ah fi yuh daily news

Di people tired and they need something new" 

Lutan Fyah gets grimy on this one! Getting into all of the nasty, dirty secrets of brutal society (even suggesting that people start checking ourselves as well) (your closet is most certainly NOT clean and neither is mine!) and bringing them to light. I'm not even going to mention how 'Drain The Swamp' ends, although I'm sure you can guess at this point, making for another magical point and, at least in my opinion, the single finest effort on the whole of "Strength & Resilience" (so long as my bias can prevent me from giving that distinction to 'Days After Summer'). While 'Drain The Swamp' finds the chanter exposing the hidden facts of certain members of society, on 'Secrets', he's doing a bit of work on himself. What I took from 'Secrets' (besides it just being a lovely song) is the significance of INDIVIDUALITY, uniqueness and privacy. Lutan Fyah welcomes everything in regards to himself, even his flaws but it's those things which make us different from one another and that, intrinsically, is powerful. It's one of the most powerful things we have because, in the absence of it, we'd all be the exact same, robotting our way through life. I think 'Secrets' may end up being a bit of a 'sleeper' on "Strength & Resilience", it well seems like the type to go a bit overlooked, but if you do give it a bit of extra attention, the reward will be well worth it, I assure you. 'Protect Your Energy' offered a delightful change of pace, stepping things a notch or two, with an infectious track behind it. The piece is a purifier! It's about keeping negativity far away from yourself and, functionally speaking, I think 'Protect Your Energy' is one of the furthest 'travelers' on the whole of the album ["Si no dark energies, mi nah let dem in. ALL NEGATIVITY BANISHED FROM WITHIN"] because I think it's so related. You probably know people who either spend entirely too much damn time complaining or they're just always in a bad mood and never happy for themselves or anyone else. I think THAT is specifically how this piece will hit most people who take it in. We can apply larger, societal/global themes to it but just for yourself, do your best to stay away from that type of a vibe. A VERY powerful tune here. Lastly, another winner in 'Tomorrow From Today' sends us on our way via yet another golden sound which is utilized in a major way as Lutan Fyah gets downright poetic at times during what is, surely, one of the strongest lyrical displays on the album. 

"When life seems desolate

Sometimes confused and perplexed

Jah visit men inna dem own craftiness and like di Tower of Babel - men wreck

Searching fi answers and wi never get refreshed

PRESS DI RESTART BUTTON BUT WI STILL DISCONNECT

Caught up inna bottomless mess!

Not amount of saving can replace di things you just can't forget"

I considered 'Tomorrow From Today' as somewhat of an extension of 'Protect Your Energy' in its diretcion. Where that one focused more on preventing negativity, 'Tomorrow From Today' deals with more of what to do when you inevitably do encounter it - both from others and internally as well. The depths that he goes to in order to make the point are amazing and he does it, of course, tactfully as always. 'Tomorrow From Today' is yet another big highlight here and a fantastic way to end "Strength & Resilience".

OKAY! Because I alluded to it several hundreds of times and fought off the urge to do another few dozen or so (I literally just did it on both of the last two songs I talked about, ESPECIALLY on 'Protect Your Energy') (you go and listen to the last eighty seconds of that song!) the level of music/instrumentation... whatever you want to call it - PRODUCTION? ALL OF THAT GOOD STUFF is EXTREMELY well done throughout "Strength & Resilience". And maybe that's redundant given that it is a Zion I Kings release and their work is always top notch but I was particularly impressed here, even by their ridiculously high standards . What goes with that, EASILY, is a full recommendation of this album to anyone with ears. If you LOVE the music or if you don't even know what a Roots Reggae is, I'm confident that you will find loads to enjoy on "Strength & Resilience". 

