Heat Check: A review of Breath Of Life by Queen Ifrica

Names. Lately, within the past few years or so, I've been attempting to stress the importance of celebrating talents and the people who possess them while they are still here and capable of appreciating it. This year, MOST UNFORTUNATELY, has already shown us just how fleeting time can be and, before you know it, circumstances have changed irrevocably and that moment is forever gone. For the most part, I don't think we, as humans in general, do a very good job of this, which I think goes to explain just how well we do actually do at the moment that someone we respect has left us... seemingly trying to make up for lost time. Sometimes, however, we do it quite well and get it 'right' (whatever that means) and the best evidence we have with this, at least around these parts, is tracing the level of attention and appreciation an artist has accumulated throughout their career and particularly noticing when things started to increase (or decrease) for them. In some cases, which seem to be very rare, what happens is that someone will announce their presence on the strength of a standalone, massive hit and then demonstrate themselves capable of matching those heights on a somewhat semi-consistent basis. Think of someone like an I Wayne or Warrior King who reached the masses courtesy of one giant hit, initially, and then proved that it was no fluke by supplying us with music of a similar quality and doing so almost immediately. Things can also have more of a gradual run which is far more common. In these instances, there may be several hits of varying degrees (which is, in and of itself, part of that slower process) and is far more common in my opinion. This approach is what has the capability of building legends as these instances are examples of people who simultaneously introduce themselves and their considerable talents to us at virtually the same time and if I were to ask you who you grew up listening to, most likely your answer would be full of names who grew on you (or your parents more likely) in a much slower way and gave you (your parents... or whoever raised you) years and years of joy.

At the height of that might be a moment where you take a minute and look up and... you just happen to notice that someone who you've been listening to for years has 'suddenly' (not really) (not AT ALL, actually) become a very big deal at a certain level of their career, whether you'd realized it or taken a REALLY good look at recently. Last year gave us a MIGHTY example of this in the form of "Exile" by Chronixx. If ever you had any question regarding the star power of Chronixx, take a long look at the majority response to that album. How I felt (and still do, btw) about is besides the point, the fact is that it was a very big deal in the minds and ears of many fans. While I do not think the release that we're going to talk about today will rise to those levels, who knows, I could be wrong. 

Have you checked in on Queen Ifrica lately??? You probably have but I pose the question because it's been a minute since we've written about her despite the fact that, for me, the diminutive (in height and ONLY in height) [tallawah indeed] Mobay native has well seen her profile raise over the course of the past decade or so. And speaking of "decades" perhaps the reason that we haven't covered her work much as of late is because of the fact that she's only released a single album over the course of the past decade. That set, 2017's "Rise", was her third altogether and the second, following 2009's "Montego Bay" ["Yad the east or forever hold your piece!"], for VP Records (absolutely ridiculous that album is now seventeen years old). Prior to that, you have to go wayyyyyy back to 2007 for her debut, "Fyah Muma", for Tony Rebel's Flame Productions. 'Montego Bay" was special. It was her opus (and it still is) and "Climb" (although slightly bloated) wasn't terribly far behind it. Having risen even further since those days, the idea of Queen Ifrica releasing an album in 2026 (and on my 45th date of birth, actually) is downright appetizing and I would love to get my hands on such a set... so biggup the Queen who, along with Junior Brown & Nuh Rush Records (in association with Tuff Gong) (biggup Bob), has now released her senior set, "Breath Of Life". There have been some big names doing major work on the album side this year (more on that in a few days) and when you add Ifrica's to the pot, she's definitely ranking, on paper, as one of the biggest. I had certain expectations of this year -- like Capleton & Buju -- but the prospects of Queen Ifrica doing a full project was nowhere on my radar and when I saw that it was offering, I got DAMN EXCITED. For me, the Queen has spent the last few years, musically, as someone who would pop up with that big tune at precisely the "right" moment, just when you had begun to think that it was time for her to give you something. She's been terribly reliable and, I suppose, that the timing for the new album was nearly perfect as well; had you told me we'd be getting this back in December, it would have well been amongst my most anticipated. Clearly I haven't been alone in that either as, from what I can tell, "Breath Of Life" is in the process of generating a nice amount of very early buzz (and I think that as outspoken as the Queen has been, outside of the studio, has also aided in lifting her profile amongst fans) and that is excellent but, of course, the main question regarding an album is DOES IT DELIVER??? Well... let's talk about that. 

