The Mash Down Riddim by The Zion I Kings

The Mash Down Riddim [Lustre Kings Productions]

For so many familiar names and faces and others which will become familiar. As we attempt to return these pages to some type of normalcy and semi-frequency, as the person in charge of the writing... stuff, it is important and definitely easier for me to look in the direction of familiar sources of material. That isn't to say that we won't 'branch out' to any degree because that was also a normal occurrence for us as I sought out individuals who made music but weren't getting the recognition for it even in Reggae (or Soca or whatever was their specific case) and that is well exciting for me. However, while I'm still re-figuring out how to do these things again, I have my eyes open especially for those  virtual warehouse of vibes who have provided us with some of the most unforgettable moments in the history of this blog. So because of that, what you'll notice in our return are bites (CHUNKS!) (I DON'T DEAL IN 'BITES'!) from the likes of Akae Beka, Sara Lugo, Turbulence and Ras Attitude because had we not taken hiatus, we would have been writing about.... Akae Beka, Sara Lugo, Turbulence and Ras Attitude anyway. And today we walk most comfortable path in looking at a stop which was, easily, one of our favourites when it came to the label and production side of things.

This post, if done correctly (and I'm not in charge of that stuff, so it will be), will mark the thirty-fifth which carries the tag 'Zion I Kings'. Filling out these entries are a variety of different things which include full-blown classics in regards to these pages. Looking back, you cannot help but to be almost over-impressed with some of the material created by the ZIK collective including, arguably, the best current album we have ever covered on this blog in my opinion, Midnite's "Beauty For Ashes". Furthermore, outside of delivering quite a few sizable projects from individual artists, the ZIK have also sparked several (apparently now numbering nine, to be specific), solid riddim compilations. These date back to the fully glowing Songbird Riddim from wayyyyyyyyyy back in May of 2013, which was the very first volume of their Riddim Series. We'd actually look at the initial seven releases of the series before going on our break and, today, we're going back into the most fruitful set.

If you do not know, the Zion I Kings are an assemblage of three separate labels and each of them alternate (in order, actually) (a very cool occurrence) in the series, so with the ninth riddim coming forth, they have all made three appearances in the series. Directly, releasing the Mash Down Riddim is Lutre Kings Productions, which is their first here since 2016's Lifetime Riddim ["Put a fyah in dehhhh!"]. I don't really want to crack open that vault too deeply (because I went in much further than I anticipated on our history with the ZIK.... forgive me, it's been a minute) (although you KNOW I am dying to sit here and start writing about old albums from Turbulence ["WE NEED LIBERATION!!!"] and Lutan Fyah ["Waters of many colours, so wi haffi swim deep"], but I have been listening to and have been a fan of the LK's for just about two decades now, going back to their outstanding Culture Dem compilations (the first of which is simply one of the mightiest collections of modern Roots Reggae music ever made) (and it also had one of the nicest covers as well). And, though we were away, the series continued, making a pair of drops in 2018, in the form of the H.I.M. Teachings Riddim (which was SPECTACULAR), for Zion High Productions and the Perfect Storm Riddim, from I Grade Records ["Perfect storm. Selassie bring a perfect storm"], respectively. So, given all of those esteemed seat (and that is not a typo) of circumstances, the Mash Down Riddim, like every one before it here, has a very high level to live up to and, unsurprisingly, it does not disappoint, and even manages to raise the bar for entry #10 (which will be released by IGR if the series' historical sequence is maintained). As for the composition itself, the Mash Down Riddim is wholly what you would expect and doesn't at all drift away from the scope of the ZIK's typical productions. In particular, it does have a very.... 'light' or 'flexible' sound to it and when I heard it I began to think that it could do a variety of different things given a nice blend of vocal artists. Was I correct (FOR ONCE, yes I was)? Let's find out. 

1. 'Forward' by Lloyd Brown

Taking opening honours on the Mash Down Riddim from Lustre Kings Productions and the Zion I Kings is a most familiar face and one of those, wonderfully, 'usual suspects' around these parts, the vocalist, Lloyd Brown. The veteran singer from out of the UK was one of our favourites around here for a very long time and I'm tempted to go back and cover at least one or two of his bases that we missed over the years (particularly his new album, "Untitled", which reached just earlier this year actually). Back in 2013, Brown would bring forth his own ZHP helmed album for ZIK, "Rootical" (which I probably most remember, eight years later, for carrying 'Together', a big combination with Queen Omega), so he's not only a veteran, in general, but a seasoned pro amongst the ZIK. His progression-themed effort on the Mash Down, 'Forward', is very interesting because, in all likelihood,  out of every song here, it's the one that's going to stick in your brain. That chorus is damn difficult to shake out of your head and you, like me, will find yourself singing it over and over again. The son gis about moving ahead and going forward in whatever it is that you're doing, but I also took from it the idea of at least making the attempt to not focus on things which can weigh you down but are ultimately useless and meaningless. A big beginning. 