Overall, I found a lot of it to enjoy, myself but I knew that would be the case when I learned of its existence a few weeks ago. "Strength & Resilience" is masterful. As I said, it instantly goes near the head of all of the albums that Lutan Fyah has had to date (and it has been billed as number seventeen) and the same goes for the catalogue of the ZIK, in my opinion, which is saying LOADS in both instances. I did also make a quiet connection between the new album and "Music Never Dies" and while the vibes are similar (of course they are), they don't feel like one giant project, they stand apart from one another; an idea which, I would think, the artist revels in. "Music Never Dies" ["Perfect storm. Selassie bring a perfect storm"], like "Time & Place" before it ["There's a fire in the barn!"] has set up these wonderful signature moments in my head that I always find myself going back to whenever they come up and I have no doubt  at all -- "I CAN FEEL IT NOW" -- that "Strength & Resilience" is well on its way to doing the same. I've been listening to Lutan Fyah now for the better part of a quarter-century and have known him to vibe well with a number of producers but at this point it is crystal clear that the SOUND he creates with the Zion I Kings is, consistently, is to be rated amongst his very best work as the two mine musical gold, once again, for the first truly great Reggae album of 2025. OUTSTANDING!

Rated: 5/5

I Grade Records

2025

Roses: A review of The Full Bloom Riddim

Over again. It tends to be easier to remember certain things when there is a significant moment or occurrence tied to them. If I were to ask you what you remember about some random year that you lived through, perhaps you'd have something specific to say or perhaps not, but if I then reminded you that it was the same year that someone you knew died or that someone else was born, then maybe it might bring back waves and waves of specific instances that you could suddenly recall... because you now you have something in particular to give you a timeframe to attach them to. For example, do you remember 2002?? Musically speaking, in particular? No?? Okay. 2002 was the same year that Capleton and VP Records shipped "Still Blazin'" and had as all wondering if it were some kind of disrespectful to say the album was POSSIBLY as good as or even better than the album which preceded it, the all time great "More Fire" (over twenty years later, it wasn't disrespectful at all). Bring back any memories? No?? Okay, later that year Sizzla Kalonji would put to bed any rumours of his musical demise by giving us "Da Real Thing", providing a hint that the genius behind "Black Woman & Child" and "Praise Ye Jah" was alive and well and still burning. And just in case you needed anything more from the 2002, there was also an album released called "Dutty Rock", which would go to find its star, Sean Paul, and a few of his peers, taking over the entire world for a nice amount of time. There are periods like that which we live through and are fortunate for it but, even more interesting, there're also longer lasting stretches where.... things are just SO DAMN GOOD that it is important while you are in the moment to appreciate what it is that you have because you have enough life-experience to have lost things that you long for, that YOU KNOW are never coming back. Last year we reviewed an album which would go on to be one of the better of 2023 by the name of "Ah Mi Yard" by Achis Reggae favourite Perfect Giddimani. That set was excellent, although on the shorter side of things (had fourteen songs but really just seven with dubs for each one making the second seven) and, looking back to it now, it has aged quite well. A year on, there are two tunes in particular which stand out from "Ah Mi Yard", the title track (normally the case. Just like in the premise of this review, if I asked you what you recall about 'Ah Mi Yard", you're probably going to start singing 'Ah Mi Yard') and another one called 'Give Me My Flowers'. The latter of those two will likely always stick with me because I absolutely LOVE the sentiment behind it of giving someone their credit and their due WHILE THEY ARE AROUND TO APPRECIATE IT! That song and that album, and probably a dozen more or however many more and the one we're dealing with today have lead me to think that maybe it's time to give someone their flowers and not just for one sweet year that they gave us. It's been a really long time coming.

"Ah Mi Yard", like pretty much everything Perfect does these days, came partially via his own Giddimani Records label but this time it was in association with the actual producer of the set, I Grade Records and the Zion I Kings. I'm not going to attempt to run down the list (well I am, but I won't bother you by writing it out) (I'll do it in my head instead), but I have written SO MANY reviews, previews, re-reviews and other features on ZIK released material (and even about IGR prior to their linking with the Z and the K (more on them in a second) or at least prior to my knowing about it) (.... now that I think about it, I also wrote about the Z and the K before I knew about the collaboration as well) (you know what else came out in 2002??? "Culture Dem") over the years. Even with all the time we took off, between dealing with all of the various Akae Beka sets (still have one on my front page to finish, one of these days, for 'Mek A Menshun") and various other things, I don't know if there's anyone else on the planet who has written more about the ZIK than I have - especially given the way I usually write. I absolutely LOVE their work and it has been every bit as influential on what I write as the golden years of Xterminator which would birth the likes of Sizzla Kalonji which really got me interested in writing in the first place. CREDIT is due and I have no problem continuing to pay it. 

