UNDERSTOOD!: A review of Upliftment by Derrick Sound

Convinced. Back in da day such an occurrence was all the more frequent. You'd have a very Reggae-centric situation where you'd have twenty artists jump on one riddim and some of them would get lost in the proverbial cracks IMMEDIATELY and then you'd do some sifting of your own, whether you realized it or not. My delightfully nostalgic point of reference takes me through names such as Hollow Point, Jagwa, Zumjay, Calico, Desperado.... Alley Cat... Icecold [!] and a number of others who'd have songs on tracks which would go consistently overlooked. They weren't amongst the biggest names in the genre and, barring the occasional hit, you might not pay much attention to their work. Still, they were popular to a certain degree (and most of them are probably still at it) and, obviously, favourited by producers of a certain era of Dancehall. There was also some serious talents in there as well. Desperado had a very interesting LOUD quality to him and, at his best, Hollow Point was literally off the charts with what he was capable of (and he still is). So, who knows what we may've missed out on (some of those people should have been much bigger stars than they were... but that's a different discussion that I'm sure I'll have one day) through not paying as much attention as we probably should have been. The point here is that, regardless of how good something (or someone) may be, even if you are attentive and are proactive to go out outside of your usual patterns, you can't keep up with EVERYONE. It may take some impetus to help you get started in giving someone a chance and for everyone that I named, I could name others who you did give a shot. The vouching of someone by someone who you respect can go a long way. Baby Cham, for example, had the backing of an actual GENIUS in Dave Kelly driving his career and was able to develop on some of the finest production the genre has ever seen. Vybz Kartel had a similar run across Don Corleon's riddims and maybe Spragga Benz lifting up Assassin gave him a solid basis to start out on (and I bring up those instances, specifically, to stick with the times that I had previously started into with my initial examples). Were those not the cases, who know! Maybe we'd be looking at Baby Cham or Sasco as talented underachievers (I don't think so, but it's possible). There are any number of things that can get you to open that door for the first time and MAYBE never closing it.

Maybe even an album would do it.... but then again, maybe not (it might take two of them). Today we're going to take a look at someone who just, all of a sudden, one day seemed to pop up and whose music I've written about, fairly consistently, without truly digging into what they were actually up to. Perhaps (no way), we may even get into addressing WHO THE HELL IS DERRICK SOUND? Again, I can search these pages and find myself writing about them, directly, as far back as a couple of years ago now in regards to working with longtime favourite of ours, Cali P. HOWEVER, a bit of research reveals that the players at work behind Derrick Sound, Mr. Nico & Inspecta Derrick are the same ones behind the ULTRA familiar Evidence Music from out of Geneva, Switzerland, whose releases I've been writing about for about a dozen years (dating all the way back to the Dancing Machine Riddim) and that shine you see coming from this page is the lightbulb going off over my head (... and don't even get me started on Little Lion.... who knew!).

2024

"THIS CHANGES EVERYTHING!". "MIND BLOWN!". Evidence Music has pretty much worked with everyone. Along with a few of the wonderful people we're going to talk about shortly, they've also done work with the likes of the incomparable Queen Omega, Tiwony, Micah Shemaiah, Addis Pablo, Skarra Mucci and a mightily impressive line of others. They've had their hands in many pots over the years and continue to these days. Why I'd never known the specifics is probably because I was content to enjoy the music of Derrick Sound in the fairly frequent times that it popped up on my radars and I had yet to actually review one of their projects. This was due to POOR planning as, in early 2024, they gave me a RIPE opportunity to do so via what stood as one of the year's strongest compilations by its end, The Fight Again Riddim. As I said, I'm going reserve the heaviest of my ammo for this new project but the Fight Again was CRUCIAL and carried contributions from Cali P, Shemaiah, Tiwony, LMK [BOOM!], even Hollow Point (remember him??) alongside Chico and it was just a GORGEOUS composition with a very light sound but strong core to it. The Fight Again got up everyday and did its crunches! Derrick Sound made it nice and easy for me and I should have reviewed the Fight Again Riddim album (and its beautiful cover) but I didn't... because I'm old as hell and tired but they're giving me another shot! 2025 now brings us another compilation which I cannot keep my eyes off of, "Upliftment". When I saw the tracklist for this one and saw what else they had forthcoming (more on that in a second), Evidence suddenly got my WHOLE, ENTIRE attention for the last part of the year. ON PAPER, we had what amounted to a potential compilation of the year contender and just a DAMN RIDICULOUS collection of vocal talent aboard "Upliftment". The compilation appears to be built with tracks from, primarily, 2025, although I did find one or two which date back to last year or year before (which is just fine) and it stands a powerful display and catcher-upper to exactly what Derrick Sound has been up to. Let's take a look! 

I have to say something about that cover (I am contractually obligated to do so). When I first saw it, I thought it VERY cool in a lovely, nostalgic, old school kinda way and I was delighted to see in the press notes that it read: 

"With Upliftment, Derrick Sound delivers a true homage to the reggae of the late 1990s and early 2000s, a pivotal period that also marked their beginnings as DJs. The project recreates the energy and atmosphere of those years, drawing inspiration from legendary producers such as Fatis Burrell and Bobby Digital"

They absolutely NAILED it with that cover and its early 90's feel. It goes on to talk about paying homage to the golden age of Reggae music and, when you get into it, they're doing SWEET on the musical end as well. Perhaps none are sweeter than the opener and title track which brings together a favourite of Evidence's, Bugle, and the brilliant aforementioned Agent Sasco. 

"Nuttin no negative, so wi no deal wid minus

Wi blessed and multiply, so they cannot divide us

Oh yes, wi give thanks to di blessings dem weh Jah provide us

Whoi! Dem cannot stop wi cause a Jah ah guide us

AND YOU CAAN DRAIN WI ENERGY, GO DRAIN YUH SINUS

You no si - badmind ah get dem, yes, dem catch di virus

Di crab dem inna di barrell, dem no waan you climb up

MI POSITIVE OF DI FACT NEGATIVITY TIME UP"

I can recall when "Assassin" was coming up and it was him and Vybz Kartel being compared to one another, they were 'classmates', in terms of time. Kartel was a martian. He had lyrics from outer space and he had so much HYPE based on his skill that it was reminiscent of very few people the Dancehall had ever seen prior to him (thinking of someone like Papa San) (Papa San can probably still just rhyme ALL DAY LONG if he wanted to). Assassin was different. He was far more straight-forward and there was more of a... development to him. He didn't start from so far along but what this man has become lyrically is ABSOLUTELY STUNNING and he puts nary a damn syllable out of place on 'Upliftment'; destroying his initial verse, only to return later and say some shit like:

"Yeah di massive, ah si positive

POSITIVE INNA WI NOUNS, WI VERBS AND WI ADJECTIVES

REAL & GENUINE SO NO PRESERVATIVES, NO ADDITIVES"

HUH?! WHAT?! Not to overlook Bugle's contributions to the finest tune you'll hear on the album named after it but Agent Sasco absolutely burns the place to ash in the name of positive with a simply PERFECT performance. Given the most unenviable task of following the opener is someone who is up for and capable of the task, as the highly skilled Lutan Fyah makes the first of his two HUGE appearances on "Upliftment" with 'Blessings'. If you want to  hear a song that does absolutely NOTHING in the way of breaking new ground and is pure and simple, straightforward Roots music but is EXCITING and thrilling to listen to, hear 'Blessings'! The Fyah is joyous for what he's received in his life and for the opportunity he has to praise His Majesty and I won't write them out because I just did it on the previous song but he drops some BEAUTIFUL lyrical gems here, as is his norm... like this one.

