What I'm Listening To: Summa Come!

"God & I" by I-Octane [Conquer The Globe Productions]

Okay so, the last time we heard from I-Octane on an album, it was nothing nice. I'm pretty sure I chose his "Dancehall Gift" set as one of the (if not THE) worst release of 2023 and, listening to it now, I'm comfortable with that decision. It was terrible. His 2025 release, on the other hand, is more of what we've come to expect from the ultra-gifted I-Octane while not losing more of the experimental type of edge that he's been working with lately. The sound is varied, which is just fine, and it features moments where Octane SHINES. Highlights are numerous and include 'Thankful', 'Constant War', 'Perception', 'Walk With A Chip', 'Success', the very colourful title track and others. Shane-O guests as does Vershon. 

"Jah Over All" by Danny I [Trinity Farm Music]

Biggup Ancient King and Trinity Farm Music for pushing out the new "Oath Of Akae" album which gave me a reason to go back through the recent catalogue of TFM and realize that I had [FOOLISHLY] (and I'm sorry) neglected to mention an EP that they had done almost a year ago now, by the name of "Jah Over All" from a somewhat reclusive favourite of mine, Cruzan vocalist, Danny I. Like virtually everything Danny I has ever done in his career, "Jah Over All" is outstanding. It's an excellent release and it is, again - like everything else that he's done, something else that makes you wish he was more active. Pinnacled by the absolutely glorious title track, the EP features seven songs that were just SCREAMING for a wider round of attention. Here's your notice! Take a listen! 

The Door Step Riddim [Train Line Records + EarthStrong Productions]

I hate to say because its creator, Train Line Records (in association with Earthstrong Productions), has been very strong as of late but, to be honest, I wish I could have made more of a big deal about their latest creation, The Door Step Riddim, and I would have if I... liked it a bit more than I actually do. The Door Step (which I'm pretty sure is a cut of the Picture On The Wall Riddim) is OKAY. It's nothing special despite featuring tunes from some of my favourites such as Lutan Fyah, Perfect Giddimani, Pressure Busspipe (whose 'Working Man' is probably the riddim's finest) and even Norris Man. On paper, this one looks a bit better than it turns out though. 

The California Riddim [Greatest Friends + Evidence Music]

On the other hand from the aforementioned Door Step Riddim, would be Greatest Friends' California Riddim which also features a stellar lineup of vocalists but, in its case, turns out to be quite strong musically as well. Who's here? In just seven songs, we get the likes of Chezidek, Mark Wonder, Ras Mac Bean, King Lorenzo and even PRINCE THEO (don't know if he's back to going by Prince Theo or is still Theo Nyeemiya these days) touching down on the California, along with Anthony John and Vanzo and EVERYONE turns in at least a solid effort, as you would imagine and hope. There's nothing missing on this one! The riddim's best likely comes from either RMB or King Lorenzo with 'Greatest Friends' and 'I Know', respectively but, again, there's much to be enjoyed here on what is one of the best riddim compilations of the first half of 2025, in my opinion. Also included are a clean version of the California Riddim, as well as a dub. ENJOY! 

The Strange Things Riddim [Irie Ites Records]

In a twist for a blast from the past today we go back to the future with a SWEET re-release courtesy of the fine people at Irie Ites, the Strange Things Riddim. It was Mafia & Fluxy who vibed the riddim for II and it sounds as good as ever, about a decade and a half later. All these years later, unsurprisingly, Irie Ites is still supplying fans with outstanding releases and they've also been doing nice sets like this, where they relive some of the classics. Time has been fairly nice to the Strange Things Riddim and it has declared Chezidek's MASSIVE 'Bun Di Ganja' the finest tune here but you'll also find winners from Pressure Busspipe, Lutan Fyah, Sizzla Kalonji, of course John Holt and others (like Spectacular, who has a new album that I'm thinking about reviewing). 

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: SUMMAH!

"Special Lady" by Junior Kelly [Muzick Vibes Records - 2023]

It has definitely been awhile from since we've last talked about Junior Kelly, at least in regards to any project he had around, so I was well pleased to not only see that he was back with a new EP, but also that it.... was actually pretty decent. "Special Lady" comes courtesy of Muzick Vibes Records from out of Argentina and features some very solid material which is what the chanter should be making. At his best, Junior Kelly is a mark of consistency in Reggae, but he... has his moods. In particular check 'Them Nah Know' and 'Stand Up' alongside Blessed and just generally give "Special Lady" a try. You might find a big tune or two.