2. 'Heights of Greatness' by Pressure Busspipe 

Like Mr. Brown, someone else who is well at home on ZIK projects is the always burning VI star, Pressure Busspipe (who actually has a brand new album forthcoming in just a week or two), who makes a MIGHTY appearance on the Mash Down Riddim, providing it with one of his biggest standouts. Pressure delivered his own full release for IGR and the ZIK, "The Sound", in 2014 which is one of the finest pieces they've ever made and is on the level of the aforementioned "Beauty For Ashes", in my opinion. MOST interestingly, "The Sound" may have a forth coming followup, at least partially as Pressure's tune on this riddim, 'Heights of Greatness', is also the title track for his next album, which means that it features at least a bit of ZIK's handiwork. Because of that, you would expect him to absolutely shine (and you would just expect it, in general, because.... that's what he always does) and he glistens here.

"They always speak what the eye has never seen

And when they see, they don't know what it really means

Neglecting the powers of the Ilah Trinity

Dispensing corruption get I identity

I ah burn all spies and conspiracies

I ah burn all scribes and evil Pharisees

I ah hail Rastafari over land and over seas

BABYLON GET WEAK IN THEIR KNEES"

"One day - they're gonna learn!

One day - the tables gonna turn!

Putting all ya filthiness to burn 

Ya judgment - already confirmed

Mi seh, full time my people rise yeah

VICTORY'S FOR YOU AND I , YEAH

Rastafari did the world with niceness

WE WERE MADE IN HIS LIKENESS"

Well looking forward to that album named after this tune and you can expect a full review on what is sure to be one of the year's finest if this tune (and an entire career full of them) is any indication (and I have to mention that there is a downright DIVINE piece of piano work which is highlighted moreso here (at least to my ears) it is BEAUTIFUL!).

3. 'Hands Off' by MediSun

I was actually surprised to see this next tune only because the vocalist in this case, MediSun, was a name entirely new to me. However, that would be due to the fact that he recently changed his name from the more recognizable King Mas from out of Boston and while I did know of Mas' work previously, I'm starting to think that maybe I should go back and have a heavier listen. That's because 'Hands Off' is ABSOLUTELY MAMMOTH! The vocalist issues an unfortunately necessary warning to all to "low di schoolers and gwan go look ya size" on the very specific track that impresses from beginning to end. There is something here which really caught my attention and you hear it occassionally on songs, but it is glaring in this case: EMOTION. The version of MediSun who begins 'Hands Off' is not the same person who ends it. At the beginning,  he is direct and focused and is someone who has clearly come to make his point, but by song's end, the man is PISSED OFF! It almost seems as if the more and more he thinks about the topic, the angrier (fittingly and justifiably) he becomes at it. The result of that are more structured early and middle portions with a SCALDING end.

"From dem go violate di child, that a di wickedest crime

Mama load up di nine, ready fi rise di carbine

Gash dem and light dem, mek di fyah ignite

String dem up and hang dem with di telephone line

Wi no matta if a night or inna broad daylight

Wi no matta if dem black and wi no business if dem white

FROM DEM VIOLATE DI DAUGHTA, MEK WI SLAUGTA DEM

EVERY PART A DEM!"

4. 'Dawg Eat Dawg' by Lutan Fyah

I came into the opinion, years ago, that Lutan Fyah was some type of genius. The way that he arranges his songs has always been something which has impressed me greatly and we're nearing a point where I've also been listening to him for twenty years (I'm just old!). When at the height of his lyrical powers, the chanter has some very digestible and informative type of rugged and hard-working cleverness which may make some of his work subtle, but brilliant at the same time, at least for me. And, accordingly, I believe the Fyah may've actually had the very first artist's album on LKP with "Time And Place" (a classic to my ears) in 2005 and, just in 2017, he also came to the Zion I Kings with "Music Never Dies" (which almost got me to break hiatus back then, if I remember properly (it would not have been pretty), and I'll likely review it from the vault some point this year, anyway) for I Grade. He's also been present on many of their pieces (including both "Beauty For Ashes" and "The Sound") and, actually, their appearances on the Mash Down Riddim means that both Lutan Fyah and Pressure have been featured on every iteration of the Riddim Series. It would be nice if he, too, would have an album in the immediate future, but until then sink your teeth into the excellent social commentary that is 'Dawg Eat Dawg'. This is typical simple, sagacious building from the Fyah as he outlines many of the problems faced in the system where, at times, only the strongest (and the best prepared) survive. Taking it a step beyond, you also get ideas of perseverance, of consistency (and EDUCATION) and of a general sense of self-awareness. This is the type of track that I can play with for hours and is so emblematic of what Lutan Fyah can do as a writer. He crafts ideas like this which can seem very broad, but have small channels which are CLEARLY constructed to provoke thought, so definitely take a deeper dive on 'Dawg Eat Dawg' to REALLY get at its core (and I do love how the music gets quite a bit of the stage to itself in  the latter portions of this piece).

5. 'Never Walk Alone' by The Movement

The Movement was a wholly new name to my eyes and, as it turns out, they are a quite popular Reggae band from out of South Carolina whose history goes back nearly twenty years (found a really nice song of theirs called 'Mountain', which features Clinton Fearon) and their effort here, 'Never Walk Alone', serves as an introduction for me. I don't know how much contribution is made by the full band (I wouldn't think a great deal, but I would think they'd look forward to playing this tune live), but the lead singer makes a very nice first impression on me here and I'll make no promises, but maybe we'll do a bit of mining on The Movement's catalog at some point. And that is a nice reason to include a variety of different names on projects like these because you take people and potentially make fans out of them to someone who they've never even heard of or even if they have, they don't have anything in mind in terms of sound. And I think, after the Mash Down, like MediSun before them, The Movement comes away with quite a few new Me's as new fans.