In the midst of the Akae Beka albums and others from Perfect and a few other wonderful artists (some of whom we will be talking about today), the Zion I Kings have maintained a riddim album series which has been both plentiful and fruitful (both of those probably mean the same thing, I don't feel like looking it up to confirm, but what I'm trying to say is that the series has supplied both quantity and quality). With the very first installment arriving in the summer of 2013, eleven years later we're now at number ten! There have been some BEAUTIFUL drops along the way with that number one, the Songbird Riddim, being amongst the standouts. The Lifetime ["Put a fyah in deh!"], the Perfect Storm, the Mash Down, H.I.M. Teachings.... I could go on and there's ten (technically nine, because this is number ten), so I'd probably end up mentioning SOMETHING from them all and justly so. They have given us, fans of modern Roots Reggae plenty to be happy with in the series over the years. The most recent entrant of the series, the Mash Down from 2021 which I just told you about, came via the "Kings", Lustre Kings Productions, and they have been very successful in alternating the label behind the actual releases (which sounds like such a healthy way to do business between three different entities) and in 2024, next up is "Zion", Zion High Productions, who carries the bat for the brand new Full Bloom Riddim, volume ten of the Zion I Kings Riddim Series. I hadn't been aware that this set was even in the offering and it came as a very much welcomed surprise. Norris Man, Ras Shiloh, Etana, Ginjah and now the ZIK all do brand new albums within a week of one another (and I'm going to tell you about someone else, who appears on this one, also having a new studio album out on the very same day as the Full Bloom). This is a FINE time to be fan of modern Roots Reggae and it is only getting finer. Of course, as is the case with any compilation, one of the most interesting aspects of the Full Bloom Riddim is the artist selection. Here, we have a roster largely of artists who frequent the ZIK itinerary (probably a poor usage of that word, but I'm keeping it!) with one or two surprises along the way and some very unique blends of styles jumping from one name to another. They also, delightfully, cover the critique of mine which would have been - 'I wish they would have had this type of an artist'. They're all covered and what results is..... well, it's exactly what you expect. They've been doing this for a really long time. Let's get into it!

Just as important as the names voicing it is the riddim, itself. It's pretty damn difficult to have a good riddim album without a good riddim (you know I'm now going through my mind, trying to think of a riddim that I didn't particularly care for but, somehow, made for a good album) and that is not an issue here at all. The Full Bloom is typical, mellow and ultra easy brilliance from the Zion I Kings which makes for a more malleable and versatile backdrop for its vocalists to shine across (and we'll talk about that more, later). Surprisingly, I'm going to make the case that NO ONE shines brighter than Imeru Tafari, who opens matters on the Full Bloom riddim with the absolutely SHATTERING '1930'. TEARS! You may or may not know Tafari from his famous bloodline and he is living up to his heritage and more with a song like this. I use the phrase 'praising tune' to describe songs like this, generally and that is just what this is, but this is a PRAISE of the HIGHEST POSSIBLE CALIBER! Along with the historical facet it puts on brilliant display, '1930' also brings in present, modern-day application for what history has taught us and puts on a lyrical performance which is not to be missed!