"Late at night, before I rest, Jah is my company 

SELASSIE I. NOT PERHAPS OR PROBABLY!"

BOOM! That being said, perhaps you could make the case that Lutan Fyah goes even harder on his second track on the album, 'Bla Bla Bla', his cut of the previoulsy mentioned Fight Again Riddim. It was one of the best songs on that riddim and it's one of the best songs on "Upliftment" as well. Lutan Fyah is tired of hearing the bullshit and 'the company line' over and over again and he's found a SWEET way of making that known. As one of two artists to appear here twice, Lutan makes the most of both opportunities with powerful displays of his considerable skills. Speaking of "considerable skills", if everyone on this album were at their absolute best, I think the CONSIDERABLEST is the star of 'Jah Is Always Near', Sizzla Kalonji. He hasn't been in a fine form over the past few years, however, which makes it all the more interesting and noteworthy when I do hear something good from him and his offering here, though not on even the same planet as his best, is decent. The song is done in that kind of odd wailing that Sizzla used to get dual criticism and praise for. I've never felt much for it either way but it works on this song which is, obviously, a praise. There're other points where he changes things up (like a really nice one at around 2:20 in) and moments like that helped this song grow on me. Also of note is the beautiful riddim underpinning 'Jah Is Always Near', which is allowed to shine on its own at times as well, making for a very well done complete musical display (and I just finished writing that at the exact same time the tune ends!). Have some more! Chezidek is also here with a tune I know quite well from earlier this year, the GORGEOUS 'Jah Is In Charge', which finds the singer relying on the Highest strength in existence ["All mi troubles and mi fears, Jah Jah cancel. Obstacles inna mi way ah get  trampled"] when he needs a helping hand. There is something SO appealing about the way 'Jah Is In Charge' is sung. Chezidek has an unusal voice and that's often the focus when you listen to him but have you ever notice how VERSATILE his delivery can be?? He can pull it back slightly or tone it down more and when he does you get GEMS like this one, delightfully registering somewhere between singing and chanting - and excellent on both fronts. A huge tune. Let's have a quick conversation about a guy named Turbulence. Many years ago, Turbulence seemed to make shift where he found joy and some success making love songs and since then (literally, like the last TWENTY years!) he's been far too focused on them.... and they aren't very good for the most part, in my opinion; and it's kinda pissed me off to be honest. Turbulence's combination of legit TOP FLIGHT singing voice with several different styles of impressive chanting can make for outstanding Roots (and even Dancehall, at times) and who knows what we've missed out on over the years with him pursuing his obsession with love songs (check a recent piece of Roots, from a few weeks ago, called 'Who Are We'. It's outstanding). HOWEVER, given the fact that I've been critical (heavily sometimes) of him for making love songs, then I should be the first one to give him credit when the planets align just perfectly and..... Turbulence makes a love song that is actually good!

'Knock Knock' caught me with my hands down, chin in the air and off-balance. I'm used to these things. I've been here probably hundreds of times at his point (and will probably be there a hundred more) but it rarely (if ever) sounds like this. It doesn't SOUND like it at all but in terms of how its written, 'Knock Knock' is somewhat similar to Junior Kelly's classic 'Love So Nice' where Turbulence is addressing an ungrateful former flame. The chorus is lovely and infectious and will glue itself to some part of your memory, it's beautifully sung and it has a point to it. You can't ask for more than that and I have no problem at all calling it amongst the greatest of its kind that Turbulence has EVER done. 

coming soon

Okay and now let's talk about another guy, named Eesah, who is the other artist featured on "Upliftment", along with Lutan Fyah, to have more than one tune.... and he also has something else going on with Evidence Music in a few weeks. His first is the poignant social commentary 'Change We Want', going exactly where you think it is. Take a deep listen to 'Change We Want' and you'll notice how well it goes as it reaches a point, at its second verse, where it levels up. It becomes even stronger (after a start that isn't bad either) and blooms into something kind of explosive at times.

"You haffi give up the good fi the great

A wise man will change his mind

And a fool will never si di sign

Look like seh di government blind

So wi, seek knowledge and break dem chains

Until yeah, wi start si change

Eternally fyah gwan blaze

Try fi open yuh ears

Let's si Reggae music free di mind of di people 

Evidence nah go deliver dem evil

Have a voice so wi speak to di people

Step forward: In the ground

Or take ten steps back, into safety

Every four year wid di same plan and trick politician dem come to play wi"

Grrrr. Eesah's second tune is also the album's second and final combination. 'Badda We Badda' features UK stalwart, Brother Culture in a very open and just COOL style. With that being said, however, the main attraction here is the sickening chorus. It is "sickening" in the same way that eating too much candy is sickening... meaning it will make you feel bad for enjoying it so damn much. For example: I was writing this review and had 'Badda We Badda' on repeat. I took a break to wash some dishes and what was going on in my head the entire time I was doing the dishes? Yep! The chorus for this song. 'Badda We Badda' is catchy as hell and it will plant a flag in your brain that you will not be able to remove, no matter how far you dig in there. In other news, Eesah and Evidence Music have other works in the pipeline as his sophomore album, "Success" is set to release in just a few weeks from writing this review. Both 'Badda We /Badda' and 'Change We Want' are included on an the album that MIGHT prove to be the final big Reggae album of 2025.