6. 'Great Nation' by Akae Beka

You'll have no similar case to The Movement's on the next one up on the Mash Down Riddim as series/label/genre STAPLE, Vaughn Benjamin is up with the MASSIVE 'Great Nation'. This song is golden. It is a big gold bar of a selection, typical full genius and it would have stood very highly on either of Akae Beka's most recent albums "Righteous Synergy" and "Polarities". To my opinion, the idea here is, ultimately, about foundation. In order to get there, however, the vehicle Benjamin drives us in is one which draws comparisons between the age-old 'science v. faith' concept. I don't think Benjamin would have ever flopped science. He doesn't strike me as someone who would have cast it away as entirely useless, but what he does, instead, is to show that there exists moments in science which are quite similar to faith - where you may suspect, but do not actually KNOW what happens next ["faithfully watching day and night set in"]. To my ears, he then applies this as to what is the firmest of foundations and bases for a 'great nation', with "nation" being anything at all - from an actual nation to an individual to anything which is to be ran at its strongest. I also have to mention that 'Great Nation' may just be one of the nicest listens on this riddim. You will virtually never hear me say that about a Benjamin song (although if you do want to hear such a song, check 'Like Rhyme' from the  "Portals" album, which I am having a very difficult time turning off these days), but there is something about 'Great Nation' which gives it maybe a bit more spice and makes for a very nice listen from a strictly sonic point of view.

"I & I would reason to science-

When you had your 'EUREKA' moment

Yes moment, when the formulation commence

When the hypothesis make sense

Ideas like a light bulb ah light up inna yuh meds

Next thing is the experiment

When they control what they contrast relevant-

How much faith to the next moment

When the works are still undevelop-ed-

And require that belief concept

When  your knowledge is still blindfolded

And your theories are still unproven"

7. 'Look To Jah' by Clatta Bumboo

Add Clatta Bumboo to the list of names on the Mash Down Riddim who will likely come away with whole heap of more fans and put my name at the top of that list (because it most likely would be anyway, alphabetically speaking) (unless there's an Aaron or an Abigail out there somewhere) (I digress) because his offering on the riddim, 'Look To Jah', just may be my favourite of them all. The New England based Bumboo's vocal style actually reminds me a bit of Gramps Morgan (biggup Gramps Morgan, literally just released a new album, "Positive Vibration", like last week) and he uses it on 'Look To Jah' to a nearly perfect result. The artist tells us all to make an attempt to do better in life -- to be better people -- and to "live up in the likeness of HIM", because we have all been given the greatest of possible Examples and Idols to look up to and model ourselves after to the best of our abilities. Such a standard is ultimately attainable and unmanageable for us, but there is nothing that says that we cannot at least try and I think Clatta Bumboo is making that suggestion. He hasn't had a full album that I can find, but the last two years have produced two EP's (which have eleven tunes in total by my count, so that's basically an album), so you can join me in checking them both out, "Future Water" from last year and "Miles Deep in the Attic" which reached just in March (and has two different versions). Listening to a few more songs, I also hear a bit of Everton Blender in  his voice as well and I'm damn interested in hearing even more following 'Look To Jah'.

8. 'Tolerance' by Ras Teo

In June veteran artist, Ras Teo, released what turned out to be a well-received project via ZHP, "Celestial Rockers". It was presented with this delightfully 'throwback' concept and I trust and hope that it has done quite well because although I do not think I've ever written about him, I do know who he is and have encountered his work a bit over the years. His cut of the Mash Down, 'Tolerance', is about as delightfully straight-forward as it gets. I THOROUGHLY enjoy this one as Teo wants everyone to recognize that no one is perfect, we are all works in progress and prone to mistakes, so don't be so damn hard on each other (and ourselves). I think the concept of PATIENCE also comes out here, particularly at the very end ["We  need tolerance fi di pickney dem, tolerance fi elder dem"]. And, again, this is another song on the riddim which I think listeners will find to be immediately absorbable. It is a very easy listen and... 'Tolerance' will just make you feel good listening to it, which I'm sure was part of the idea behind such a composition.

9. 'Right on Time' by Messenjah Selah

It's definitely been a minute from the last time I heard a new track from someone who was definitely a foundation artist for this blog, Messenjah Selah. Several hundred years ago, we wrote a great deal about his first (and ridiculously, only) album, 2008's "Breaking Babylon Curse" for Zion High Productions (just like my history with LKP goes way back, I'm now sitting here thinking abot ZHP's vault, with albums like "Break Babylon Curse", the compilation "Jah Golden Throne", albums from Ziggi Recado, Glen Washington and others and they also did "Rebelution" from Yami Bolo, which is probably one of my top.... thirty, or so, favourite albums of all time (probably time to listen to that album again) (yeah, yeah I think so) (biggup Yami Bolo, new album, "Jah Love Will Rule The World", out now), but as I would expect, he makes the most of his return to the label with the sublime 'Right On Time'. While Ras Teo may have urged tolerance and a form of patience, Selah is completely telling us to pump our proverbial brakes and HOLD ON (!) just a bit.