"Haile Selassie give mi di mission and di battlefield

And Empress Menen give mi di formulas and strategy

No lose yuh sanity cause His Imperial Majesty-

Will help you overcome yuh trials and di travesties

MY MISSION IN LIFE IS NOT ONLY TO SURVIVE

DISGUISE DI TRUTH DEM IN LIES

I WANT YOU OPEN YUH EYES

THE KING AND THE QUEEN DEM WAAN FI DIVIDE

HAILE SELASSIE A LIFE"

When I heard this tune, it gave me the core idea for this review. There have been SO MANY times like this where I listen to a tune from the ZIK and it just... it floors me! I can go through albums full of them for the sake of nostalgia and just spend hours and hours HAPPILY enjoy the trip back. '1930' has just been added to that itinerary going forth (think I used it right that time). We go from The King of Absolutely Everything to The King of Fire as Capleton blesses the Full Bloom with the outstanding 'Hold Your Head'. Nowhere near as active as he once was (and that's perfectly fine), these days I don't take appearances from King Shango for granted and he makes it very easy not to because he is as dependable as ever. I don't think this is 'officially' the first time Capleton has worked alongside the ZIK (he was actually on "Culture Dem" but that was probably before ["CYAH EVEN SI DEM, WHOLE A DEM AH HIDE!"]) but it just may be and, regardless, I would LOVE if he made it a more frequent stop of his, even these days. Capleton has long been one of those individuals who has something which, perhaps, overshadows his talent. The ENERGY that man has brought Reggae has been unrivaled but, anywhere even remotely near his best and he's one of the most lyrically gifted lights the music has ever produced. Things stay easy here (for the most part, he does give us a bit of spite, here and there) on a big inspirational vibe which worked excellently for me and it still is. Micah Shemaiah is certainly no stranger to the works of the Zion I Kings and he returns to also have a bit of the Full Bloom via the infectious 'Dis Ya Rockers', turning back the clock to a sweet era of the music and doing so on a very fitting platform. Along with paying homage to yesteryear, 'Dis Ya Rockers' also does a great job of something that can be very powerful: HE MAKES THE LISTENER FEEL GOOD! 'Dis Ya Rockers' is soul food. It's really pleasing for the senses and it isn't in this kind of vacant way, either. There is substance here as well and I ended up coming back to this one quite often (and I still do), for good reason. Very soothing. 

The Full Bloom Riddim carries tunes from four of my favourite current lyricists today and neither of them disappoint and turn up with big winners. First in, appropriately, is GRAMMY AWARD WINNING Kabaka Pyramid, with 'Start My Day'. I didn't recognize this track my name but when I got the very first taste of it, I started singing along with parts of it ["Besides you is the warmest place"]. It may've been the first sample of the forthcoming Full Bloom that we received when it dropped earlier this year. With seemingly the easiest of efforts, the Pyramid spends stretches of 'Start My Day' positively DAZZLING the listener. I'd call this one a love song, it basically is, and it's relatable as can be: 'Start My Day' is a song about the realization that you have found your PERSON and all of the wonderful feelings that comes along with it. Whoever they are and wherever you are with them, that's the person you need to be with and Kabaka Pyramid made a great song about it. If you've spent any time at all hanging around these parts, chances are more than decent that you know that I have been a looooooongtime staunch supporter of the lyrical prowess of Lutan Fyah as well and he's given me decades now of ammunition to show why. Here, he teams up with veteran Little Roy to push the SMOOTH 'Jah Can Count On I'. 

"Like thief in di night, when all at rest

Everything calm and no one expect

JAH CALL AND DEM NO READY SO DEM WASH WID COLD SWEAT

And when di heavens declare, The Most High mek a step"

There is a BEAUTIFUL blend of MOODS on 'Jah Can Count On I'. The chorus, arguably the most intoxicating on the entire riddim, is so easy and relaxed but then the Fyah does kick in occasionally, bringing in a nice amount passion, giving the tune such a strong dynamic. Easily one of the strongest selections here as Lutan Fyah & Little Roy prove to be a MAMMOTH pairing (and forgive me for a second for being a giant nerd, but the ZIK have a history of bringing together very interesting styles on tunes for combinations and this isn't the only time it happens on the Full Bloom Riddim). My expectations went straight through the roof when I got to track #10, 'Greatest Thing', as the name behind it is another longtime favourite of ours and someone who has shown herself capable of downright DOMINANT lyrically, VI wizard, Reemah. On this track, she's simply giving thanks for waking up another day and being able to enjoy life. The song is a very basic (not really) CELEBRATION OF BREATHING and the artist, once again, continues to fuel rumours that she is.... either from another planet or from another era where they have time machines because this shit is just not normal:

"When I wake up inna di morning time

I grateful that I si di sun shine

GIVE THANKS FOR EVERY BIRD, TREE AND VINE

Count up mi blessings and a di more I find

Know that life is a precious design!