The Slow Motion Riddim [Madhouse Records - 2023]

Partially due to their infrequency and largely due to.... him being a complete and utter genius, there will always be a very rare air reserved for the work of Dave Kelly and his Madhouse Records label. The very reclusive ace is arguably THE finest creator the Dancehall has ever produced (off the top of my head, he has my vote right now based on strictly how BEAUTIFUL his tracks are) and he's blessed 2023 with his work on his latest creation, the Slow Motion Riddim. As you might suspect, the kind of slower detailed track makes for a very snug fit for most of its artists, but it is, surprisingly, TOK who takes top honours with their very clever 'Sexy Time'. Blakkmann also registers as does Busy Signal and a trio featuring Bounty Killer, Dexta Daps and, of course, Baby Cham.

 

"Island Hopping" by General Degree [Size 8 Records]

Of course I will always have room for General Degree and that extends to his latest creation, a four-tracked EP release by the name of "Island Hopping" on his very own Size 8 imprint (like most of Degree's work). This set won't change lives at all anywhere, but it does serve its purpose of providing a bit of light amongst the very DARK landscape of what is considered Dancehall these days (and I got that from a review General Degree did for The Gleaner). While the title track here is fun, the main attraction is definitely the hilarious 'Di Bwoy Oral' which follows a career length line of very clever such tunes from the deejay ["She waaaaan di pianist"] (these days apparently she wants something else as well). Fun times are to be had as they always are with the General.

"Dancehall Gift" by I-Octane [I-Octane]

TRASH

"Moodiraw" by Féfé Typical [DJ Kaprisson - 2021]

And for our blast from the past, we don't go too far back as also on my radars as of late has been the latest release -- just a couple of years old now -- from someone who I should definitely be listening to more, the brutally consistent Féfé Typical, "Moodiraw". The former sparring partner of longtime Achis Reggae favourite, Tiwony (big new album of his own, "Frequency", out now), from out of Martinique would deliver an absolute GEM of a set here which most certainly did not receive the attention it deserved but I'm doing my best these days to make sure anyone within earshot of my players has an AMPLE opportunity to right their previous wrongs if they overlooked it. "Moodiraw" was just outstanding. Reaching the furthest amongst the pack were winners such as 'Le pater', 'Un Bon Sound' with DJ Kaprisson, 'Ecoute-moi', 'L'emuélanine', the big BIG closer 'Corona' and the KNOCKING 'Reprends Tes Priéres'. You couldn't go wrong with anywhere you dropped in on "Moodiraw", however, and, for what it was, it was definitely one of the best Reggae albums of 2021.

What I'm Listening To: May

"Men Of Steel" [Faluma Records - 2014]

Biggup the fine people at Faluma Records for doing their annual compilation which makes you know that they're still around and doing big work (if you overlooked all of the Scrappy albums ) ["DUS DE ASH, DUS DE ASH!"] [BOOM!]. This year, they've turned back the clock for one SWEET Calypso compilation, with a great cover, "Men Of Steel". The album actually carries the tear-inducing 'First Time' from the incomparable Destra Garcia (you can also hear it on her new album, "Queen Of Bacchanal") (in stores now), along with fourteen tracks and more than an hour of other music. Also included are big tunes from the likes of Kes, Nicole Greaves, Anslem Douglas as well as the man of the moment, the pan-crazy Crazy, who delivers a fifth of the album himself. Though they aren't as active now as I wish they were (and they never did deliver the Rocket Launcher), when they do have new projects, Faluma always manages to bring forth top notch material and "Men Of Steel" is not the exception.  

'Switch' by Luciano & Anthony Que [149 Records - 2014]

Check this downright monstrous single from the legendary Luciano alongside the increasingly formidable, Anthony Que, courtesy of 149 Records who… simply brings the best out of Que, 'Switch'. Produced by Mikey Red Records, this EASY and ultra-relaxed ganja song links two big talents and the results are precisely what you would expect. I really enjoy this tune and it's definitely been a highlight for me from the first half of the year… and hopefully it's the first single from a forthcoming Anthony Que album from 149... just a suggestion.

'Rivers' by Miriam Simone [Dredda Records - 2014]

Always impressive Dutch songstress, Miriam Simone, continues to (look exactly like Alison Hinds) roll on her latest single via the also always impressive Dredda Records, 'River'. The tune finds Simone delivering a very interesting environmentally conscious/social commentary type of composition which really has a very unique approach to my opinion. Also of note is the fact that apparently 'Rivers' is the first of many as, later this year, Simone is set to reach with her debut album. A big tune and hopefully a big year from Miriam Simone.  