"It don't always come when you want it to come

Believe in yourself, Jah will must be done

Keep your head high, let none get you down

For everything there is a reason

It no always gwan how it want it fi gwan

There is a bigger picture, bigger game that ah gwan

IF YOU PLANT PEAS THEN YOU CAN'T REAP CORN

For this moment you were born, ring di alarm"

While I probably won't spend much time in 2021 waiting for a new full project from the supremely gifted Messenjah Selah, it is always SO NICE to hear from him and, particularly this setting, back home where we first 'met', making big tunes with ZHP.

10. 'Mash Down Georgetown' By Blakkamoore

And the final full vocal effort on the Mash Down Riddim comes courtest of LKP favourite and standout [Jahdan] Blakkamoore, 'Mash Down Georgetown'. It's kind of the title track for the riddim and, I think, it would have been the very first time fans got a taste of it as well as the tune featured on Blakkamoore's 2020 studio album for the Lustre Kings, "Upward Spiral" (....take a few years off and miss soooooooo much, I would have LOVED to do a write up on that album and now I have so many things on my mind to go back to, who knows when or IF I'd get around to it (DAMN!)) and was released as a single a few years prior to that. The Guyana native delivers a social commentary aimed at the things going on back home during what is a SPECIAL moment on the riddim. I would imagine that choosing a riddim for one of these projects would have more to do with the track, itself and what you think it is capable of, than any one particular song, but I can definitely see LKP and the ZIK hearing Blakkamoore shine all over this thing and imagining the possibilities when spread around to various voices. They then named it after it and, wonderfully, here we are.

11. 'Dub Down GT'

Tippy and co. at I Grade Records send us home with a dubbed out version of Blakkamoore's eponymous work. For me, these are always essential on projects like this. The riddim is as much of a 'star' as any vocalist on this type of set and you should give it an opportunity to shine. Be it a straight display, a Dub or some type of remix - show it off (biggup Beres Hammond) and allow your foundation to show just how strong it is on its own merits.

Overall, my one critique on something like this is always the same when I don't see it: I would have LOVED to hear the Mash Down Riddim in the hands of some talented female vocalist (I have one in mind, specifically, but if everything worked according to how I wanted, Queen Omega wouldn't have much free time, because she'd be on damn near every even remotely decent riddim) (and she was on the Jah Warriah Riddim, #2 in this series), but just judging it on what is present, this has to be considered as one of the strongest of the lot. As I said, the riddim has a very light vibes to it and it's malleable in the genre and I would have expected a wide range of different styles being able to make an impact on it - and that is precisely how it played out. Installment number nine of the Zion I Kings' Riddim Series, the Mash Down Riddim, is highly recommended  to all fans of current modern Roots Reggae, without qualification and without exception. Now if you will excuse me, I need to go listen to The Movement, Clatta Bumboo, some MediSun, some classic Lustre Kings and some Yami Bolo and......

'Business As Usual': A review of "LB50" by Lloyd Brown

Comfort. Though the saying 'if it ain't broke, don't fix it' typically rings true, the occasional changeup can definitely be a good thing. In whatever it is that you are doing, sometimes deviating from your standard route can be disastrous, but other times it can be fully rewarding. Applying this to music, of course, things begin to get cloudy because you can apply it in a multitude of ways. Perhaps at the most basic of levels we see things such as an artist recording a song which is either of a different genre of music or one which incorporates sounds and textures from different styles than the one (or more) that they normally do. This, too, can be either worthwhile or… just wrong as I'm sure you've heard such tunes and have had both happy and full-on disgusted reactions. Taking things a step further, in Reggae music where we have individuals who see another old saying like 'less is more' and run straight through it, we've seen full albums deviate far, far outside of the norm from certain individuals and those results have been mixed in terms of quality, but almost always interesting in most cases. The best example in that case is definitely Sizzla Kalonji who, in seventy-three albums now, has pretty much done everything within his range and maybe even a few things outside of it. Albums such as "Rise To The Occasion", "Soul Deep" and "The Overstanding" stand out most vividly but they certainly have not been alone and though they were not the best albums, they do stand out as wholly fascinating moments in his legendary career. Today we take a look at someone who, arguably just as interestingly, recently took a step outside of his regular routine and is now set to return to business as usual. When you've spent the last thirty years making music, I suppose that such leaps are damn difficult to make, but just last year, UK veteran, Mr. Lloyd Brown broke with his recent tradition and reaped the rewards for it in the form of pushing one of the most well regarded and well known albums of his entire career. But if you listened to it (and you did), what you noticed was that the album didn't stretch the singer at all and, instead, found him stepping outside of his comfort zone in a truly one-of-a-kind way. 