Coulda never unda none di dollars and coins

STILL APPRECIATE EVERY HILL WEH I CLIMB!

AND LIFE IS A GIFT FROM DIVINE!

Life is di greatest gift weh I know

AND LOVE IT A DI SEED AND THAT'S WHAT I SOW

So watch it and grow bigger than silo

Yeah, mi spread it from di UK down to Cairo

You no si a life - dem ah waste it

And when it gone, wi could never replace it

STILL AH SMILE THROUGH DI STRUGGLES WEH MI FACED WITH

AND IF A LOVE, WITH OPEN ARMS WI EMBRACE IT!

More life and a dat wi embrace

Haffi mek a choice and wi cannot hesitate

MINDSET AND OUTLOOK, A DAT FI RENOVATE

But it begin from within, so that first fi elevate

Got to focus on di positive

Cause life is there to  teach, no matta what it is

YEAH. AND WHEN I LAY DOWN ALL MI BAGGAGES-

I SEE LIFE IS JUST BEAUTY WRAPPED UP IN DIFFERENT PACKAGES

Wi know life is di greatest thing

And I am grateful for the joy it brings"

WHAT! PARDON! EXCUSE ME MA'AM! Again [!], give thanks that you live in a time where you're able to hear 'a person' (or whatever she is) who is capable of doing things like this. Off the top of my head... I can't recall the Zion I Kings doing a full album for a female artist (there was an EP by someone who we'll be talking about in just a minute), if/when that time was to come, surely Dezarie would have to factor into that, but so would Reemah. A sharper pen in any genre of music that I listen to simply does not exist. Unsurprisingly, also making an appearance on the Full Bloom Riddim (he and Lutan Fyah have been on each and every riddim in this series) is St. Thomas supernova, Pressure Busspipe, checking in with the towering 'Ever Need'. Wayyyy back on the aforementioned Songbird Riddim, now nearing eleven and a half years old, there was a tune by the name of 'I Know' by Danny I (biggup Danny I). The very first words spoken on that song, "WHEN I HEAR THE SONGBIRDS, I THINK OF YOU", for obvious reasons, provided that track with its SIGNATURE moment for me. When you speak of the Songbird Riddim (or even if I just hear the WORD "songbird", in some other capacity), I instantly go in my head and start singing 'I Know'. I bring that up here because I'm not surprised if, a dozen years from now, someone says "full bloom" and I'm thinking: 

"Jah love is all I ever need"

In its complete simplicity, Pressure lands what may just be the single mightiest blow on the Full Bloom Riddim; and thankfully (and predictably), the line is surrounded by typical brilliance praising His Imperial Majesty.

"This moment, I've got to say-

Life is amazing, it's what you make it 

Every morning I meditate, so doing some good, as much as I could

I'm grateful for everything

We thank you, Jah, for restoring life

His mercy endureth for i-ver and i-ver

In His name, I rejoice

Jah love is all I ever need

The war and crime bring misery

Jah love is all I wanna see

Inna Zion, there is no poverty!

Got to live a little

With the life Jah give you

HAVE ALL THE CASH AND, WHEN IT GONE, CAN'T TAKE IT WITH YOU

Do so everyday, freedom is the only way

The negative will get you caught in the middle 

DO SOME POSITIVE AND THEN YUH BLESSINGS TRIPLE

LOVE AMONGST THE PEOPLE NEVER COST A NICKEL

Fi yuh owna happiness, yuh responsible"