"One Love Unity Network Vol. 1" by Colah Colah [Elevation Records - 2014]

Veteran, Colah Colah, continues to network on his brand new album, "One Love Unity Network Vol. 1"… and I mean that literally. It seems like only a half an hour ago Colah teamed up with Turbulence for the "Network and The Future" album (it was actually almost a year ago now) and apparently he enjoyed the concept because this new album carries fifteen tracks -- including an Intro and an instrumental -- and exactly 100% of the other songs are combinations with different names. Unsurprisingly Turbulence does make a return, but he is one of quite a few big names which include the likes of Luciano, Mikey General, Courtney Melody, Fantan Mojah, Terry Ganzie and even Natty King who features on the sublime 'The More You Want From Life". I'm still working my way through this one, but it seems pretty good. Pick it up and see for yourself.  

'Wine & Jiggle' featuring Destra by I-Octane [Seanizzle Records - 2014]

And finally (not really, because I have to go back and write one of those that you've already read) is the official release of just a HEALTHY combination as I-Octane teams up with the Queen of Bacchanal, Destra Garcia, for a delightful remix of his track, 'Wine & Jiggle', for Seanizzle. The original track was this very fun and catchy hyped up old school vibed Dancehall track and the very versatile Destra only added to a BIG foundation. Destra has been turning in nice combinations with a whole heap of Reggae stars lately and this one is, easily, amongst her best. Big tune.

'Priming???': A review of "My Journey" by I-Octane

Deeper breaths. Despite any talk that you may hear of Reggae music being dead, or even remotely wounded in any significant way, a quick look and listen to the genre in almost any direction reduces that notion to ruins. I'd make the argument that artists at every stage are nearly, if not completely, as strong as they've ever been and, of course, with the music being as wide spread as it is these days, music of the current era -- unlike that of any one preceding it -- boasts a quantity of truly gifted names which goes unmatched. Already this year, we've looked upon a very interesting variety of names which definitely offer an inherent counter to anyone pushing an idea of the mortality of the genre. From the absolute heights of the music in someone such as Tarrus Riley, to up and comers such as Addis Pablo and Mr. Williamz and through to celebrated popular veterans such as Midnite and Ward 21 - in just a couple of months worth of albums (not even dealing with just big singles which would make things even more compelling), evidence already exists to suggest that 2014, like 2012, is about to be a special one (with a bag of albums from Sizzla Kalonji loaded and ready to go as well as others from Perfect Giddimani, Pressure Busspipe, Ziggi Recado and more). Today we take a look at someone who fits into a very interesting class as well. I don't think that, in the best intentions of the term, we can call someone like I-Octane an 'up and comer'. Surely he's still on the rise, but he's gotten here and if you were concerned, you know how talented he is: Immensely. Still, I don't at all think that the curiously gifted artist has approached the height of his talents. Unlike someone like Perfect (and I may be wrong about him), who I like to make the point of having risen to a point where, when compared to previous stages of his career, appears to not only be making excellent music, but also sustaining and maintaining it in a way in which we've never seen before; though making hits seems to come easy for him (as does being damn consistent) I don't think that we can say that yet about I-Octane. As fans, I think we're still trying to figure him out. 

"Crying For The Nation" [2012]

If his intense popularity and a very impressive level of prolificacy with high scoring singles isn't enough for you (then you… may want to consider lowering your ridiculously high standards), then certainly the biggest piece of verification of just how far the still quite young I-Octane has come already has been his debut album. In 2012, Octane released the loooooooong anticipated (it probably wasn't that long, but it just seemed like it at the time) (and we'll likely be saying the same thing about Chronixx before the end of the year) "Crying For The Nation". That album, as a big example, showed both a profound talent as well as the glaring likelihood that something better was on the horizon and not just in the form of a second album, but maybe a dozen of them by the time he's done. It was exceptional. It was classy. It was very well done in general. It was popular and well received. And it was just the beginning.  