"Breath Of Life" does end up in a good place ultimately but it does take a while for things to progress to that point in my opinion. For me, when she's at her absolute best, Ifrica is a very compelling blend of sweet & spicy and she can hit both areas effectively, as well as everywhere in between. At her best, Queen Ifrica can literally do EVERYTHING: From a traditional straightforward chant to an ultra-aggressive, agitated delivery (and, for the type of work that she does, she has a very nice singing voice when she does use it). So perhaps that's where my mind was as I dug into "Breath Of Life" which gets going in a predominately slower fashion (and then stays there for awhile) with its very light and breezy eponymous track. Try as I might... I could not get into 'Breath Of Life'! It's nice and it's pretty decent as an opener (it does have its moments, especially in the middle stages) to set the table for what is to come but I found it unremarkable in just about every way. Next in is a song that may be slightly stronger but one which left me with a similar feeling as the one before it, the lovers oriented 'Speechless'. I can't quite describe it but there is definitely something to the sonic appeal of 'Speechless' that I do enjoy but, whatever it is, it isn't huge. It's a nice sound to listen to and that is the best thing that I was left with from it. The golden-aged (damn near Doo-Woppish) 'Pelican' is considerably better than the two tunes ahead of it but, again, I wouldn't call it a great song necessarily. Very pleasing to the ears?? DEFINITELY. She also adds a bit of spice to the song for what may be the very first shot fired, in the most subtle possible way, on "Breath Of Life". 'Spoonful', as a good sign, is a further step ahead of 'Pelican', as it comes in (at least initially) in a similarly vibed style. To its credit, 'Spoonful' is a pretty clever love song which finds the Queen interesting in a someone that 'belongs' to a someone else who isn't doing right by them... or at least not as right as Ifrica thinks SHE can. 

"Mi will be yuh doctor, even check yuh vital

She just ah treat yuh like a instrumental 

Everything one place, it like intramural 

Yuh need fi mek a linkup, mek wi trod go rural

Wi friendship no ordinary, more like unusual

Baby, let's make it official

Let's make it official"

There's another song, 'Bad Girl', that doesn't make much of an impact but sounds pretty divine at times ["Original badness, no AI antics. Every robot bow to it"] but I come away from the first five songs of "Breath Of Life" entertained to some degree but not overly impressed. I also come away thinking that Queen Ifrica is likely enjoying life these days. She sounds COMPLETELY in love with someone. 

'My Highgrade', is a love song of a different variety and it's also, by far, the best song on the album up to that point [#6] with that downright FILTHY riddim supporting it. Let's talk about this tune for a minute. First of all, for as immaculate as it is at times, there's also (especially later on) a nice... almost improvised type of vibes to it. Certain parts of it sound like Queen Ifrica just came up with it off the top of her head and decided to leave it in the final version of the tune, which is such a nice mix of sounds. Her delivery is also winning on 'My Highgrade' as she largely employs a GRUFF type of chat which comes off as not like she's angry but she's trying to make sure that you pay full attention. Also more than mentioning (for the second time) is the music here. As it progresses, you start to hear more things -- like HORNS; glorious glorious horns -- and the base track is almost Hip Hoppish which I'm typically no fan of but it works for me on what is the first undeniable highlight from this album. Another heavy offering chases 'My Highgrade', the EXCELLENT praiser, 'Excellent Jah'. 

"Birds and di bees and ah praise Fari

Rivers and trees and di clear, blue sky

America to England - tension high

'PEACE & LOVE' a di great old cry

Put it pon pause, everyone stand by

War & crime you fi tell goodbye

Easy fi happen but I don't know why

Every nation ah beg, unuh nah comply"

Loosely redolent of the epic 'Alpha & Omega' by the aforementioned Chronixx; somewhere in the midst of this song is the archetype of what Queen Ifrica is best at, musically. 'Excellent Jah' is a prime example of her in her best form and demonstrating something that is almost uniquely hers as an artist (someone else who is really good at kind of varying approaches like this would be Reemah but she kind of builds intensities. Ifrica just kind of explodes at times). Here, she uses that fine form to give thanks to the Supreme in a THICK way. 

"No matter what time of day it is"

There's something infectiously pulsing going on with 'Weeping Willow' which seems as if it is building and building itself in the background. It does touch its crescendo ["IF NOT NOW THEN WHEN?!"] but its is the journey to that point that is most rewarding. The tune is an African unity peace and it has a certain grandness about it. If you were to just listen to the instrumentals of this one, I would expect even that to sound like something of a major importance is happening here. With the vocals added and the theme actually set, 'Weeping Willow' is nearly special. 'Mom Like Me' is ALLLLLLLLLLLL kinds of interesting. In Reggae music, if you've hung around to any length of time, chances are high that you've probably ran into more than a few tunes giving thanks to Mama above almost anyone and any THING else. 'Mom Like Me' is like the opposite point-of-view of all of those tunes. Here she deals with all of the joys and hardships you go through as parents watching your kids grow up and living being supportive through their successes and failures. I'm sure it exists but I'm having a hard time coming up with a similar song, at least one from recent times. MAYBE the only one even remotely close would actually be the next song, which takes things even further, 'New Version Of Me'. This song actually features Queen Ifrica alongside her own kids! The one you know will be Imeru Tafari but there're also his younger siblings Tanzie & Malawi (I don't know who Imeru's father is but the Tanzie's and Malawi's is Tony Rebel). This one is just a BEAUTIFUL full celebration of the entire family with mama saying how proud she is of her children, after all of the work she put in:

"I Clean your nose

Wipe your asses

Make sure that you're early for classes"

And the youths returning the love on how much she's inspired them to get where they're going in life:

"My Mother love endless

And dem qualities dem mi look fah inna mi empress

Di true meaning of selfless

Determined and perseverance, that is relentless"

Taken together, 'Mom Like Me' & 'New Version Of Me' are very original and unique musical experiences and it shows that Queen Ifrica and Nuh Rush REALLY got to thinking of some strong ideas to put into this album and they both light thing up on "Breath Of Life". 

Take 'Change The World' and compare and contrast it with the songs at the beginning of the album. It has a big and open, inviting sound like some of them do but it's stronger than all of them and immediately so (literally as soon as Ifrica utters a single word, the song takes an instant step ahead). The tune may just be either the single best or joint best written on the whole of the album and one of the best of its kind in recent memory from Ifrica as well. While, again, shining on the music with just a dash or two of spice to bring some flames to the vibes. Fantastic tune. I was expecting something on the light and probably more jovial type when I saw the title 'Raggamuffin Style' but, instead, Ifrica uses the moment to display some substance! The song is about hard work, hustling and doing everything you need to do to take care of yourself and put food on your table. 

"Mi certain, I will never be nobody else's burden

TRY AND GET OVER YOUR PROBLEMS LIKE A HURDLE 

No trust dem if you know dem will hurt you 

Dem treat you like a dirt too 

You better know your virtue

 Jah love and He'll never desert you

 Rise up all kings & queens, I urge you! 

Make sure you fast and you pray, that work too 

HIM love deh haffi purge you"

Another big winner and a nice surprise as well! Finally, for the first time in what seems like a pretty long time, the album's absolute pinnacle is at its tail as previous single, 'Lanton' is pretty damn special.

It may've taken a few playthroughs to grow on me initially but these days, 'Lanton' is in the stars when it comes to her catalogue: It's one of the best songs Queen Ifrica has ever done, period; it's the best song on "Breath Of Life; it's one of the best songs I've heard in 2026 from anyone. It's very speciiic in its approach but what I take from the song is that we all screw up sometimes. We all have bad stretches in life and during thes moments, there's something or SOMEONE who can help us out and lead us back to where we need to be. Ifrica's route taken to bring that message into the light is fucking genius. It just is. 

Overall, when you review an album, obviously you have to take the entire thing into consideration and if a nice sized portion of it (like damn near half of it) is less than stellar then the album is less than stellar and that is most definitely the case with "Breath Of Life". HOWEVER, I'm confident to say that the best that it has to offer ranks favourably alongside the best that Queen Ifrica has ever done. A song like 'Lanton'... that song can go anywhere. Drop it on either "Climb" or "Montego Bay" and it's just fine and it isn't the only song here that I can say that about. As a whole, "Breath Of Life" may leave a little something to be desired but, when it is good, it is GREAT, and those bites are everything you would hope for from someone in Queen Ifrica who just might STILL be on the rise.... even after all of these years. 

Rated: 3.70/5

Nuh Rush Records + Tuff Gong International

2026

All For A Time by Pressure Busspipe & The Zion I Kings

"All For A Time" by Pressure Busspipe [Zion High Productions]

"Pressure Busspipe & Zion I Kings": That is far more than enough to get my attention and, if you have any sense (literally ANY AT ALL), it's the same case for you. Absolutely MASSIVE news today as "All For A Time", a brand new project linking the two longtime favourites of ours, for the 900th time, has finally reached and you know we had to take a listen. I won't go over too much, but in their catalogue together, Pressure & ZIK have given us two albums which we've rated at 5/5: "Rebel With A Cause" and "The Sound", which we also named as 2014's Album of The Year. Individually, they're both also huge deals around here and I've been writing about them for... more than twenty years at this point. Whatever they do is enough to get my attention; together, they're potentially special. The new release actually lines up with the exact completion of Pressure's 45th rotation of the sun (I could be wrong but I want to say that he's actually done that before and, of course, you'll recall just last year when Chronixx did the same thing with his most recent album, "Exile") to add to the circumstances behind it. 