The highlights continue to roll through the Full Bloom Riddim and from many different directions. Certainly one of the most (and maybe even THE most) curious comes in 'Too Dread', a giant combination bringing together a pair of ZIK vets, Arkaingelle (will always give a massive credit to Arkaingelle for dropping one the single greatest tunes I have EVER heard from anyone, 'Manifess Joy') and Jalifa, as Guyana meets Trinidad. Back in 2020, Arkaingelle would release "Nuh Watah Down", a beautiful album (which would make for a really nice Vault Review someday), courtesy of ZHP and two years on, Jalifa would do the same with her EP, "Incient Ras"; so neither being here comes as a shock at all but it doesn't seem like an obvious combination at all and whoever had the idea is showing a bit sagacious planning behind the scenes, themselves (same person was probably responsible for pairing Norris Man & Pressure back in 'da day ["WHEN YOUR TIME IS UP, DON'T CRY TO ME! YOU WERE WARNED ABOUT THIS!"]) because 'Too Dread' is as sublime as it is colourful. What I took from this one is the importance of standing up for what's right, no matter the circumstances and if it 'invites' negativity from some others, or if some take "offense" to it, then so be it. I'll refrain (as much as I don't want to) from transcribing anymore lyrics in this review, but Jalifa BLAZES throughout, especially during her final verse ["Don't call yourself a lion. You're a frog"], while the Arkaingelle keeps us grounded. I wouldn't expect it to happen again -- I didn't expect it to happen this time -- but if these two.... wanted to make another tune (or two or three), you wouldn't get a complaint out of me. Earlier this year, Peetah Morgan from the famed and GRAMMY AWARD WINNING Morgan Heritage made his transition, but he has left us with years and years of works to go through and enjoy and dissect and his latest creation, 'Who Run The World', is a golden social commentary on the Full Bloom Riddim. Questioning the genuine 'super powers' of the world, Peetah suggests that IT isn't necessarily he or she is loudest of most visible (or who "hold a glock") but is, instead, someone keener on keeping a lower profile while things play out on the forefront. Peetah has (not had, he HAS) a very interesting voice. It has a really large PRESENCE to it and his music, inherently, stirs up some type of emotions in his listeners and when you put it together with such a well written and structured composition as you have in 'Who Run The World', the results are damn impactful and biggup Peetah Morgan.

The album for the Full Bloom Riddim released officially on the 19th of July, 2024. On that exact same day, another album by the name of "Feeling Irie" also launched on LTK20 Rechordz (now why would you spell it like that???). Besides a genre, both share the talents of the great Glen Washington. Here, the ever present ZIK fixture ["The joy! That Jah blessing brings"] stands up for everyone, everywhere and gives us 'Rights For Everyone'. I loved the way this tune starts combined with where it ends up: 

"Open your eyes and see what Reggae music is doing for me

People are out on the floor, saying 'pull it up' and 'play it some more' "

[Last time, I promise] The Clarendon native goes on to speak about several different topics but the one I think that brings them all together is the idea of speaking up and speaking out when things are not right. That's what Reggae music does. That's what you do to bring honour to His Majesty. You don't allow corruption to exist and not say a damn thing. You make songs like 'Rights For Everyone' and if you can't do that, then you play it for anyone who will listen... or you write giant reviews and suggest that others take a spin. If you missed out on Kabaka Pyramid's 'Start My Day', then maybe the first time you laid ears on the Full Bloom Riddim came courtesy of Jesse Royal on the absolutely GORGEOUS and quite clever 'Love That Don't Change'. Do you have someone in your life, WHOEVER IT MAY BE who you know that you can just depend on, regardless of the situation. If you need any type of help they're there for you without question. 'Love That Don't Change' isn't a song about honouring that type of person or thanking them (though you should do both of those things. Right now and every chance you get). It is about BEING that type of a person for others. Being dependable and caring about your loved ones and demonstrating it at every opportunity. 'Love That Don't Change' is also golden. Along with the sentiment, it just SOUNDS divine. 'African Pride' also sounds nice (the song and just in general) as its star, MediSun, delivers a very slow and easy BURN in the name of the African Diaspora. MediSun also appeared on the Mash Down Riddim (with the blistering 'Hands Off') and if you've been paying attention to his output in recent times, you've noticed that he has been enjoying a FINE form over the past couple of years or so (and it continues. He has a couple of other new tunes, 'Extra Heavy' and 'Mek A Sound' which are also top notch). Still, with that being said, 'African Pride' ranks healthily alongside his very best as MediSun continues to prove himself someone difficult to ignore. 'African Pride', as someone of African descent, just hit me in so many nice places and I spend the vast majority of my time listening to it with a smile on my face as my default position. A definite highlight on the riddim and were it not for the fact that I've already put entirely too many lyrics in this review, I'd have no problem including blips from 'African Pride' as well, but here's a paragraph break so you can actually hear the tune for yourself.