The remaining list of names present on "Upliftment" represent a tremendous run of names and top talents. The album's oldest tune (I THINK), comes from the late Peetah Morgan as his cut of the Indian Casino Riddim, 'Can't Break Our Souls' is here. We lost Morgan in early 2024 to a rare disease but he, along with the rest of the members of the famed Morgan Heritage, left a powerful legacy. 'Can't Break Our Souls' is a beautiful track from 2014 where Peetah speaks to the indomitability of the children of His Majesty. This song, probably even if you don't care much for it, is going to make you smile and feel good! It brought a smile to my face and it also has points where it sounds like Peetah Morgan is smiling while he's singing (if that makes any sense. Sometimes you can actually hear a smile) which is always a fascinating sound on a tune. Biggup Peetah Morgan and biggup Derrick Sound for including him here. Given the description from the press materials that I quoted for "Upliftment", I'm going to presume that Derrick Sound got ALL they wanted and more from the legendary Luciano when he blessed them (and the rest of us too) with 'Old School Rule'. The Messenjah pays homage to those who came before on the tune and teaches all to follow course in not only honouring those individuals but the ideas and methodology of the times as well. This version of the tune is billed as the 'Extended Mix' which comes with an ending where the clean riddim is featured and allowed to do its thing. As I've said in the past, I think this can be a very nice touch to add on and it was a really good notion had in this instance because this riddim, for as simple as it most certainly is, is also a DIAMOND and we get it for nearly a minute and a half completely sans vocals. CAPLETON (I told you the lineup on this album was crazy) is all fed up and also tired of the bullshit on his 'Tired Of The Drama'. Supposedly, Capleton was set to launch a new album in 2025 (would have been his first in a century or two), "Heights Of Fire". Coincidentally, that album is/was also an Evidence Music release so hopefully we get that in the new year but until then, the King of Fire is building... and he's building with very strong material such as the common sense saturated 'Tired Of The Drama'. Jah Mason EASILY has one of the strongest offerings on "Upliftment" with his scathing 'Rumours Of War'.

"Nuclear weapons are deployed

And dem ready fi destroy

Wid dem weapons of destruction

Get yuhself employed, whether girl or boy

Dem ready fi go start up di action

Who will survive?

Tell dem a di fittest of di fittest

Set up yuh grounds, mek sure that you legit

Sorry for those who just can't resist

LIVING INNA ZONE WHERE DEM DON'T HAVE NO LIMIT

Mi nah know how it start, so how it ahgo finish?

Should be making that paper

Stocking up yuh spinach

If a war dem come wid, a no my image

NO, DEM CAAN GET MI TIMID!"

The Mason absolute scorches on this anti-violence set. Hopefully it does not go overlooked on this album because 'Rumours Of War', is also one of his best tunes in recent times in my opinion. "Upliftment" also ends on a very high not in the form of Fantan Mojah's 'Double Standard'. Mojah poses the question, "Why is there a place for you but not for me?" to the powers that be in the midst of serving up a lyrically impressive social commentary and SIZABLE ending to this album. I also have to mention the riddim on 'Double Standard'. It is SO GOOD! The version on "Upliftment" is the 'Horns Cut' and you hear the horn come in initially right before the three minute mark and just generally enhance what was already a fantastic piece of music.

The only critique I have of "Upliftment" is that I wish Derrick Sound would have gotten a tune from Queen Omega... or any other female.

Overall, EXCELLENT. As i said, when I first took a look at just who was involved with "Upliftment" my expectations of what I was about to hear went square through the proverbial roof. In an era long gone, even if I were to see such a lineup on some random riddim it would have been very impressive (at such a time where it happened at least semi-regularly) and i is even more the case in a format such as this one. Also, a big, full credit goes to the producers and players of instrument who work their magic so finely. When you have a more typical compilation such as this one (meaning one without the same riddim on every song), you have an opportunity (when you do it well) to really impress musical, particularly when put in the hand of such gifted vocalists. "Upliftment" is FUN Roots music that sacrifices nothing in the way of hitting its marks, ideologically, in the name of boosting the entertainment value. So, while it may've taken me an embarrassingly long ass time to make the connections of exactly who Derrick Sound was, with what I hear on "Upliftment", there isn't a chance that I'm going to forget anytime soon. THE BEST REGGAE COMPILATION OF 2025. 

Rated: 4.75/5

Evidence Music

2025

Signatures Vol. IX: Jah Mason

I saw something that bothered me a little while ago. We won't put it in here (because you don't want to see that shit) but I saw a video about "Reggae One Hit Wonders" and on that list was Jah Mason... anyone with functioning ears (and a few people without) should know what rubbish his inclusion on such a list is. Yes, he has had a biggest hit -- I'm going to tell you about it RIGHT NOW -- but to discredit and discount well over THIRTY YEARS of beautiful work is pure insanity. Today we attempt to spread some mental health and a few drops of common sense while celebrating one of the genre's most CONSISTENT of champions. Signatures: Jah Mason 

{Note: Coming soon - Skinny Fabulous & Pressure Busspipe}

{Note 2: Doing this list definitely gave me a new appreciation of Jah Mason's work and I hope it does the same for you. That man is an INCREDIBLY skilled writer} 

1. 'My Princess Gone'

Far far away. As is our tradition (because I've written enough of these things now to have a TRADITION!), we begin with what is likely (it is) Jah Mason's most identifiable track to date, 'My Princess Gone'. Producer Roland McDermott handed the Mason his lovely (and woefully mistitled) Adrenaline Rush Riddim (which also carried a well underrated tune, 'Wine & Roses' by Anthony B) and returned to him was an undeniable CLASSIC which conquered the Reggae world and, nearly twenty-five years on, is still sitting on a throne... but it's not the only ruler he's had. 

2. 'Keep Your Joy'

Goodness! 'Keep Your Joy' was both an early hit for Jah Mason and the title track for his debut album (for the wonderful people at Ghetto Technology... wherever you may be these days) (it was also one of a handful that appeared on both that debut album and its followup, "Working So Hard" - more on that one later) (neither one of those albums ever made it to the digital side and that's too bad). 'Keep Your Joy' is GORGEOUS! It is a beautiful, beautiful song and if you do know it, its presence here can come as no surprise as Jah Mason put on a stunning display in the name of telling all to keep your proverbial heads up in the face of negativity or when life just isn't going your way.

"Keep yah joy, keep yah joy

Even if yuh unemployed"

3. 'Fire'

Blaze without a limit. Another early top-taker, 'Fire' would have come up in an era where the trend in Roots music -- largely courtesy of the Capletons, Sizzlas and Anthony Bs of the world -- was to find anything even remotely negative or oppressive and completely DOUSE it in a cleansing (or destructive, if it was too far gone to save) flame. The result was songs like these but they were RARELY this good.... from, like, anyone. Brutally straightforward, yet still pretty damn clever ["Fyah caan escape, coulda short like midget. Well miah bun di fyah and it well legit. Well fyah red! And dem caan bridge it. Well fyah mek dem all ah dance like mimic"], 'Fire', perhaps unbeknownst to anyone during its day had a very sturdy pair of legs and it has aged exceptionally well. This is a list of my favourite Jah Mason songs and this one would DEFINITELY be in the top half of these: One of the best songs he's ever done. 

4. 'Most Royal'

No barrier. No bridge. The title track of what is, arguably, the Mason's most underrated album to date, the Jah Warrior produced "Most Royal" (...for some reason, I was stuck trying to think of the name of that album.... I should probably go to bed after I finish this one), 'Most Royal' is just an overly-solid piece of music. What I mean is that, in describing it, you want to use words like 'proficient' and 'efficient' and 'solid' but it's better than that while not, at least on the surface being entirely spectacular. Keep on listening to it though... maybe it is kinda spectacular. This aggressive slow-burner earns its keep on such a post of mine for having grayed (you have to admit that "grayed" is a very cool way of saying "aged". ISN'T IT!) amazingly well; finding Jah Mason preaching for us all to just up our personal standards and expectations of others, as well) just a bit more. 