"All For A Time" is basically an EP. It features ten tracks, half of which are vocals, the other half (DELICIOUSLY) are dubs, so it lines up perfectly for the mini-review format that I've been doing lately (actually stopped writing another one to dig into this one). Apart from that... I mean... IT'S NEW PRESSURE BUSSPIPE MUSIC! LET'S GO! "All For A Time" gets moving with the downright MAJESTIC praise 'JAH Is Worthy'. On its surface, the song is almost ultra-straightforward in terms of both delivery and how it is written and it is transparent to an excellent degree. When you do dig a bit deeper, it does have a more complex element but we'll deal with that in the second half when I tell you all about the wonderful dubs on this project. Next up is our title track. Let's talk about this song for a minute.

TEARS!

When they finished this one, I think it's clear everyone involved were well aware what they had on their hands. 'All For A Time' is SPECIAL! It is of a caliber that would see it rank amongst the absolute finest of the St. Thomas burner's entire career and it is THE main attraction on the release named for it. It is absolutely STUNNING! From that syrupy sweet opening throughout the beautiful track as Pressure tells us all that nothing, including the roughest of times, is permanent.

"Though it hard I nah sell out

Suffer so long and can't wait to get the hell out

I smoke some marijuana and get mellow"

'Shine' is the sole combination on "All For A Time" - featuring the well gifted Imeru Tafari (coincidentally, whose mother, Queen Ifrica, has a new album of her own releasing next week called "Breath Of Life" on what happens to be my own 45th birthday) and it's another one that excels via a powerful simplicity for the most part, although Imeru does turn up the fire just a bit later on for a riveting stretch which is not to be missed ["Binghi youth deh pon a mission, clinical wid precision. Your vision spiritual so you no need no permission"]. The old school rinsed 'Be Somebody' has a riddim which SCREAMS that I know it from somewhere and maybe I do but getting to know this song has been damn delightful! 

"See your brother as you see your self

If I wish you good, you wish me well also

Everyone has importance-

From the homeless to the orphan"

Nothing no really impossible

ONCE YOU FLY YOUR VISIONS OVER OBSTACLES

Give it everything you got in you

You're the only one stopping you

Check ya attitude!

Cause nobody wants to be a nobody

Everybody wants to be somebody

Don't you take 'no' for an answer

Listen quick and slow your anger"

There is an infectious... almost JAZZY/BLUESY quality to this song that isn't entirely prevalent throughout but pops up during the chorus which absolutely CAUGHT me! The rest of the song is lovely also and I'll tell you that Pressure has more than one (GOOD) album that 'Be Somebody' would be in the conversation as being THE best song on. Did you see what I just said about 'Be Somebody'?? [If you didn't it's literally right there] The final vocal offering on "All For A Time", 'Rasta Children' is even better and CLEARLY so in my opinion. Ranking only second to the title track, the THICK 'Rasta Children', as you might expect, is a wonderful praising tune from Pressure  and though you'll find a number of such outstanding similar efforts within his catalogue, even most of the best of them rarely reach such heights.

Let's talk about those dubs for a second put a conclusion on this one and call it a day.  I'll bounce around a bit but let's head straight to the head since I did allude to it previously. 'JAH Is Worthy Dub' SHINES even brighter, arguably, than the original version. If you're unfamiliar at all with the work of the ZIK, the players of instruments include the typical esteemed cast (Tippy I, Jah David, Moon Bain, the late Andrew Stoch and the likes) (Stoch has been physically gone for nearly six years and we're still celebrating his work. What a life  that man led!) with a different name or two in the mix as well. This time around, Roberto Sanchez lends his monstrous talents to the project and, as is the norm, it is fantastic. I've always said that I'm not the biggest Dubhead in the world but I've always appreciated the Dub work of the ZIK. 'JAH Is Worthy Dub' has to be amongst some of their finest. Also, you really get a feel for just how complex and detailed this particular sound is here which is constantly one of the main points of interest for me on these type of releases. Just as dense as 'Rasta Children', 'Rasta Children Dub' is another big winner here but in a different way than 'JAH Is Worthy Dub'. 'Rasta Children Dub' is a bit more on the spacious side and it is lovely. I could listen to this all day long. The Jazzy element that I spoke about on 'Be Somebody' isn't present at all really on 'Be Somebody Dub' and that's fine because what remains is more than solid and a big credit here goes to one Okiel McIntyre for his horn work which highlights the sound. 'Shine Dub' is all sorts of interesting and I was very curious as to how they would handle this one with two voices to attempt to mix into things. 'Shine Dub' actually is more skeletal but the thing that sticks out here is... I don't know if it's a flute or what it is (probably is a flute and if it is it is attributed to Zoe Brown) but whatever it is, it lights this track up brilliantly. It makes 'Shine' GLOW! Lastly, the all-conquering 'All For A Time' makes way for 'All For A Time Dub' which is nearly as enchanting (yes E N C H A N T I N G) as it vocal version. I won't even begin to try to work my way through everything that is going on with this one but I will say that, beneath it all, SOMEWHERE in there is an oh so slight and but PERFECT guitar. It becomes much more pronounced later on but up until then (and including then) it hits all the right notes... or chords, or whatever you call those things on a guitar. 