"Rootical" [2013]

Of course I'm referring to the beautiful "Rootical" album from just last year. That set came via the flaming Zion High Productions and the Zion I Kings who have been absolutely tearing their collective way through the music over the past few years or so. Lloyd Brown's was a name which had previously been on their radars and he had done music with ZHP, so the fact that they made an album together wasn't entirely surprising. HOWEVER, the difference appeared when… well, when they made an album together. If you've paid attention Lloyd Brown's career in recent times what you've noticed is that Lloyd Brown's albums are usually done by someone named Lloyd Brown. He very much and probably more than anyone in the genre today and DEFINITELY more than anyone of his class and prolificacy, maintains an 'in-house' approach to production and it had been a LONG time from the last time he had turned over those duties to anyone else. And, as I said, it was an excellent choice. It's also well worth mentioning that over the past couple of years ahead of "Rootical", his albums -- particularly "30" (which, I believe, remains an album which is only available on iTunes) and "New Veteran" -- weren't getting the attention they deserved and, again, that surely wasn't even a possible problem with "Rootical" as all of the ZIK albums are exquisitely promoted and deservedly so. So along with making a nice album with someone else, the "Rootical" album also brought Brown's talents back to their warranted spotlight. It was excellent. 

"30" [2012] & "New Veteran" [2013]

And eventually you go home. Off the top of my head, I don't think that any of the artists who have had albums done by the Zion I Kings have gotten to their next album, with the exception of Danny I who came back with a Spanish language album following the MAMMOTH "To Your Majesty" and definitely I'm curious as to what the next step will be for all of them following such an excellent feature. For Lloyd Brown, however, it was less of a mystery as he, for so long, has ran an apparently successful and clearly fruitful operation to which he now returns with his latest and eighteenth album, "LB50". Through albums such as "Silver" which (is probably still my favourite LB album) marked his quarter-century involvement in music and the aforementioned "30", five years on (I think you can figure out what that marked), Brown has well shown himself to be someone who just does not miss a milestone moment and "LB50" celebrates his completion of fifty years of life. The album comes via Brown's own Riddimworks Productions imprint which had helmed virtually all of his recent releases ahead of "Rootical", as well as Phoenix Music International who, I think, also handles the business for the catalogue of the once mighty Jet Star Records which is Lloyd Brown's former label. Like both "30" and "New Veteran", "LB50" is a digital-only project which is becoming less and less of an issue these days with artists such as the aforementioned Sizzla Kalonji and especially Vybz Kartel -- a pair of the biggest names in the genre -- also taking similar routes recently, but I'm really hoping that this album gets a nice push and is successful. And I should also mention, from the musical side, just how impressive Lloyd Brown has been in recent years. I go back to when I really became a fan back with the "Said & Done" and "Silver" albums and, over that time he's done some well impressive work and though not all of it has been as popular as I would have thought, by far Lloyd Brown is one of the most consistent and dependable Reggae artists today. So, with its back-story being so damn interesting and the stage being set for another strong release -- I know it is good, I don't even have to listen to it to know that -- but how good is "LB50"???

Very. It's very good. In a year marked by outstanding contributions from artistes such as Sil Cunningham and especially Ras Elijah Tafari, another one makes yet another fine gift as Jerry Neville, who also penned the covers of "30" (which was one of the best album covers I have ever seen) and "New Veteran", also takes care of the new album in his inimitable style. For his part, only because he knows I'm going to attempt to talk about all of these things, Lloyd Brown uses Neville's downright divine artwork to wrap another MONSTER. His brand new album, "LB50", is eighteen tracks long, which doesn't include a nineteenth bonus track, so we better get started. Although this album isn't loaded with combinations as a few of his other sets (I think it was the "Cornerstone" album, in particular), Brown does get "LB50" up and moving with one of the four tunes featuring guests, 'Fiddy', alongside Sarjant D. I don't think that I'm familiar with Sarjant D, but perhaps it's time that I became acquainted because he turns in a very strong performance on this song, given it a serious bite. I look at this tune and kind of take in the perspective of being about Brown's musical approach. Of course it is set within the context of his age, but I think that the idea is that he's devoted his entire life, all 'fiddy', to music in some way and he has this COOL way of showing it here ["It's not about the money or the house or the car. Mi come fi push di envelope and raise di bar"]. The much more relaxed 'Standard Procedure' picks up where the opener leaves it in dealing with Lloyd Brown's musical approach. This composition also, at least for me, can be likened to the big tune 'Not From Me' which was on the "Rootical" album where Brown talked about all of the nastiness and hatred in the world and how he had nothing to do with it. On 'Standard Procedure', he kind of talks about how he manages such things - by spending his time making his music for his fans and everyone who appreciates it. This is definitely one of the best songs on this album and one which requires a bit more in the way of attention so pay close attention. You could also probably use some of that concentration to the delightful 'Ain't That Peculiar' which features Danny Sprang and US R&B great, Marvin Gaye who originated the song (which I learned from my Father) (biggup my Father, reigning coolest man in the world). This is a difficult song not to like. You're going to have to try really hard to do that and, even then, I don't know if you could pull it off. A very nice touch by Brown. 'Million Dollar Baby' is not a song about boxing, but it is a piece about someone chasing the 'finer' things in life at virtually any cost, while letting the most valuable things in life go to ruins. Though almost entirely specific, it is still a relatable song and I also like the almost Zouk-ish track carrying it. And rounding out the opening of "LB50" is another big song, a remix of 'The Sound', featuring Patrick Anthony (and David Rodigan). This song has a crystal clear directive and it dazzles! A big credit goes to Anthony who plays the horn for the tune which may just be the most sonically pleasing selection present here. 