Step two. In the brief time since, Octane has continued along in much the same spectacular form and, rather quickly, he now arrives at album #2, "My Journey". Unlike its predecessor which was a VP release, I-Octane's sophomore set comes courtesy of Tad's Records who has already done a sterling job in promoting it. You could even make the case that they have done as good of a job as VP with the debut as news of "My Journey" has been almost inescapable over the past month or so if you pay attention to Reggae albums (and you do). Though they do not tend to receive that type of credit and attention and respect, Tad's is easily one of the biggest labels in Reggae music these days and has been for awhile. I think that because they release so much material, that they can go somewhat overlooked, but this album changes things as it is their biggest release in some time. On the musical end, the albums links Octane with clearly one of his favourite maestros, the WHOLLY unavoidable DJ Frass. If you listen to modern Reggae music and enjoy it, you are a fan of Frass', whether you realize it or not. He is certainly one of the genre's most active builders and he has worked and continues to work alongside some of the best in the genre. One of his most constant staples is I-Octane and the two have already produced a considerable amount of work together and formed a very solid working relationship. According to the press releases for this one, "My Journey" was a few years in the making and, when they decided that its proper time had arisen, the album was completed very shortly. Given the already very high level of success of both men, I think that there may come a day when we look back at what they've done as comprising one of the most fruitful artist/producer combinations in recent times or longer. But the first thing that they have to do together is to successfully navigate their way through this voyage and, at least hopefully, turn up another bright light in a year which is turning out to be a shining one. I wasn't totally expecting "My Journey" (or any second studio album) so soon after "Crying To The Nation", but when the news of it broke during late last year or so, the outlooks went exceedingly high and, as I said, as things progressed along, the album became more and more visible along the way. Now? I'm damn looking forward to hearing what they've come up with and exactly how far along this journey has progressed. Let's take a listen! 

The one thing that stood out immediately about this new album is just how 'open' it was. I don't use that term in this kind of genre-traveling fashion -- this is a Reggae album -- and it is a very accessible one and one which was seemingly done in a very level-headed and organic type of manner. The results make for a big and compelling project and one which is a clear step ahead of the first one, which was already very good. I-Octane's new album, "My Journey" begins with one of its biggest features and a track which is poised to do a whole heap of damage if it receives the opportunity, 'Time Will Come'. This downright royal sounding composition is of a 'silver lining' variety with Octane saying that no matter how bad things get, if you live a clean and decent life, things will turn up for the better and your 'time will come'. It is a very nice and poignant message, but this song is appreciable on many levels because it sounds so good. And then there's 'Million Miles Away'… TEARS! If the opener was "royal", and it was, then 'Million Miles Away' is royaler (not really a word). Everything, without exception, about this tune is grand and special and it is a STUNNING creation and the summit of this journey. What I took from it is that it is a piece about not 'knowing' yourself, but learning yourself and the process you go through to reach that state of mind. Octane, again, kind of makes that point by surrounding it, ultimately, in attractive things. When you truly know yourself, you leave negativity behind and inherit serenity ["far from the bloody city, bloody zone - a place to call my own"]. A MAMMOTH tune. The tune which follows 'Million Miles Away' is the absolutely delightful 'Stepping In The Name of Love'. It kind of follows the ideology set in the two preceding selections in a way. This tune is about heading in a upright direction and living a good life. What I really like about these songs and, about the album in general, is that I-Octane always leaves room for people to be people and do what people do - make mistakes. He's not saying that you have to be perfect to achieve these things and reach these places, he's saying the total opposite, in fact. And I appreciate people, particularly artists, who don't just bark instructions and, instead, acknowledge, deal with, appreciate and even celebrate the intrinsically flawed nature of mankind. And I should also mention 'Babylon', which is another sterling offering near the head of "My Journey". 

"Tell dem a wi seh 'lightning pon scissors and comb'

So how wi fi frighten fi Rome?

The Most High, Emperor, dun sit up on di throne

So how wi frighten fi clone?

Wi no do weh Rome do -

That's why no bore tongue, wi no bleach skin

The Most High correct dem breaching

Sword pon mi side, so any bwoy that diss thing, di judgment ahgo reach him"

"A ready, yow wi ready fi di battlefield - wi dun talk!

Cause in Rome, there's no peace, no comfort

Jah warriors, dem just come fast

This a serious thing, so no come laugh

Wi have no more time fi waste

Ithiopia is the place!

Tell babylon fi fly di gate

Jah Jah guide wi straight!"

BOOM! The tune is one which kind of surprised me and really set the tone for the quality of this album in a way. Certain tunes, of course, rise to the top, but even being a level or two below that (not saying this song is, because it is not), doesn't mean much. It's a POWERFUL release from beginning to end.