Overall, like I said, I've been writing reviews for Pressure Busspipe's work for a very long time now and I rarely come away disappointed and "All For A Time" is not an exception and I knew it wouldn't be (and so did you). It's going to be next to impossible for me to believe that ANY fan of Modern Roots music won't enjoy this one. "All For A Time" features two of a our favourites, Pressure Busspipe & The Zion I Kings in outstanding forms.... they pretty much always are and that is more than enough for me. 

Triumphantly: A review of The Pon Di Island Riddim

Vintage. Something felt REALLY good and REALLY familiar about this one. Twenty years or so ago, I would have never thought that, in 2025, Reggae/Dancehall music would look and sound like it does today. I would have been downright shocked if I could have had a glimpse of what was to come and that is in no way a critique (my personal opinions being what they are, I still spend a great amount of time enjoying good, NEW music) but I would have been shocked. One aspect, in particular, that has seemed to have declined to some degree -- and maybe not in terms of practice, overall, but definitely as far as how respected it has become on the highest scale -- is that truly BIG riddim. Music will never stop producing stars and generating popularity in that way and it will (HOPEFULLY) never stop producing hit songs but something that Reggae had going for itself, and itself alone basically, was the times when that big and all-conquering riddim would drop and go on to support multiple hits and big songs from a variety of different artists. It may even serve as an introduction to new names who will stick with fans for years to come or maybe just come across with a single hit from an unexpected light but... damn, was it fun! Furthermore (and why we're here today), some of those riddims (not all of them) would go on to work very well in an album form, particularly on the Roots side (I've never been the biggest fan of mixes but if you get the right Dancehall track and just put neverending tune after tune on it, it is spectacular) (biggup Spectacular). Surely, you'll recall a few years when the reigning biggest album-releasing labels of Reggae & Dancehall music both maintained 'dueling' (not really) riddim album series, VP Records & Greensleeves. Of course, you remember Riddim Driven. I bring them up not just for the obvious but when I saw and initially got a listen to the project we're taking a look at today, it brought my mind back to something very brief and even more specific (...and random as hell). In the midst (or maybe slightly after, I don't feel like looking it up) of Greensleeves' Rhythm Album Series, the label would break form and, very surprisingly, release an album for the Triumphant Riddim. It was no shock that they (or VP, or anyone from the time) would have been interested in the track as it was not only beautiful but the Flava McGregor produced piece carried a pair of solid hits in Gyptian's 'Mama' and 'Trodding' by Natty King, as well as efforts from the likes of Luciano, Chezidek, Ras Shiloh, Lutan Fyah, Anthony B, Norris Man & Natural Black (on the same song), Turbulence, Fantan Mojah, Perfect Giddimani.... I mean.... it was absolutely LOADED! 

When I saw & heard the Pon Di Island Riddim and saw that it had been headed to album form, I got all nostalgic! I was thinking that if, by some chance, Riddim Driven was still active and VP didn't pick it up (and they would have), Greensleeves would have likely turned it into one of those COOL projects like they did with Triumphant Riddim. On the surface, it was loaded with big/good names (although not to the degree as the Triumphant), it was excellent, had some IMMEDIATELY interesting firepower (more on that in a second) and it just has that same vibe surrounding it like some of the big projects that I remember from years ago and it feels good! The Pon Di Island Riddim also comes to fruition via some very nice (and marketable set of circumstances) which would have, again, gone on to make it of presumptive potential interest of big labels, back in da' day.

2021

In 2023 a bit of common sense made it into play as "The Kalling" would take Reggae Grammy honours. It's rare that a set lauded by so many fans of the genre actually does such a thing as the award is, typically, seen as a popularity contest/Marley Invitational. The moment would take the album's BRILLIANT star, Kabaka Pyramid, to new heights and help to bring his considerable lyrical talents to the forefronts; beyond the attentions of Reggae faithfuls. "The Kalling" was masterminded by the equally sagacious Damian Marley for his family's Ghetto Youths International imprint, alongside the Pyramid's own Bebble Rock Music. Previously, BRM had worked on several projects, including Kabaka Pyramid's debut album, 2018's "Kontraband" and the EP which preceded it, "Lead The Way" (incidentally, there was also a deluxe version of "Lead The Way", which contained thirteen tracks making it, TECHNICALLY, his debut album, in my opinion). Arguably even more interesting for us today is 2021's release of The Victory Rock Riddim. Just like what I'm about to tell you about, the Victory Rock was GOLDEN and was placed into the more than capable hands of vocalists such as Christopher Martin, Gentleman, Bugle, Romain Virgo, an all-conquering Alaine with the riddim's title effort and others. Given its history, no one should be surprised that Kabaka Pyramid and co. at Bebble Rock Music are back with one of the best produced and situated riddims and subsequent riddim albums of the first half of 2025. If you are familiar with the Victory Rock Riddim, the fact that I hesitate in saying which of the two is the strongest should tell you all you need to know in regard to its quality. The Pon Di Island is chilled to a near perfection with a subtle guitar (I think that's a guitar) and GORGEOUS piano being amongst the standout detailed sounds and a more prevalent horn dominating. While it doesn't change for individual artists (Lenky used to do that, it was special and led to some of his pieces being some of the greatest Dancehall riddim compilations ever in my opinion), all of those different colours and textures, given to different vocalists, make for an incredibly varied experience and, by its end, the Pon Di Island proved to be every bit of the class presentation that I felt it would be, going in. Let's talk about it!