5. 'Stay In My Heart'

Special place in my heart. Jah Mason's megahit, the aforementioned 'My Princess Gone' would head an album of the same name in 2006 where it was, undeniably, a highlight BUT it was not the best song on the album named after it.... it also wasn't the second best either (album was quite top-heavy, in retrospect, but maybe a bit underrated, still). The latter distinction belongs to the downright GLORIOUS 'Stay In My Heart'. What's so damn good about this tune? I'd challenge you to find a love song as intense as this one without falling into the ridiculous category. You'll find some craziness, surely (biggup Sizzla), but I can't recall one from the top of my head where the artist managed to keep his wits, while turning up the heat and putting on a blistering and EXCITING display in the name of professing their love. Jah Mason did it sublimely here and it has stuck with me over the years... still sticking. 

6. 'Run Come Love Me' featuring Jah Cure

Let Jah loving share. Nearly thirty years ago now, the great Beres Hammond put his hands on 'Run Come Love Me' and, in doing so, would help to launch a couple of careers to some level of stardom. One of them (that other guy) would embark on a career as full of controversy as hits, while Jah Mason would go on to, as you can see, do a considerable amount of damage on his own. The two would also link on 'Working So Hard' for Henfield (I think he produced that song) and another one from much later, which was also excellent (I don't feel like looking up the title of that one right now), but 'Run Come Love Me' has gone on to such a distinguished level of reverence amongst the masses (myself included) -- and for good reason -- that it simply had to make this list.

7. 'As Much As Mi Get'

High grade plant. 'As Much As Mi Get' is as much of a "viral" tune as you will find here as I don't actually know where I first heard it. It popped up online one day and... about fifteen years later, here we are. You'll find at least one or two other ganja tunes in my compilation but 'As Much As Mi Get' earns its spot by combining EXTREME cleverness and lyrical adroitness ["Man ah smoke before Billy The Kid"] with this DOMINANT infectious riddim (which is probably called the Royal Crown). A head-knocking tune which does not care whether or not you enjoy it. Once it has you, you are not going anywhere.

{Note: 'As Much As Mi Get' has just recently been re-released (if it was ever actually released in the first place, that is) as 'High Grade Plant' on Datsmusic Productions}

8. 'Gideon Start'

Like a thought. I've spent the last twenty-two years telling any and everyone who would bother to listen to me just how confident I am in the FACT that Jah Mason's single finest album to date is the well underappreciated and overlooked "Never Give Up". It just is and I am not sorry to be the (only) one saying that to you. The album is one of THE best I have ever heard in my entire life (already declared a modern classic, from longtime ago!) and I when I think of it, generally the first tune that comes to mind is the SMOOTH album-opening 'Gideon Start'. The song was a all to a revolution but it wasn't at the fevered pitch as some of the other selections that you'll find here, at least not for the most part. Still, in an almost prophetic move, the Mason would provide the song, whole of "Never Give Up" and maybe ALL of the music you'll find here with a very fitting punchline when he said:

'Rastafari still ahgo show dem love from my heart

Keep this inna yuh head, like a thought"

It's been a thought of mine for over twenty years now and should I live another twenty, it WILL still be a thought.

9. 'Couple Chalice A Day'

Nah stray. The signature tune from one of Jah Mason's most popular albums, 2006's "Wheat And Tears", the BEAUTIFUL 'Couple A Chalice A Day', could not possibly be left out. Immediately when you listen to this one, what's going (at least partially) is clear: THIS SONG SOUNDS REALLY, REALLY GOOD! It just does. It's melodic, infectious and it just makes you feel good listening to it. Furthermore, and again, lyrically... this thing is in the stars somewhere. It is EXQUISITELY penned ["If a no high grade, throw dat inna di dustbin"].

10. 'Si Dem Move'

Jason & Chucky. I can pretty safely guarantee you that were you to find another collection of songs like this from Jah Mason (and, unfortunately, you probably won't) that the song 'Si Dem Move' would PROBABLY be the one here that would be least likely to appear on anyone else's though, from the second I heard it, it became an instant favourite of mine and, clearly, it still is. Why exactly?? 

"Mi dun si dem move

Mi dun si dem flex

Mi get fi overstand seh nuff ah flex like Rex

Mi dun si dem move

Mi dun si dem flex

What kinda move dem ahgo mek next?

MI TELL DEM LIVE CLEAN DEM GWAN LIVE DUTTY!

SELASSIE I COMMANDMENT? DEM RUN GO BRUK IT!

DEM HEART - IT NO CLEAN!

DEM MIND - IT SMUTTY!

WATCH HOW DEM AH MOVE LIKE A DOGS AND PUPPY!

CAAN ESCAPE, NO CARE HOW DEM LUCKY!

WATCH HOW DEM AH FLEX LIKE JASON AND CHUCKY!

WELL YOU NO SI SEH DEM A WALKING DUPPY!

DUTTY LIVITY? MI AH BEH UNUH FI LEF IT!"

Highlighting Reggae Vibes hilariously underrated "Unlimited" album, 'Si Dem Move' featured a well pissed off Mason at his absolute SCATHING best. 

11. 'Team Up'

Together we will be. Were it not for the penultimate song on this list, I'd be pretty confident in proclaiming 'Team Up' the single best song that Jah Mason has ever done. When I first heard this song, now more than twenty years ago, I LOVED it IMMEDIATELY. That was partially to the credit of Loyal Soldiers and their HEAVY Black Shade Riddim (I Wayne probably gave the riddim its most popular tune with 'Bleacher') and it sounds even better in 2025 with a Jah Mason who is as FOCUSED and ON-POINT lyrically as, arguably, he's ever been. Probably THE best written song of his entire career.

"Don't contradict yourself or you will end up inna mystery

...living like some unsolved mystery"

12. 'Black King' featuring Lutan Fyah

Haffi hail HIM. It bothers me to some degree that, after all of these years, though the song is respected (in as far as it is remembered), the true extraordinary quality in 'Black King' hasn't been celebrated nearly enough. The tune would be carried on an album by the name of "Dem No Know Demself", which is best recalled as being the debut album of Lutan Fyah and came via the once mighty Minor 7 Flat 5 imprint (with Al.Ta.Fa.An on production) and, twenty-one years on, still stands a very good, though not GREAT release. HOWEVER, are we just going to ignore the elephant in the room of 'Black King' FOREVER?? Is the ENTIRE WORLD just going to pretend as if we didn't notice that, about a minute and a half into it, Jah Mason ABSOLUTELY DESTROYS AND VANQUISHES EVERYTHING EVERYWHERE ON THIS SONG? ALL OF IT:

"I'm delighted to do thy work, Oh Jah

Well, dem caan stop mi

No time, no sah

Salvation mi need, mi no waan no sponsah

Tell dem, love is di way, also di ansah

Gimme di old time tradition, mi no waan no sponsah

Bangarang dem ah pick and ah powda and pampah

YOW, IT'S TOO LATE!