'Love You Like I Do'

The first single from "My Journey" dropped late last year in the form of the lovely 'Love You Like I Do'. This piece, perfectly, exemplifies what I meant when I said that this album was very "open". It is a dazzling and cool love song and one which, despite its sound, doesn't really take this album very far in a different direction and, instead, wonderfully just builds another dimension of colour for it. Similarly is the song which follows 'Love You Like I Do', the even better 'I Will Be There'. I couldn't call this song a 'love song', even though it kind of has that vibe. What I received from this song was that Octane was stressing the importance of being dependable in life. It is great to be able to depend on people you love and in the track's latter stages it goes further in that course, but I think what he was doing was to make the point of how nice it is for others to be able to depend on you when they need to. The album's obligatory mama song, 'Mama', is a golden one. No other genre of music comes even distantly close to Reggae music in terms of celebrating the most wonderful Woman in the world and this tune is probably one of the best of its kind that I've heard in some time, which is saying something substantial. I-Octane returns to painting with silver linings under dark clouds on the infectious social commentary 'Pressure'. The PRESENTATION of this song is so damn compelling because, on one hand, you can definitely describe it as being somewhat bleak and gloomy, but "bleak" and "gloomy" are difficult (if not full on impossible) to do on a riddim like that. Much easier is it to inspire and that's the message here - that pressures and stress are going to exist, they are a large part of life, but there is no reason that one or any combination of them should stop you. 

"Dem seh war, but a nah dat wi ah preach

Wi have a goal and a dat wi a reach

Just di truth wi ah practice a straight

Mount Zion, dat wi a seek

I praise The One who govern the glow -

SITS HIGH AND LOOK LOW

Jah soldiers a whoa - on to Zion wi go"

The pulsing 'Jah Jah Warrior' is another definitive highlight on "My Journey". This song is MASSIVE as it is both highly entertaining and carries a crucial message which is not to be missed. I was very happy to hear a bit more in the way of familiar material on the album and, as it nears its end, we get a very nice trio of selections which more attentive fans are likely to appreciate. The first, and likely biggest, of them is 'My Story', which was a divine piece from a year or two ago. This pillar of a social commentary was sensational in its time and it hasn't lost much lustre, if any, these days. There's also the big 'Blood Ago Run', which is another social commentary, this one dealing more specifically with themes of anti-violence. Definitely tune in to the lyrics on this one (more on that in a minute) and focus on what is being said. On the surface, as well, its very powerful, but this just may be one of the strongest written pieces Octane has ever pushed. The very clever 'Jah Jah Mission' was the artist's cut of Frass' still fresh Diamonds & Gold Riddim from just last year and is a mighty contribution to this album, which may just give it a much deserved second wind of sorts. It links the tangible with the spiritual and does so, almost strictly, in the name of love which makes for a very fascinating listen and truly special tune. And though it's new (at least to my ears), also be sure to check the album's closer, 'Burn It', the album's subtly infectious obligatory ganja song. There isn't much here to explain, you already know the direction of this one, but don't overlook it, because it is a joy to listen to.

'My Story'

And finally, big credit goes to DJ Frass, I-Octane and whoever else was responsible for following this course which made it possible for three very familiar faces to make appearances on this journey. The first is German superstar, Gentleman, who makes his presence known on the stellar 'It's Alright'. Gentleman, himself, has always been someone conscious of working alongside big names (he's made music with almost everyone of note during his career) and the two are blessed with Frass' very recent Cane River Riddim, so it comes to no surprise at all that the results are downright magical. 

"Nuff a dem ah come up and ah run up dem mouth -

But guess what - it's alright

And nuff a dem ah come up and ah push up dem snot

But guess what - it's alright

Even when dem call mi name from way down di lane

It's alright

Mi know that Jah shine di sun and a HIM fall di rain

It's alright

I no listen to what Pagans haffi seh

If A DEM ALONE, MI WOULDN'T HAVE A HAPPY DAY

Dem sight up di evil weh dem orchestrate

Waan box di food from di natty plate

So dem no waan si wi rise

Tell yuh bout di pestilence weh walk inna night

Dem ah work fi rejoice

Neva speak di truth yet

Cause dem heart fulla lies

Nuff a dem ah come up and ah run up dem mouth -

But guess what - it's alright

And nuff a dem ah come up and ah push up dem snot

But guess what - it's alright

Even when dem call mi name from way down di lane

It's alright

Mi know that Jah shine di sun and a HIM fall di rain

It's alright

Wi tell yuh from di beginning, wi tell yuh from di start

If wi neva positive, dem wouldn’t have nuttin fi talk

Wi tell dem fi genuine, wi tell dem fi be smart

If that wasn't enough, wi show where fi walk

Wi tell dem fi clean up dem livity

LEAVE OUT VANITY AND CARE BOUT HUMANITY

Tell dem love should be the first priority

And stop indulge in animosity"

BOOM! The most surprising appearance is on 'A Yah Wi Deh', which actually features Octane alongside Ky-Mani Marley. Marley's recording schedule is erratic to say the least, but if you pay attention to him, you'll notice that nearly every time someone convinces him to record a song, he does very, very well. This tune is not the recent exception to that. I like the edge here, in its absence, the album was missing it and the fiery combination well fills the void. And lastly, 'Lighters Up' for Alaine who also joins on "My Journey". The Groovy Soca-ish is just a HAPPY vibes, but one with substance where the duo pushes an idea for everyone to 'shine your lighters' and make your positive contribution to the world. Whatever you can do, do it to make people happy and make the world a better one. I-Octane, for example, makes big albums and hopefully Alaine can join him later this year (for the first time in 1928).