Although it definitely does have a solid number of the bigger names, as I mentioned, the Pon Di Riddim isn't quite as loaded as you might expect. However, what it does lack in supremely massive names on paper is that it sets and maintains a very high level initially from which it rarely ever (if ever at all) dips. Also, specifically concerning the artists here, I found the MIXTURE of talents to be damn interesting. Yes. I am a nerd about such things, but it's damn hard for me to imagine anyone with any type of interest in what's going on here coming away disappointed to any degree. Getting the Pon Di Island Riddim from Bebble Rock Music started is Yaksta who supplies the riddim with its title track. 'Pon Di Island' shouldn't come as a surprise to anyone as far as its direction but what is a very nice eye-opener (ear-opener??) is the vibe of this one. It comes off as a very laidback type of theme but there is a certain STERNNESS behind it, making for an experience much more than just... laying around, enjoying the sun but that element does exist and is celebrated. I don't know if I've ever actually written about Yaksta's work, but he is a well talented individual and someone to keep an eye on, providing a definite highlight on the Pon Di Island Riddim. Next up, lives are endangered and stuff is broken and blown as, RIDICULOUSLY, legendary fireman, Capleton is paired with Cruzan blowtorch, Pressure Busspipe on 'Gunman Town', the single strongest tune here, to the surprise of absolutely no one.

"Gunman town inna gunman town

Gunman town inna gunman town

Inna graveyard every gunman found

This is the problem wi face as minorities

Ghetto youth nuh have no food and don't get no surety

Nuff seh dem are your friend but dem no know what is loyalty

Bwoy seh dem a gangsta and dem don't got no lawyer fee

WAIT!

Don't be a fool to what di system create

Give up your life so easy and go take di bait

He who fights and run away, lives to fight another day

LOOK IN AND LOOK OUT!

Be careful when they step and put a foot out

Gun clown, gun rookie - dem dun rook out

LIKE DEM FORGET SEH THAT THE GRAVEYARD BOOK OUT

CAAN  BELIEVE DEM OWNA FRIEND - DEM DID TOOK OUT

Seh dat him have something weh tall weh chop di bush out

Inna gunman town, nuff a dem get push out

Dem seh dem cold and start di vibes and now di whole a dem goose get cook out!"

BOOM! The tune is a HEAVY anti-violence set that gets brilliantly specific, grinding the subject down to a powdery-like substance. Capleton's older now. He's nearing sixty years old. You cannot tell me, lyrically, that man has lost a step - one of the sharpest minds in the history of Reggae and he and Pressure sets this riddim on fire with one of the strongest selections of the year. Unlike on the Victory Rock, if I recall correctly, Kabaka Pyramid does take on his own creation, with the typically genius 'Jamaica'. This one is all about having pride in being where you are from and, in the case of the Pyramid, he just happens to be from the sweetest place on the planet. 

"Mi fly around

Go whole heap a town

Collect nuff euro & pound 

But dem no nice like Jamaica

Nowhere no home like Jamaica

Been all round di world

Seen whole heap a girl

Ah wear nuff diamond & pearl

But dem no nice like Jamaica

Nowhere no sweet like Jamaica

A what a likkle Island nice!

From di beaches, to di rivers, to di island spice

From wi likkle but wi tallawah

Leader, wi no follower

And every Yard woman no fi whine pon time

Just a dat pon di map still, regardless

Weh you know bout Nanny and di one Marcus Garvey?

World class coffee and cocoa dem call chocolate

AND FRESH JELLY WATA FI WASH OFF MI HEART WITH

Jah know mi love buy mi Clarks dung a Brixton

And mi will travel, go a Brooklyn inna instant

Mi juss shell a one show ova Lisbon

But nuttin no nice like a dance inna Kingston

Uptown man deh so Weddy Weddy now

Boom Sundays ah gwan, so wi heading out

Every night bout three dance ah keep 

AND DI DANCEFLOOR MI SPOT ALL MATTRESS AND SHEET 

The birthplace of Rastafari

Ah wi seh 'look to the east'

Wi gi yuh Bob Marley, Usain Bolt, Shelly-Ann and all now nobody can compete

Mi have whole heap a mango tree so mi no buy a supermarket

Trailerload a ackee so just forward wid yuh basket

Real Jamaican, yuh know wi caan stop

From wi have pure breadfruit and plantain, lawd!"