DEM GWAN GET ANCHORED

WELL A UNCONQUERABLE WEH DEM CAAN CONQUER!"

13. 'Saga Bed'

Govern and dominion! Were there a question of their potency together following 'My Princess Gone' & 'Stay In My Heart' (and there weren't), perhaps you should take a listen to 'Saga Bed' as a testament of the power and chemistry of Jah Mason & Roland McDermott. 'Saga Bed' is my favourite Jah Mason song ever. Period! Why? You take, again, an almost EXPLOSIVE level of (monitored) intensity (and not just being crazy because you want to attract attention) and combine with brilliant lyrics and you have a tune for the ages. 'Saga Bed' left no stone unturned and challenged the listener while, simultaneously, BLASTING them. 

"CAN'T WE ALL JUST GET ALONG?!

CHANGE YUH DUTTY WAYS FI A BETTA LAND!

DIVINENESS ALONE DEH PON DI MOTHER LAND!

HAILE SELASSIE I SET DI ORDER, NOT ANOTHER MAN! 

GIVE PRAISES, NO THINK SEH THAT YOU BIGGA THAN!

HAILE SELASSIE I: HIM A THE HIGHER ONE!

SO VICTORIOUS!

ONE OUT OF A MILLION!

RASTAFARI GOVERN & DOMINION!"

And I cannot pass through this tune without mentioning just the brilliant arrangement. You listen to what happens as 'Saga Bed' develops. The backing singer/s (who deserve SO much respect that I am going to dig up this physical album just to see the liners to see who she/they are) ignite more and more ["HAIL THE KING! HAIL THE KING!"], while the music gets more and more intense as, of course, Mason destroys any and everything that can hear him. What we end is a downright exhausting, sweat dripping EXPERIENCE of a song and... probably one of the best thirty or so that I have ever heard: FROM ANYONE. 

{Note: There are no backup singers credited for this song}

{Note 2: Full credit to her/them, whoever and wherever she/they may be}

14. 'As The Wind Blows'

Do not wonder. Lastly, I know a couple of versions of this song. The one you hear here is the better of the two (and I think it's the more recent recording) but I would have initially heard the older one first. Regardless, 'As The Wind Blows' (also called 'Even When the Wind Blows') is HUGE! If you REALLY tune this one in -- I mean really -- you'll find something that ranks very highly on even this list. It comes through as such a powerfully organic and FLUID praising song. I get the impression that the chanter had a chorus written that he was quite happy with and began to work around it and what he came up with was genius level. You look at a song like this and you listen to it and enjoy it or feel however you feel about it and that's fine; but it is such a.... SURPRISING selection when you can vibe it that everything changes and that doesn't even get into mentioning the music which also levels up as you progress through it. Jah is EVERYWHERE! I can feel HIM even in a breeze!

Status Quo: A review of African Dream by Lyricson

Familiarity. In Dancehall music, there is what I like to call the 'Three G's of Dancehall'. You have Guns, Girls (or Guys) and Ganja. You will find Dancehall tunes about other things besides those three things -- you'll find some very specific ones and very general ones as well -- but if you deal with those three, you're likely to have covered the core themes of the VAST MAJORITY of Dancehall music. That was true in its prime and is still true in its... entirely ridiculous current form. Soca is even simpler. If you tell people to jump and wave (and misbehave), you're good! Soca will actually venture towards one of Dancehall's 'Three G's' (and I won't insult your intelligence by saying which one) but, again if you seek songs which encourage whining and just generally unacceptably low standards of common sense, you will go through much of the entire genre. For me, as a giant nerd, the brilliance and finest moments (with very few exceptions) comes when someone can either go around the expected and offer a different viewpoint (check 'Anxiety' by Patrice Roberts where she talks about how the RIDICULOUS joy that Soca provides greatly helps her mental health) or even feed into what is the norm and still manages to thrive within it and separate their work from the endless pack. Of course, that isn't to say that there is something wrong with the "norm"; to the contrary, in many cases it is such because it is tried and trusted, but it is so nice when people add a bit to the vibes. When you get to the matter of Roots music things get very straight and very narrow. Revolving around the centralizing theme of His Imperial Majesty are various others such as oppression, justice, freedom, LOVE and more which go to comprise the foundation of the genre. It has always been that way and, though things and trends change very often in music, I would be shocked if, one day (even several hundreds of years from now), that is not the case for Roots Reggae music. For me, when you put things is such a relatively small 'bundle' of possibilities like this, it makes it even more impressive when someone, ESPECIALLY LYRICALLY, are able to differentiate themselves from their peers (how many clever ways can someone come up with to say "Hail Jah", after all). That's why I always attempt to make more of an effort to celebrate those who give us all a fresh perspective to look at of such grounded ideology. 

And then there's the matter of SOUND. When you think of Roots, you think of that one-drop riddim, you thinking of chanting, you think of another small group of identifiable characteristics, emblematic of the genre. Thankfully, however, these can be stretched in a variety of deliciously different ways and we have a number of artists (and producers) who're capable of making an eclectic blend of what is typically a very straight-forward sound. Someone who immediately comes to mind here is Jah Cure, obviously. It doesn't particularly matter what the Cure says when it comes out sounding the way it does; and I would also point to someone (perhaps surprisingly) like a Luciano. Luciano's music, lyrically (or in any other way), will not challenge the boundaries of Roots music and despite his very long career, he's rarely done anything in the way of being controversial. However, Luciano has moments where his vibes display this... AURA (I don't like it but I'm using it here) that pushes it to such a different place with selections such as 'No Night In Zion' & 'Jah Canopy' demonstrating that. 

2017

Today we're going to look at someone who probably has one of THE most dynamic sounds in all of modern Roots Reggae music that I've ever seen. Guinea born and France based Lyricson has been someone who we've been looking at for a surprisingly long time now. From probably just ahead of what would become his debut set, "Born 2  Go High", I had been familiar with the work of Lyricson, which dates back to more than TWENTY years now. What I heard and got me hooked was a very dynamic brand of Roots. Lyricson was equally adept at chanting and deejaying and he also had this GORGEOUS singing voice which, when he chose to push it, was one of the more surprising skills that you would have heard on anyone at the time (they all sang (or most of them, anyway), but Lyricson's voice was VERY GOOD). Now, when you take such a talent and combine it with some of the greatest producers and players of instrument that the genre had to offer, you were dealing with something really serious and I'm sure I speak for a more 'seasoned' brand of listener (WE OLD!) when I say that new Lyricson music in the 2000s and into the early 2010s came as a very welcomed stop along my listening habits. The pinnacle might've been the "Messages" album which carried one of the single greatest songs I have ever heard in my entire life, its SHATTERING opener 'From The Beginning'. Lyricson was a decent lyricist as well; although I wouldn't rank him, in retrospect, as one of the greatest of that era (or this one) (more on that in a minute), he could definitely hold his own. He would go on to do some more controversial type of material (I think, one year, I actually 'awarded' him 'The Worst Album of The Year', without wanting to name him), but the last time I heard from him on an album, 2017's "Revolution Time Again" (great name), he had returned to form. That album was very strong and featured guest roles from the aforementioned Luciano, Vaughn Benjamin and others as well as the GIANT tune, 'Jah Never Failed I Yet', one of the artist's best ever, in my opinion. Seven years on and Lyricson is back, courtesy of "African Dream" via Royal Music. I did not have much in the way of a 'lead-in' to this one, as it popped up maybe just two or three weeks ahead of its release date but I was damn interested in hearing new music from Lyricson and, RIGHT THERE, I decided that, no matter what it turned out to be, I was going to write a review for the new album.... just because.