I-Octane

Overall, I do want to mention just how finely crafted this album is. As I said, it is clearly a better album than "Crying For The Nation" and I don't often make distinctions like that from such an early stage in the new album (especially not when both were at least very good), but it just is a wholly better record in my opinion. What has clearly improved apart from the changes in sound (which isn't necessarily an improvement, as much as it is a natural change) is I-Octane, himself. HE IS BETTER AT MAKING MUSIC. And that sounds odd to say because the first album isn't half a decade old, but in that short time, he's improved. He writes better lyrics, His delivery is more diverse and he is simply capable of doing more things these days. That's remarkable and as I alluded to, I don't think he's gotten to his final musical destination just yet. I think he still has quite a far way to go. If he does, somehow, find a way to go much further than "My Journey" [he'll likely do it again with DJ Frass] then in I-Octane we may have found someone who, despite being amongst the most celebrated and respected figures in Reggae music of the current era, may be deserving of even more attention. OUTSTANDING!

Rated: 4.85/5

Tad's Records

2014

CD + Digital

Review #496

'The I-Brid': A Review of "Crying To The Nation" by I-Octane

Progress! I'm almost there now, but I currently have a picture of myself in my head as a very very bitter and angry seventy or eighty year old man, still hilariously addicted to Dancehall and Soca, constantly feeling the NEED to defend the music of 'my day' against whatever people will be listening to in forty or fifty years. I do consider myself, happily, a very modern person, however, I'm firmly of the belief that "modern" will one day very soon cease of that particular current day and instead mean RIGHT NOW -- forever. Until that day comes, however (if it hasn't already) (biggup Dancehall) (I mean actual Dancehall) I'll be one of the most ardent supporters of today's musicians and one of the most beautiful reasons why is STYLE. I'm damn curious what fans and other artists of just a decade and a half ago would think of someone like Aidonia or Busy Signal or Saïk. All of whom, while supremely talented, have styles, or elements within their styles are completely and wholly emblematic of the passage of time. They sound like DJ's from the future and, really, while they couldn't, in full, have existed in any other era besides their own, what they do, particularly in the cases of Aidonia and Saïk, seem to be pure (and WICKED) mechanical advances on the works of some of their most talented predecessors. Still, despite the lyrically Darwinian performances of Saïk and Aidonia and the full on assault on musical tradition of Busy, to my opinion, the most clear case of 'the signs of the times' is definitely the presence of one Byiome Muir, better known as I-Octane. The arrival and subsequent rise to power of the Clarendon born artist, while damn remarkable in terms of how quickly and forceful it has been, shouldn't really be much of a surprise. In fact, you can almost say that it was PREDICTED by many. As a direct musical 'descendent' of the likes of Sizzla Kalonji, Capleton, Anthony B and others -- artists who made their respective names as either cultural/spiritual lights or in the Dancehall, before adding the other dimension to their style -- Octane has managed to take things a step further. His style is one bathed equally in the Roots and Dancehall arenas and the result is, very cleverly, one of the most interesting artists to emerge in Reggae in a very, very long time. 

Busy! [as hell]

Within that very unique style, Octane has become a very nice contrast to some of his more rootical peers such as Etana and especially Tarrus Riley (more on him later). While they've also exhibited a level of musical evolution, they've done so within the very familiar settings of traditional Roots Reggae. Octane clearly hasn't, his style is one which is so wonderfully rough around the edges that it, again, literally takes the genre and reshapes it just a bit and we can well look forward to, a decade on, young artists coming up and saying that they grew up listening to I Octane day and night. Octane's winning formula has gone over so well with fans, starting a few years back with songs like 'Stab Vampire' and 'Gun Rise' with Teflon (another young[er] artist with an interesting mix, although in his case, Teflon seems more comfortable doing Roots OR Dancehall, and not necessarily so much doing both simultaneously) and he's developed into not only one of the most well known Reggae artists on the scene today, but EASILY one of the genre's most consistent lights as well. 