"Beads of sweat drips down my temple -

In a scene that resembles, 'Lawrence of Arabia'

Solitary figure inna di distance

Putting up resistance to resignation and to failure

Still I keep on trodding on

With hole in shoe, between a rock and a hard place

And as I pass a next mirage -

It won't be long until water touch my lips again

Thought my cup was broke out in this open space

Suddenly [there you are]

Suddenly [there you are]

I THOUGHT MY VISION RELEGATED TO MY GLASSES CASE

Suddenly [there you are]

Suddenly [there you are]

My shirt is soaking, weighing my back down

Still I won't back down

I'll wring it til it dampened 

Keep in motion, the will that's inside me

Jahovia beside me

For He won't deride me

Still I keep on trodding on

With hole in shoe, between a rock and a hard place

And as I pass a next mirage

It won't be long until water touch my lips again!" 

TEARS! BOOM! SHIT! The next batch (biggup Batch) of songs on "LB50" actually begins with my favourite song from the album, the MAMMOTH, 'There You Are'. This song, which also features work from Patrick Anthony, is golden! What I take from it is not only the idea of persevering through tough times, but also the notion of being able to accept help and to ASK for it when you need it, because it may be available in the most dire of situations. Probably one of the best songs I've EVER heard Brown do, 'There You Are' is not to be missed. An easy singing Courtney Brown (who may actually be Lloyd Brown's son) (biggup Bredz) makes an appearance on the lovely 'Faith', which follows 'There You Are'. You almost never hear credit given for this, but I'm going to do it: Placing this song on this album, right after 'There You Are' was just a REALLY good idea. It carries a similar sentiment and does so also with a spiritual inclination. Together, they make for one of the strongest stretches on this album and I'm well looking forward to hearing more from Courtney Brown in the future. The familiar sounding 'Hurt No More' is Brown's moving tribute to all of those who have passed on. What I like most about this one is that it isn’t somber and sad. Although sung in a respectful manner, it clearly wasn't Lloyd Brown's desire to fully depress his listeners on this song because although it almost always seems as it is, death doesn't have to be such a gloomy thing and I well appreciate Brown making a song like this which does contain some bright spots (and biggup my own Grandmother who transitioned in January). 'Get It Right' is actually one of two tunes to find its way to "LB50" from the setup that produced "Rootical". This song is a production of the Zion I Kings and, as you are expecting, it is fantastic. Here, we find Brown building a message of taking advantage of every chance that you have in life because you never know when it will be your last chance to do what you want to do. It fully features something that I've always said that the singer exudes in his work and that is a whole heap of COMMON SENSE. It is likely better aimed at young people but everyone can get something necessary from a song like this.

"My time equals my life

And I don't waste them for nobody

Intolerant am I of all the BS and your mockery

I see it as I find it, for I must keep it real

Who nuh hear me, they must feel

Just remember when you link me"

And rounding out this lot of tunes is the candy-ish 'Out Of This World'. It is a song which isn't completely without substance, but is SURELY best appreciated as a song on the album which is going to get heads moving and feet tapping as Brown find himself in the very familiar position of being hypnotized by a pretty face (and this is coming from me - someone who has years and years and YEARS of experience in doing DUMB stuff for pretty faces). 

The next group of songs on "LB50" actually begins with a pair of sublime love songs, 'Three Words' and the very clever 'Do You Feel Me'. The former is a sterling track centered around three almighty words. And I started to dig deeper on this one and not just take it as a 'love song' (even though it declares itself as such  early on), but I get from also just the notion of telling someone that you love them and how important that can be to you and to them. It's a beautiful message on a song which is just as easy on the ears. For 'Do You Feel Me' (also produced by the ZIK), Brown turns things up even higher and delivers a downright glowing composition.

"Strong is the feel of devotion

Dwells in the heart of I most everyday

My heightened sense of emotion -

Shows no signs of abating, not today

The love inside of me -

Let it circumnavigate he shape of your heart

You're a sight to see!

To coin a well-known phrase: A human work of art"

This one is just a bit more straight-forward than its predecessor here but, together, they make for another excellent pair (more on that in a minute). 'Happy Earthday' is a song which I'm sure than I know and it finds Brown teaming up with constant collaborators, the wonderful people from Joe Fraser Records (and wouldn't it be nice if they made a new album together!). On an album like this, this song was guaranteed and while it isn't the greatest thing on "LB50", it certainly doesn't do anything but help the record and it is not the only time we hear from this tune. And on 'On The Gravel' and 'Greeting Song' both see Brown mining classic tracks for his work. The latter is a solid offering about BEING NICE TO PEOPLE. It does takes things a step further but that is the prevailing message that I took from it - Lloyd Brown saying to treat people well and being happy for someone and staying away from things like jealousy and such. The former, on the other hand, is undoubtedly amongst the best four or five songs on this album. It also mirrors the theme on some of the other tunes here (and throughout Brown's career) as far as doing whatever it is that you want to do and, most importantly, not paying mind or EAR to negative people and obstacles standing in your way. 