^SIMPLY ONE OF THE GREATEST SONGS I HAVE EVER HEARD IN MY ENTIRE LIFE^

So what happened??? Well, thankfully, that answer is complicated (because I like to explain things, if you haven't noticed). "African Dream", the new album from Lyricson, is missing something. It has that characteristic, signature Lyricson sound and dynamicity but... it isn't the strongest lyrically and maybe that's what my ears stuck on. I really wanted to love this album but I couldn't and what we ended up with was a set which will likely satisfy the majority of listeners but one which misses out on a fantastic opportunity to take things a few steps further. That being said, the opener here, 'Black Man Liberation', is far and away one of the best efforts on the album it heads. This song has nary an equal on the album and it, nearly perfectly, exemplifies what is Lyricson's style when he's at or near his best. It is FULL and RICH and though perhaps not as vibrant as most of his winners, I am not complaining at all. 'Black Man Liberation' is absolute GOLD! In a nice touch, the album actually concludes with a SWEET dubbed out version of the opener. To me, that shows that Lyricson and company had a great deal of confidence in that particular tune in every way and.... they were right to have such pride in their work there. Charged with buidling on that vibe is 'Strickly Love' and it was right here where I think, unfortunately, I began to focus so much on the lyrics and, from that aspect, 'Strickly Love' is lacking and the sound, while nice, isn't enough to overcome it. What happens is a song that, while I wouldn't be surprised to see it make an impact, PERSONALLY, it's a little on the thin side for me and it doesn't bring much of a punch. By comparison is 'Africa Rise Up' (that may not be an actual, full sentence, but I'm going with it). Here is another selection which is not great lyrically but the sound, again, is much more typical Lyricson and it's strong enough to kinda/sorta make you not care that it isn't very substantial (there's an odd portion of the song which almost sounds like old video game music.... I even kind of liked that. It was a very nice change of pace). Sonically, 'Africa Rise Up' is gorgeous (it has one of the finest choruses on the whole of "African Dream"), it is DAMN pleasing to listen to on the surface. It most certainly isn't the finest written tune you'll run into but the message is high, it's very positive (and that is something I'm going to want to say about virtually every song on this album, for the most part). "African Dream" features five combinations in total and, arguably, the biggest name to join Lyricson is also the first as the great Jah Mason makes his presence known on 'Peace And Meditation'. If I had to play out what a potential Mason/Lyricson might turn out to be, I'm confident that what I would come up with would be quite similar to 'Peace And Meditation'... but I was kind of hoping for a JOLT. I wanted something a bit more. Again, it's just fine and it is what you are thinking it is but, on paper, such a combination is all kinds of fascinating and 'Peace And Meditation', in my opinion, could have been something more. 

Also accompanying Lyricson on "African Dream" are Jah Bouks and Duane Stephenson, as well as Sister Rudo and Sekouba Kandia Kouyaté. The first two are likely to be well familiar to more seasoned fans of the genre and, at least on the surface, the two will definitely be amongst the most immediate attention-getters. Jah Bouks gets in on the action during 'Lions Roar'. Something about the pacing of this one seems somewhat odd (thinking, specifically, about how the verses blend into the choruses), 'Lions Roar' is just fine. It has a rich and distinct old-school type of an appeal and the vocal pairing between the two built atop a vibes speaking on instilling pride in the masses (particularly the youths) make for a well memorable track. For his part, Duane Stephenson easily has one of the nicest voices in all of Reggae music and has for years. The problem I have with his song, 'What a World', however, is this: 

"What a world this would be if we all can, as one-

Put our differences aside

Stop the fussing and fighting

As far as I can see, we are one and the same

So why don't we all unite?

Why fight against your brother?

Time is so short, my friend

We should come together

And live the best we can

Don't you know we were all created equal

We are all the sons of Adam & Eve

No matter your race, colour or creed- we all are one people

Same blood running in your vein and mine"

'What a World' is poor, lyrically, and you get to a point where its sonic appeal is not enough to lift it over that hump in this case. I heard this song and I got so disappointed because it really doesn't do anything. It's a lost opportunity in my opinion, built on..... just random, tried ideas that you've heard on thousands of other songs. Sister Rudo's was a name that I remember running into once or twice over the years but it had been quite some time since the most recent time I crossed her path. I was happy to see the mature singer aboard "African Dream" and although we find her on a tune that I find somewhat lukewarm -- the lover's piece 'No One Can' -- I would tell you that, be you the slightest bit interested, you should definitely seek out more of her material. Finally (besides the other five or six songs I still have to talk about) 'Farafina' is a song (LITERALLY. This is EXACTLY what it is) of African Pride and fellow Guinean singer Sekouba Kandia Kouyaté, with an absolutely GORGEOUS chant, makes a giant impact. My brief research says that Kouyaté is one of Guinea's most decorated of musicians and with a contribution like this... I AIN'T SURPRISED.

The single biggest moment, however, that I would find here would feature Lyricson all alone (I actually find myself saying that relatively often when an album has a number of guest artists) on the downright DOMINANT 'Mystically'. 'Mystically' isn't 'From The Beginning' in terms of its quality, but it is well on that same road! I hear Peter Tosh. I hear Bushman. I hear a variety of different vibes poured into this dazzlingly colourful mix and it is quintessential Lyricson. You won't find many (if any at all) who can make such a dynamic Roots track and, when at the height of his powers, he can turn out STUNNERS like 'Mystically'. Similarly, 'Jah Glory' is also excellent and I'll use it to make a point. This song isn't amazingly deep or masterfully written, but it is FRESH, lyrically in several ways.