YES! I felt compelled to write all the lyrics down from the tune (because why not!). Kabaka Pyramid, in my opinion, is one of the very few people who has a case for being THE single greatest lyricist in Reggae today and he consistently proves it to devastating effect. 'Jamaica', easily, goes down as one of his finest builds in recent years. And if you love great writers, immediately following him (and Capleton & Pressure) is longtime favourite of ours, Lutan Fyah (probably going to write out a chunk of this one as well, then I'll give it a rest) (not saying there won't be anymore in this review --THERE MOST CERTAINLY WILL BE-- just not for a minute), also takes on the Pon Di Island Riddim on a vibe we know absolutely nothing about 'round these parts, 'Common Sense'.

"Mi no graduate from Yale

A common sense

Mi no believe inna no fairy tale 

A common sense

Mi never come first in class

Mi took di test and pass

Mi no run dead last

None a dem coulda neva si mi fail

A common sense, just common sense

Mi no deaf, mi no dumb

Mi know mi language and mi psalms

I'm not a calculator, so dem caan shut mi dung

Alla now mi wise and mi did smart from mi young

They looking down at us, now si what wi become

I took a shot from the free-throw line

Things are stepping up, I'm certain, one day I must rise

WEH MI DO BEHIND CURTAIN MI LIVE IT OUTRIGHT

MY KNOWLEDGE COMES FROM THE MOST HIGH"

There is more than one way to come across knowledge is the sentiment behind this one and Lutan Fyah, I would guess, is someone who, though he may or may not have the scholastic accolades to show for it, has spent a considerable amount of time studying both the book and that type of knowledge that only comes with living and learning from life experiences. 'Common Sense' is MAMMOTH and it speaks to the quality of this entire project that it only barely manages to crack its top five efforts.

Dre Island comes through with the very entertaining and Jr. Gong-esque 'Cold World'. I've always thought that the Island to be reminiscent of Damian Marley and, if you haven't, I'd definitely recommend you take a listen to 'Cold World' (...even if you have, still hear this song); that being said and regardless of its stylistic inspirations, Dre Island absolutely DAZZLES here ["HOW YOU FI TELL MAN BOUT PEACE WHEN A YOU AH MEK WAR? TELL YOUTHS BOUT HEAL, BUT YOU NEVER GET SCARRED?"] as he asks the world for just a little compassion and understanding for others. I've never been the biggest Demarco fan, I never will be and his effort on the Pon Di Island, 'Don A Yard' does not rank anywhere near my favourites on the riddim.... but it isn't bad at all! This one doesn't hit in the way that relatively similarly vibed present pieces like Kabaka's 'Jamaica' or the title track do but that does not mean that it is dull. 'Don A Yard' is a beautiful ode to the culture which gave birth to it and everything you're going to hear on this album. I'll also mention one of the two remaining combinations (trying to get most of the biggest names together, then we'll talk about the surprises), 'Real Vibez', which pairs Qraig [from] Voicemail and well grizzled big-voiced veteran, Singer J. Singer J (has a new album out this year, the Gospel vibed "Grateful". Qraig's on that album as well) has literally been making music for over thirty years and I don't think that we tend to properly acknowledge his contributions because they have been numerous. Let's start here! The two come together under the umbrella-ing idea of being aware of those who may come into your life with not the greatest of intents in their thoughts, while giving credit to people who're true to you. 'Real Vibez' is fairly direct, but it does a very nice FEEL to it, particularly at the chorus and it is well worth several spins.

Hopefully, you'll come away from the Pon Di Island Riddim with a few names that are either completely or relatively new to you and you'll be impressed enough to, perhaps, follow their work going forward. Such a candidate might be bouncing Spaniard, Irie Souljah, who does reach amongst the highest of heights here with 'Bout Ya'. Call it INFECTIOUS, 'Bout Ya' (and 'Common Sense' would be another one), is the type of song that forces this riddim to 'change'. Whether it does, actually, or not is not even important but with his delivery and the backing singers and everything going on here, it sounds like such a different and CAPTIVATING display from every other song. I'm dying to write lyrics here but I will refrain and, instead, tell you to really focus on what Irie Souljah says because you'll miss a few GEMS if you do not ["Mi and mi empress take a ride up on di hill and ah talk bout di one bad house wi waan fi build"]. Impressed? If so, you can check "World Citizen", the new album from Irie Souljah (which does feature 'Bout Yah'), when it releases on the 1st of August, 2025. Maybe (you're crazy as hell) Irie Souljah doesn't do it for you. If so, check the burgeoning Jah Lil with the, arguably, even stronger pure social commentary 'Hold Corner'. Lil is a multia-talented/faceted artist and you will encounter it all on vibrant display on this tune which is an examination of ghetto life in its most basic sense. It also develops slightly around that with the suggestion that people who go through the struggle may come out stronger because of the tough experiences Jah Lil is the exact type of person I was thinking of that may earn quite a few fans from appearing on this type of project. There're many people who will hear him here for the first time and will remember the name. While Ras-I doesn't quite mine gold with his 'Do The Right', he does come close with the solid piece (which does take a step up during its latter stages as the chorus seems to intensify and the delightful backing singer/s take more of a presence. Check the final vocal track on the riddim, it's obligatory ganja number, 'Pon Plane', courtesy of Jah Izrehl (great name). This one does DAMAGE! 