"Like di lions in foreign cages-

Dem send di missionaries out to miseducate us

500 YEARS OF DI WHIP COULDN'T BREAK US 

NOT EVEN DI ATROCITIES WI SUFFERED ON PLANTATIONS"

[I couldn't help myself] Swiss chanter and another returner from the Mash Down Riddim, Ras Teo, stops by the Full Bloom Riddim as well to teach us about 'King Lalibela' with a song that should have probably come with a warning of sorts. Teo's music, at least in my opinion, has an extremely straight-forward charm to it. For the most part, he seems to keep it relatively simple and when you have actual talent (and he does) and you make a sound like that, I think that it provides your music with a very OPEN dimension to the point where if you were to ask me which tunes on this riddim I would recommend for more casual listeners of Reggae, 'King Lalibela' would definitely be in that lot. The warning it would come with would be at the chorus. It is so simple and so nice but it will GLUE itself to your brain and it will not remove itself. It just won't. When you dig into the actual verses, you'll come to notice that much of the rest of the song (pretty much all of it) is also just as hard to shake as 'King Lalibela' is just one SWEET sound and it also has depth to it as a lovely. Speaking of lovely, also included here is 'Full Bloom Dub' and I'm not going to insult your intelligence by explaining what that is directly, but I will say that I always enjoy clean versions of tracks on riddim albums, particularly ones from the ZIK. I lack the musical education to explain exactly what I hear but I will say seems to be a staple of theirs is the amount of detail that goes into their work. I know that sounds ridiculous but what I mean is that when you listen to a clean track from the Zion I Kings as opposed to it with vocals (although sometimes you'll hear it there as well), the thing just BLOSSOMS. IT BLOOMS! It develops and reveals itself to be something more than you noticed originally. In this case, what always stands out is this lovely horn which is ever present but not domineering and when you take it in sans vocals, I'm now fixated what I presume is a drum (meaning it most certainly is not a drum) which almost sounds like a heavy-handed clap to my ears. You knew it was in there -- it's Roots Reggae music, it's always in there -- but DAMN does that thing grab you when you remove the vocalist as does the guitar work. I don't have credits for this one but biggup all of the producers and players of instruments who also do excellent work. I also want to mention that, when you do add the vocals, there seems to be a BOUNCE And I think here is a nice spot to give credit to the artiste as well. The cover art here so nicely fits the material. The Full Bloom blooms EVERYWHERE! It blooms on the countryside and it blooms in the ghetto! 

Overall, unless I'm REALLY forgetting something (and there have been some very good ones in there) (.... like pretty much all of them, but some of them have been smaller) the Full Bloom Riddim is now my favourite installment of the Zion I Kings Riddim Series. From beginning to end, literally EVERYONE, performs wonderfully. There are some MIGHTY performances to be found here and I think this set does what a great riddim album (and just a great compilation, in general) should do, in my opinion: It makes you want more. It gives you an impetus to begin looking up some of the artists you may be un/under familiar with and, when you see the "Vol. 10" on the cover, you're probably going to want to see what was up with the first nine. The first nine were all superb but #10 is something  a little more. The Full Bloom Riddim is exquisite, they always are, but its album is downright immaculate and it is so good that it lead me down a road to thinking of all of the wonderful times we've had in covering the music of the Zion I Kings. They have spent the entire time of their existence making a level of music that has very little in the way of actual peers. The Full Bloom Riddim album is the best compilation of Roots Reggae music I've heard in a long time and MAYBE the best the ZIK has done since "Joyful Noise". AMAZING! 

Rated: 5/5

Zion High Productions

2024