The final stretch of songs on "LB50" (despite being huge, this is pretty easy album to write for) continues the form of the previous couple of songs as 'All About You' features another track from yesteryear. This tune, a love song, had to do some work on me. I didn't particularly enjoy the first few times that I heard and while I still cannot call it a favourite of mine, I do like it more now than I originally did. It's a decent song. The R&B-ish and fully CRAWLING 'You Just Don't Get It' (it has a very unusual pace to it) had a similar set of circumstances for me, but it did ultimately win me over. This one has a different type of sound, which always catches my ear and, after listening to it more than a few times, I did well find something here to enjoy and it is a highlight on the album for me (and biggup Mikie Blak, who also guested on the "New Veteran" album for his guitar work). Based on its title alone, 'Your Recipe' was a song I was greatly looking forward to hearing and it didn't disappoint. I did figure that it would be a love song and that's precisely what it is and it ranks highly next to any other similarly directed song on "LB50" in my opinion ["You bake the sweetest cake I know"]. And lastly, as I alluded to bringing the album to its conclusion is the bonus track, 'Happy New Year'. This song is, essentially, a remix of 'Happy Earthday', with the focus being that we've all made it to another year [DUH!]. It actually made me smile and, as far as 'bonus tracks' go, in general, this is a PERFECT selection. I do want to just expand on something else that I mentioned earlier and that is the situating of the songs on this album. Again, I don't know how much attention that we pay to such things, but "LB50" is SEAMLESS in terms of how the songs flow so well together and not just in their subjects but things like sounds and welcomed surprises are also so nicely affixed together. And I don't know if I've ever given an album credit for that, but it stands out so well here.  

Overall, "LB50" continues the winning ways of Lloyd Brown albums and you knew it would. As I said, I'm really hoping that this album does well because I think that Brown may even have relatively passionate fans who may not even be aware that "30" and "New Veteran" existed and I'd hate for another album like this one to follow that form and this music, all of it, is just too damn good for that! The "Rootical" album, as well liked as it was may help this one along a bit and when those fans who enjoyed that album come here, what they'll find is a veteran, once again, doing what he does best. Lloyd Brown makes good albums. It doesn't take him a very long time to do it either and I'm of the belief that almost any type of fan can pick one up and enjoy it from beginning to end. "LB50" is neither a deviation or a return to form as far as that goes (because you cannot to return to something that you never left) what it is, instead, is another exciting example of the multifaceted and sterling talents of one of Reggae music's most consistent of champions: Mr. Lloyd Brown. Sublime.

Rated: 4.30/5

Riddimworks Productions

2014

Digital

Review #513

'The Way It Should Be': A review of "Rootical" by Lloyd Brown

Proper. Though we will take terms and phrases such as 'mainstream' and 'major label' and set them aside for the moment, within the more terrestrial scene of Reggae music, there definitely exists a hierarchy in terms of being offered the best chance to succeed by working with the proper people. This is true in virtually all aspects of the music -- from linking an artist with a producer with a corresponding vibe to finding a label who will actually go far in promoting the output from such a link -- but it is particularly true when it comes putting together albums. Even today with an essentially unlimited avenue of knowledge existing, sometimes Reggae albums are lost in the proverbial shuffle and are never even afforded the opportunity to succeed or fail, if they must, and you end up with someone whose more fervent fans didn't even know they were working on a project when it just sort of appears one day (biggup Chezidek). Someone else who could definitely tell you more about that (and probably anything else you wanted to ask him as well) would be Achis Reggae favourite and UK Reggae pillar, Mr. Lloyd Brown. With a remarkable thirty-one years behind him in singing Reggae music and likely thirty-one more ahead of him, Brown has likely experienced all the joys and sorrows that this music has to offer, but up until very recently, it seemed as if he had really tuned in and was in the process of going through another prime of sorts, as we've seen from artists such as Glen Washington (more on him in a little while) and the likes. Up until very recently, Brown was surging - making some of the absolute best music of his entire career and, really, placing himself in a position as one of the genre's wholly most reliable and dependable entities. When November came rolling around, it meant a new Lloyd Brown album was in the offering and, whatever he brought was almost inevitably one of the better releases, from anyone, in a given year. Also, he had found great connections. He'd worked with labels such as VP Records and the once mighty Jet Star in the past and, retrospectively, in the relatively brief time in which they enjoyed a significant amount of prominence, Lloyd Brown was the 'cornerstone' of Cousin's Records. But times have changed and one of Reggae's most comprehensive and delightful of talents has changed with them and not always for the best.  

"30" [2012] & "New Veteran" [2013]

But things can still be set right. Interestingly enough, over the past couple of years or so, Lloyd Brown [Hi Denise!] has taken his music, or at least the presentation of it, in a different course. His last two albums, "30" from last year and "New Veteran" just a few months ago(solid pieces, both of them, especially the latter) were digital-only releases and, at least as far as I know, the latter remains only available on iTunes to this day. On one hand you're happy because he is still making fine music, but in that form I'm sure many of his more casual fans weren't even aware of either or both of those sets. And, as a ner… fan, I want people to be excited about the music I'm excited about and that didn't happen in those cases. Simultaneously as Brown's outward shift, someone else was wonderfully in the process of putting things together remarkably, however. The US based Zion High Productions has already had an excellent year in releasing albums from both the legendary Cornel Campbell ["New Scroll"] as well as the well respected General Jah Mikey ["Original Yard Food"]. And last year, they also checked in with the year's finest compilation ["Jah Golden Throne"] and one of the best albums of 2012, courtesy of the aforementioned Glen Washington ["Masterpiece"]. Just looking and thinking about it on the most immediate and superficial of levels: a Lloyd Brown album from ZHP would be… just a really good idea!