So, with such a quick history behind oneself, the next step is pretty evident and we've now arrived there. Back in 2010 we began to hear rumours that an album was coming from I Octane and although it's taken a couple of years, we're now there as out now is the very much anticipated debut album, "Crying For The Nation". The album was actually given a release date of last October, I believe, before VP Records jumped on board to handle the distribution. On the controls are a variety of different maestros, however, the album is executively guided by the same Robert Livingston who is best known as probably the second biggest reason you know the name Shaggy as not belonging to a cartoon (behind, of course, Shaggy himself) (biggup Shaggy). I was REALLY looking forward to this album and I'd been hoping to hear it now for pretty much the past three years, after when it became clear to me (and everyone else) that I Octane had some serious superstar potential. While the style is very much that is rough, as I said, it's also one which is very radio and fan friendly. It's not the sleek and refined on top of refined and pristine type of vibes that you're going to get from Riley and Duane Stephenson and the likes, but you can't hear Octane's music and say that it's limited to a certain side of the music because, again, he mixes so many different things in and does so, so effortlessly, that so many people have gravitated towards it. All of that would make expectations high also, and it did, but really in terms of quality, while you can argue about something being "GREAT" or "AMAZING", there was absolutely no way that this was going to be a bad album. You could even construct an album wholly on proven hits from the artist over the past  few years and have a project which is likely to do very well from Octane and really one of the real highlights of Reggae albums in 2012. In a sense, that's what VP and Livingston has done with "Crying To The Nation", with a bit of nice twists and turns thrown in to catch the eyes and they just always do that anyway. So, to the surprise of absolutely no on in particular, the album is stellar from beginning to end and it becomes a near perfect introduction to I Octane for newer fans and a pure confirmation of talent, as if we needed such a thing, to people like you and I.

'Lose A Friend'

My first thought about the album after really digging into it was that it might've been somewhat late in order to show I Octane in his brightest light. He's just had SO many big tunes that came even a year before its release that you wouldn't want to put them on the album (no 'My Life') ["no easy like 1, 2, 3"] ["no easy like do re me"] (BOOM!) and remain current AND add a few other things, it's impossible. But as active as he's been, thankfully, he's rarely dropped a tune which isn't readily available to the masses. Speaking of shining brightly, that's exactly what the infectious 'Rules Of Life' does which opens the debut set from I-Octane, "Crying To The Nation". I am going to talk about this tune, but I first have to mention how the chorus has completely captivated my daughter - "play oh eh eh song." And she isn't the only one, but I'm easily entertained. This delightful tune is a newer piece, specifically for the album I believe, and it's a special tune. Octane's rugged vocals don't sound like something which would spice such a bouncing riddim this nicely but they do and they do with a very upful and inspiring message on the big opener. Next up is the more familiar big sufferer‘s anthem, 'Help I Please'. This song is pretty HARSH if you really [over] listen to it, it's a very loud and ringing tune, but it doesn't really present itself like that initially. Whatever your idea behind its make-up, however, you can well feel the passion in the intent behind it, yet as it goes on, Octane changes things up just a bit, but in the process makes his message even more urgent and noticeable. The tune is one of the bigger here and is another piece quite difficult to shake from the brain as well. And wrapping up the first batch of songs for "Crying To The Nation" is my choice of the album's finest showing, the Dean Fraser produced 'Vanity Will Come'. This one . . . I spent a LOOOOOOONG time enjoying - It is a BEAUTIFUL song! Octane speaks on the many struggles youths can face in attempting to rise themselves out of poverty and it goes in so many other directions as well, in particular how important it is for people to maintain a proper course in life and overcome so many aspects of it. 

“Fling a bag a salt pon ghetto people like a frog you know

But mi come fi tell unuh the truth, mi nah con unuh

So ghetto youth be careful how you take on the streets -

Left unuh parents inna heap 

I nah come fi fling bag a salt like a frog you know

Defend Black Woman dem wi have you know

Cut and clear di way so ghetto youth dem nah trod di wrong avenue 

Bring out di glory weh unuh have in you!” 

As I said, "Crying To The Nation" is very much a blend of well known songs with new[er] pieces thrown in as well and because of that, if you're even somewhat of a casual fan of I-Octane's you're likely to find yourself going down the tracklist and really being pleased by what you see, even before vibing the album. Surely you'll remember one of the biggest hits of Octane's entire career, the scathing 'Nuh Love Inna Dem'. Here is the PERFECT example of the artist mixing different styles in a single track. The direction of this song is certainly a more Roots-centric one, but just about else everything about puts it near the Dancehall spectrum and it also adds quite a bit of SPICE to the album as well, but you don't need me to tell you that now. Immediately following that tune is another one certain to be recognizable to fans, the obligatory ganja tune, 'Puff It'. This is probably one of the better lyrical performances that I've heard from Octane . . . Like EVER, especially as the song progresses as he really focuses and it gets kind of funny, but damn hypnotic at the same time. 