"Oh Lord, I thank for everything 

YOU BLESS I & I FROM THE BEGINNING

Thank you for the joy and the strength within

Your mercy and Your grace everlasting"

That ^ right there, is nothing you haven't heard thousands of times before, but it given in unique way (during a unique portion of the song where lyrics run on in a way that suggests that Lyricson was just pouring out his emotions on the tune) which definitely caught my ear and I wish that there were several more such spans on this album.'Betta Way' also has a pretty nice vibes about it, though far more on the serene side, but it doesn't cover much ground. I don't have an issue with this one and I don't think many others will given that largely sweet sound. 'African Queen' is exactly what you think it is to the finest detail, while 'One Step Away' is about as straight-forward as it could possibly be in terms of sound and direction. It doesn't do much for me at all but, on its surface, it's harmless and does have a pleasant sound to it and that is the only attraction in this case. 

Overall... while I don't want to be too hard on "African Dream", I also don't want to largely change the things that I look when I'm listening to an album (especially one that I'm reviewing). I like originality. I like fresh ideas and fresh presentations and, when applied to Roots music, that may come in a much more subtle way (again, the themes have not changed in the history of the music and they will not change) but it DOES come. Lyricson's approach here is a VERY dynamic one (and it generally is) and what we end up with a very appealing sound but one which isn't necessarily the deepest. That being said, if you do have someone in your life who is maybe newer to the sound, "African Dream" would be a FINE entry point for such an individual; but for a grizzly old evergreen like myself.... I think I was just hoping for a little more.

Rated 2.85/5

Royal Music

2024

What I'm Listening To: ....at this particular point in time

"Mr. Washington" by Glen Washington [Love Injection Production - 2023]

First up today is a selection I alluded to last time as veteran vocalist from out of Clarendon, Mr. Glen Washington, is back in 2023 with a big, brand new album courtesy of Love Injection Production, "Mr. Washington". This set launches pretty much simultaneously alongside "Look To The East", the debut album from Junior Campbell, also on LIP and it, at least presumably, shows that the label just may have a big schedule coming for fans this year (or, at the very least, they've laid all of their impressive cards on the proverbial table in January). What they've done here is a typically quiet winner. "Mr. Washington" is an album full of love songs for the most part (for the 'almost all' part, really) and it's a solid one. Standouts come from the direct middle of the album in 'Perfect Place' and 'Beautiful Woman', but also give a nice listen to the one praising piece here, 'Life' as well as the decent closer, 'Golden Touch'. You know what to expect from Glen Washington, "Mr. Washington" is more of it. 

{Note: Also on vinyl}

'Dem Wicked' by Queen Omega [Tribe 84 Records - 2023]

Just in case you missed out on the wonderful news, legendary Trini vocalist, Queen Omega, is set to deliver "Freedom Legacy" (cannot even type out the name without getting excited) on the 24th of March this year, her first album in a very, VERY long ass time; and while I still have yet seen a tracklist for the release, I'm wondering if her latest single may just make the cut because, as usual, it is damn impressive. 'Dem Wicked' comes via Tribe 84 Records from out of the UK (I was thinking it was the first time I'd heard of them but, after looking them up, I was familiar with a tune they did a few years ago with Earl Sixteen, by the name of 'Rasta Rules' ["Rastafari rules. Jah Jah children control"]) and it is typical brilliance from The Queen. 

"Dem have di face of a man, but di heart of a demon

They can never sit in Yahweh kingdom

DI FRUITS OF DI WICKED IS DESTRUCTION-

MISCHEVIOUSNESS AND CORRUPTION

They look like sheep, but they're dressed in wolf's clothing

Caan tek di light cause we're shining

Di wicked bound to fall, it is the timing

Dis ain't no joke, dis ain't no skin teeth, nah no laugh thing

Vatican is crumbling while we're uniting

Humble inna wi heart and now we're smiling

Pon di battlefield, wi ready and wi striking

Defend di cause, wi stand up for di right thing

DEM WICKED"

"Next Levelution" by Alex TOK [Grillaras Productions + Outta Di Box Records - 2023]

Last summer, Bay-C of Dancehall group, TOK, dropped his sophomore album, "King Bass" (which was actually decent, if I recall correctly) and taking the reins in the new year is his bandmate, Alex, who now delivers what I believe is his debut set, "Next Levelution". I have to say that, while I am not AT ALL a fan of the album's title (it is miserable!), my initial impressions of the actual music on "Next Levelution" are actually quite high. It's kinda fun. Much (most) of that definitely goes to the credit of Alex himself; however when you look at some of the names on join on this album with the awful name it also should come to no surprise. Alaine, Agent Sasco, Ward 21, Mr. Lexx, Future Fambo, Busy Signal [twice] and others all come together to help Alex in making "Next Levelution" quite memorable. The album definitely has... more international 'aspirations', but there is enough actual Dancehall here to make it at least of interest for people who're likely reading this.

"Dubways" by Arise Roots [Ineffable Records - 2023]

I do not know very much, at all, about US (California) based Reggae group, Arise Roots. I don't think we've ever mentioned them on these pages even a single time and I can't even recall ever really digging into their work to any degree. HOWEVER, I have to give a credit to their latest release, "Dubways", which I came across as being stuffed into my recs on Spotify, because it is damn EXCELLENT. A teeny amount of research reveals that the band released "Pathways" a few years back and, as you would suspect, "Dubways" is a dubbed out version of that album. So, if you did listen to "Pathways", perhaps this one will carry even more weight for you than me. As I've said in the past, I've never been the biggest dubhead in the world, but certain times the genre does CATCH me. Coincidentally, the easiest way to get me excited in recent times for Dub has come via the work of the esteemed Zion I Kings and, unbeknownst to me (literally just found it out while doing research on the band), the ZIK were responsible for mixing "Dubways". When I learned that - I was not at all surprised. There is a certain level of quality here which is downright enchanting and, although they (apparently) had no hand in actually constructed the music that I hear, it does ring of the ZIK's handiwork. This album -- over the course of the past week -- has become a very DURABLE backdrop for my everyday life. There is SOMETHING on this one which works in almost every.... you know what?? I currently have a pair of reviews that I'm working on (it's actually more like 5, but a few of them are vaults), then I may be on to Jah Cure, after that - I think I'll review this one. Tell you all about it in a few weeks. 

The Love Taking Over Riddim [Roadblokk Records - 2023]

Next up, also on our radars recently has been this excellent set, courtesy of Roadblokk Records, the Love Taking Over Riddim. This DELIGHTFUL composition features a solid tune from one Ray Isaacs, 'Jamaican Anthem' - it's decent. HOWEVER, also floating around this one are two MAMMOTH contributions from a pair of our favourites, the flaming Anthony B and the unforgettable Naptali, in the riddim's title track and 'Equal Rights & Justice', respectively. The duo (especially RIGHT NOW) immediately caught my attention and I'm thinking that I won't be the only one as, very early in this young year, Roadblokk has dropped a minor GEM of a riddim. Take a listen for yourself and enjoy!