Izrehl has a very free-flowing and organic style. It seems like it comes so naturally to him (he does have a new album, "Kippy Fyah Red", which I have listened to. I cannot recommend it though, it isn't very  good) but he doesn't run from STRUCTURE, which is kind of unusual (and I mean that in a good way). 'Pon Plane' IMMEDIATELY becomes one of my favourite songs ever from the Kingston native. I would have complained had 'This I Know' not been on the Pon Di Island, saying that the riddim lacked a significant female presence (more on that in just a second.... literally the next tune I tell you about) but not only is that NOT the case, Kabaka Pyramid tapped one of the greatest female voices going today, the outstanding Khalia. 'This I Know' is golden. It is a LOVELY song, centered around the idea of going through the trials and tribulations of life and coming out better for it on the other side (with a spiritual inclination, of course). Such pieces are in abundance but they rarely have the purely sonic appeal that 'This I Know' does. Khalia's isn't the only woman's voice you'll hear on this riddim as (along with backing singers), Iyansa brightens up 'Jah Sound' which features an ABSOLUTELY SCALDING Queen's son, Imeru Tafari.

"Rifle dem ah lock a town

Body drop a ground

Wonder why di father not around?

It's a shotta zone

Likkle juvie get a proper crown

Bodies scattered round

GWAN GO LOOK INNA YUHSELF AND TRY FI LISTEN JAH JAH SOUND

Rastaman is not a clown

Siddung pon a throne 

Responsibility - dem heavy than a pound

Give thanks ah gimme everything a Jah alone

That's why a everywhere mi wave di banner proud

He that dweleth in the place of The Most High 

Tell dutty babylon dem seh fi don't try

Abide under di shadow of The Almighty

The inner city, it so cold until it icey

One time mi could afford fi live but now it pricey

Di youth dem nah no upside, now dem get so grimy

CORRUPTION CLEAR COULDA EVEN MEK DI BLIND SI

Ghetto youth unuh bodda tek it lightly" 

You don't even hear from Iyansa until well into the song's final minute but she does make the most of her time. I do wish that she did have more of a presence but Tafari absolutely lays waste to everything he touches on this track. 'Jah Sound' is FIRE and, again, if you are unfamiliar with with either Imeru Tafari or Iyansa, you've now become acquainted! Also included, thankfully, is a clean version of the Pon Di Island Riddim... because to not do so is just dumb. The instrumental is gorgeous and one of the nicest moments on its album - as is generally the case on these things.

What's wrong with the Pon Di Island Riddim? It's too damn short. I don't necessarily mean in terms of the total length here (I just clipped the screen off, I don't even know how long it is) but with all but three being in the 2:50ish range (and the other three are only ten seconds longer), I would have liked to see more done with the development of some of the material here, with the prime example definitely being 'Jah Sound'. Just looking through the tracklist also gives you that kind of... bad nostalgia that was so frequently associated with Dancehall - with that sort of 'cookie-cutter'/'one-size-fits-all' type of approach. Would have loved to have seen someone kind of break out of that and do something more.... organic and improvised because you can listen to it and KNOW that the opportunities were there. 

Overall, the Pon Di Island Riddim is outstanding and its album, for the most part, is as well. Riddim albums, in my opinion, provide such a wonderful opportunity to compare performances, ideas and such things as you can really see the different ways different artists approach the same music. The tunes can float around the same areas or be completely very different at times. What stands out in this particular case, however, isn't such a grand deviation between tunes but, instead, REALLY big performances. As I said, I hope that you might come away from it with someone new in your mind to listen to, going forward, but the ones with whom you are already familiar SHOW UP as well. The biggest guns on the Pon Di Island shine just as bright as you would hope. Going in, I had such a beautiful nostalgic feeling about this one and, as it turns out, Kabaka Pyramid has delivered yet another one for the time capsule. Very well done. 

Rated: 4.4/5

Bebble Rock Music

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