“Cah mi need dis fi inhale & exhale

Mi have nuff high grade -

Mi nah save it fi a next day

Doctor dem tek a x-ray

And seh mi lungs dem black lak di ashtray 

Yow, mi nah nah stop puff it

Mi sew it up wid knife or cutlass 

And now mi woman ah complain ‘a what kinda love dis?’

A rough love so hushes!”

Later, there's a new take on an older track as 'Missing You' gets a brand new rinse courtesy of Agent Sasco. The original Cashflow (who do quite a bit of work on this album) vibed track wasn't one of my favourites, but I enjoy this one so much more and HOPEFULLY, I Octane can return the guesting role later this year when HOPEFULLY Sasco delivers his own new album. 'Once More', while not such a grand deviation from 'Missing You' is definitely a song that I do like. That song just has such a BRIGHT feel to it that it's really difficult not to get drawn in on that case and with it being a tune that is pretty much sang by Octane, it's a very well done and colourful lover's piece. The HUGE title track brings the album named after it to its gorgeous end and this is a song which, it should go without saying (but I'm going to say it anyway) is one of the best on the album and one of the most STERLING of Octane's career. You have this vastly vibed tune which gets larger and larger after every spin through, even these days. Still, with ALLLLL of that being said (and with a lot more to say still) the single most recognizable track on the album is 'Lose A Friend'. TEARS! Love the song and everyone else does too! 

'L.O.V.E. Y.O.U.'

As for the newer tunes on the album, 'All We Need Is Love', expectedly, has caught a great deal of attention and probably largely due to that "featuring Tarrus Riley" segment attached to the end of the album. A combination with Riley and Octane is something really big and the tune does not disappoint at all! There's a bonafide future hit on an album which is brimming with them. Also pretty expected is the fact that VP stuck out Alborosie, yet again, for a combination on one of their albums. Here, he chimes in on the excellent 'Space For All of Us' (I got this album so long ago that this song wasn't even on board, 'Still Holding On', another big tune, was in its place) which arguably has just as much potential as the tune preceding it. Also new to me is 'System A Beat Dem', which is GOLD. This tune is sonically such a joy to listen to and then you get into the lyrics and what explodes is this very intelligent social commentary with this cool delivery. That's a song which is so powerful and such a mighty example of what Octane can do well that you really want to see it get a big push in some way. BOOM! 'Zion Awaits' is a very different sounding tune, but not a bad one at all. It will probably take a bit of 'tilling' (did you catch that???), but it's in there, it's a big big track. Also rather metabolically challenged is the Seanizzle steered 'No More Violence' (biggup I-Octane for almost always saying his producer's name so we don't have to look it up when I don't know it). This song is an antiviolence piece (duh), but it's a pretty personal one to my ears because it's written basically from the perspective of someone outside looking in, extremely closely, but it comes so close to drifting on the inside also, which makes it somewhat complex, but no less harder on the ears and the senses. Oh and the riddim is BIG! There's also the curiously titled 'The Master's Plan', which caught my attention quite awhile before even hearing it. This effort is kind of a Gospel-ish song [not really what I'd normally call "traditional Gospel", but not far from it either]  and a straight forward chant, which is slightly out of the norm of what you typically get from Octane, but clearly it isn't outside of his capabilities and we're actually still trying to find out what is. And finally is the slightly older 'L.O.V.E. Y.O.U.'. Do I like this song? Of course I do. While not one of my favourites on "Crying To The Nation" (and nor am I very fond of the spelling bee type of tracks), this one has something very broad about it and somewhere in that space, apparently, is something for my ears and the same can be said for this entire album.

I-Octane

Overall, I don't think a great case needs to be made on the quality of this album (even though I just spent 2400+ words doing exactly that), because of who we're dealing with here. Consistency is a beautiful thing, I don't know if I-Octane will EVER have an album that he's interested in making be less than VERY GOOD, because his style is one, all of his own doing, which lends itself so well to an album form. These are sixteen big tracks and that's very substantial! Also enormously substantial is I-Octane, himself. I've been so impressed by his music and the way he's presented himself over the past few years and, as I said, I was so much looking forward to dealing with this one and now I'm already looking forward to the next one. "Crying For The Nation", as large as it clearly is, is only the first step in a career which figures to bring in even bigger works from an artist whose very presence and talent is as much of a testament to the 'new school' of Reggae music as any thing or any one else that you're going to find. EXCELLENT! 

Rated: 4.85/5
VP Records
2012
CD + Digital


Review #348