The Brain Wash & Fire Cracker Riddims [Crown Star - 2012 org. 1999-2000]

And finally we go mining for our blast from the past today and we come up with these two beauties of riddims from Crown Star in the early 2000's, the Brain Wash and the Firecracker, respectively. I actually made my way here via listening to a ton of old Sizzla Kalonji (for another review I'm working on) and I ran into a tune by the name of 'Brainwash' that I barely remembered to any degree (I literally had PART of the chorus in my head that was about it). The riddim on that track (which was named after it), on the other hand, was far more familiar to my ears and I would go on to come to the conclusion that the BIG track was probably better known to me as having backed either 'On Two Order' or 'As the Hours Pass By' from Jah Mason & Shepherd and Capleton, respectively. The aforementioned Sizzla also does very well (may just have the best song on the entire riddim, actually) as do the likes of Determine, Bushman, Norris Man and Yami Bolo.

From there, a little bit of subsequent digging would lead me to another creation of Crown Star which has either COMPLETELY faded from my memory or just was never in there in the first place, the GHOULISH Fire Cracker Riddim. There're eight vocal tracks on the Fire Cracker Riddim, THREE of them feature Capleton who probably hits his highpoint on 'Clock Ticking' - an energized version of his aforementioned cut of the Brain Wash Riddim. King Shango also delivers the excellent 'Blaze De Fire' alongside Shepherd who also goes solo in a big way with 'Higher Heights' (that tune is excellent!). Big tunes also come in from veterans Spectacular, Determine and Kulcha Knox, HOWEVER, it is Kalonji again (with no argument this time for me) who puts the Fire Cracker to the sword via the SCALDING 'Bad Man Deh'.

"Seh dem strong when mi know dem weak

Dem buck up inna di lion and get water knees

So him tink seh a babylon him tink it heat

NEVER KNOW SEH I A DI WIND WEH BLOW DI LEAF" 

What I'm Listening To: September 2022

"I Am Kazayah" [Tuff Gong Worldwide - 2022]

First up today on my radars is an excellent EP release from a just as impressive pair of sources as the legendary Tuff Gong releases the debut set from someone with whom it's well time you have gotten familiar, the potential LOADED Kazayah, "I Am Kazayah". Kazayah's is a name which has popped up and remained one to keep an eye on fairly recently and "I Am Kazayah" comes well anticipated by many - yours truly definitely included. The five-track release features some stellar material from both her previous recent work and completely new tunes (at least new to me), highlighted by the wholly THUNDEROUS opener, 'Rise'. 'I Know', which features MediSun and 'Mr. Sunshine', which is particularly delightful, also standout, but every tune here (the others being 'Let It Flow' and 'Sweet' (with its SWEET riddim)) all possess fine qualities of their own. The competition will surely be steep this year, but "I Am Kazayah" is probably at least in the discussion of one of the finest EP's Reggae has produced in 2022 thus far and if you haven't become acquainted with her wonderful music, now would be the time.

{Note: I started to write ' "I Am Kazayah" by Kazayah', but I did not want to insult your intelligence}

{Note 2: It's not like it's "I Am Kazayah" by.... Busy Signal or something}

{Note 3: Biggup Busy}

'Clean Hands [Psalms 24]' by Queen Makedah [Queen Makedah - 2022]

Speaking of someone with wonderful music, also be sure to check the latest from one of the biggest Reggae talents from out of Israel, Queen Makedah, 'Clean Hands'. This tune featured on Makedah's most recent album release, "Peace Process" from 2020 and gets a remastered polish for its featured release here. The tune features lyrics in both English and Makedah's native Hebrew (at least I think that's Hebrew) and is backed by a GLORIOUS video clip presentation (which should probably be in here somewhere) that you also really should take a look at. Again, should you find this tune to be of your liking -- and you should -- also be sure to check out the balance of "Peace Process" as it features music of a similar level although 'Clean Hands' is probably THE class of its lot. 

'Glory' by Jah Mason [Rebellion City Productions - 2022]

I have also been listening to quite a bit of Jah Mason music over the past couple of weeks or so and while primarily it has been from his older catalogue (the "Life Is Just A Journey" album, especially ["Some so captivating, manipulating - what's yours is theirs, automatically taken"]), I've also gravitated towards this relatively fresh single courtesy of Rebellion City Productions, 'Glory'.

"Hey, give The Creator the glory

No puppet-master story

Now dem going down slowly

Hey, give The Creator the glory

No puppet-master story

Weh dem ahgo do fi control mi?

Alright dem things no look as it really seem

Nah go mek dem shatter mi dream

Plant food inna di earth 'longside di green

Boil, mi cook, mi fry, mi steam

Mi wash, mi rinse, mi dry, mi clean

Check yuhself before you pick di beam

One door close, another let in-

AND NOW DEM AH WONDER HOW MI GET IN"

Aside from being an impressive lyrical display by the Mason, the vibes on 'Glory' have same a powerfully CHILLED appeal to them that it definitely has caught my attention. Jah Mason has, perhaps quietly, strung together a very strong last couple of years or so with big single releases and 'Glory' has to be considered amongst his very best in recent times for me. 

 

Elijah Prophet 2022

HILARIOUSLY, after going what seemed like ages without releasing projects, it seems as if there is no stopping the venerable Elijah Prophet lately as, following last year's solid "Going Home" with Costa Rebel, the big voiced singer is back at work in 2022, most recently with a pair of outings. Coming from Zion Productions Music and Samaras Music, respectively are "Jah Calling" and "Crime Is On The Rise". The former is an EXCELLENT set (that I might review at some point), featuring big tunes such as 'One by One', the title track, 'The Truth' and others; while, for their part, the eight tunes which comprise "Crime Is On The Rise" also contain a share of highlights - such as the opener and title track, 'Guns Out' and 'Wondering'. I will say that, between the two, "Crime Is On The Rise" (a trait you most certainly would not have guessed based on the title alone) comes on a more old school and Lover's Rock type of vibes and I definitely prefer Jah Calling". However, altogether we have NINETEEN new-ish types of songs from one of the greatest and, perhaps, most overlooked, voices in all of Reggae music. 

"Ruff Rider" by Tanya Stephens [VP Records - 1998]

And lastly, in the old and obscure categories, on my radar lately is a title whose reasoning for being there should go without saying (but I'll tell anyway in a few days), as I have been listening a great deal to "Ruff Rider" from the great Tanya Stephens on VP Records. You probably wouldn't think of such a thing given its title (and its cover) but this album, like much of Stephens' work, was a lot more than it seemed initially. There are some truly EXCELLENT, high-powered songs on "Ruff Rider", especially during its first half. 'Draw Fi Mi Finger', the all kinds of fun Gadaffi produced 'Big Ninja Bike' (across the woefully underrated Nice Little Baby Riddim) and 'Cry & Bawl' alongside Bounty Killer being some of the best of them,  but the latter portions of the set (sixteen tracks long) also served up memorable material such as '1-1-9', 'Man Fi Rule' ["Man fi rule: Dat a di plan yah. But nah go rule Tanya"] and '#2'. For what it was, in retrospect, it may have been one of the most underrated Dancehall albums of its day in an era which was very good for Dancehall albums (...and how I miss it so!).