Why not do it? In a return to the big stage and, probably even more significantly, CD shelves, Mr. Lloyd Brown, WONDERFULLY, goes "Rootical" with Zion High Productions and the always flaming Zion I Kings. Over that same period of time that ZHP has flourished, I Grade Records has also hit yet another peak in their remarkable lifespan (and are hopefully are about to hit another one with a new Lutan Fyah album later this year) and done so, again, with the backing of the ZIK. They all come together to make a healthy style of somewhat old school spiced, but very appreciable in the modern sense, Reggae music which, at least on paper would presume to be right along with the type of music Brown typically makes and excels at (obviously). When I first heard of this album forthcoming, along with the fact that it meant another very likely well promoted BIG album from the singer (biggup Josh from SoulofTheLion, they do such an excellent job in helping so many labels do their promotion), something else that went through my mind initially was that "Rootical" would ultimately represent, at least to my knowledge, the very first time Brown would have turned over production duties on one of his albums in long time. I still consider myself a relatively recent fan of his, having taking a fuller notice just in the last seven or eight years now (you have to do some 'growing up' to listen to Lloyd Brown's music) (not entirely, just some) and over that same period of time, for the most part his output has been helmed by someone named Lloyd Brown on their Riddimworks Productions imprints. Music, clips, promotion, production and even all of those things for other artists came under the Riddimworks banner and though he had recorded for a variety of maestros in recent times, the notion of a new Brown album completely from anyone else was captivating and then you place ZHP and the ZIK on top of that and it magnifies even greater. And again, it wasn't as if he was suffering, musically, on his own because he was not. But what we're here to see is whether or not Zion High Productions and the Zion I Kings can continue to work their magic… Actually we don't even have to ask that question. You know this album is good. Come on!  

Unsurprisingly, though the producer of the album is different, "Rootical" isn't at all a deviation from Lloyd Brown's output in contemporary times. Also of note is that Brown, himself (also unsurprisingly), takes a co-production credit for the entire set and the Riddimworks flag is flown high all over the new album. Also soaring is the opener for the new album, 'Live In Love'. Like you, I've probably heard a few dozen or so tunes with this title or with similar variations of it over the years and because of that, you kind of expect a certain type of vibe when you see it. In this instance, while Brown doesn't exactly surprise in terms of the nature of the song, what he does do is impress and do so in a major way. The song is a very upful one by the track, but when the vocals reach it hits an even higher point and really just makes me smile! The song kind of points to love as a key foundational element of life and what the singer seems to say is that, no matter what you do and no matter where you do it, if you are not rooted in love, then you are standing on slippery ground. I really like the open nature of  the song ["where we go from here, who am I to say?"] which fittingly compliments the nature of song, which paints a picture neither too perfect nor too gloomy and, ultimately, one SWEET song to start the album. Next comes to the first of two consecutive and four total combinations on "Rootical". In the recent past, he has collaborated with the likes of Dennis Brown, Tanya Stephens and even Grace Jones and his roster of guests is probably as big as anyone's not named Gentleman in the past few years or so. This time around he dazzles! First is ZIK favourite Jahdan Blakkamoore (2014 would be a LOVELY year for a new Jahdan album, wouldn't it?) who joins Lloyd Brown in telling all to 'Keep On Keeping On'. 

"So keep your head about you while others are losing theirs

Cause they've no right to judge you based on the sum of all their fears

Keep your wits about you for there are potholes at every turn -

Dug by those who nuh like you, waiting for you to crash and burn"

"The world we living in today, full up of ups and downs

Friend-enemies and badminded people all around

Everyday another situation fi tackle

Life is battle, now you really need a miracle

Tell yuhself go hold some ises, inna di tabernacle

You gotta be nimble leaping over life's obstacles

Some a dem will tell you seh di race is not for the swift

Haste makes waste, so be mindful you nuh slip

But when opportunity visit -

Try - don't miss it

It's all about your life and how you live it

[Live it!]

It's all about your love and how you give it

[Give it, give it, give it, give it]

So keep your head up to di sky and never say die

Hail the power of The Holy Trinity, Selassie I

Hold the faith and keep it positive

Love up yourself and burn out negative"

The song is one about remaining positive and determined in the presence of bad times and struggles in life and while Jahdan's portion of the tune is quite limited (you don't really hear him much outside of his verse until much later in the tune), the two combine to make for a very compelling moment and one of the album's best. Also on board "Rootical" is VI superstar, Pressure Busspipe who lends his considerable talents alongside Brown on the album's eponymous effort. I was very curious as to the direction of this tune and what I subsequently took from it is that Lloyd Brown's desire to remain living a positive and upful existence, but also one which is very much built upon a positive basis long instilled. To his credit, Pressure also follows in kind ["Jah inna mi thoughts, every still I walk. IF MI NO BORN FI LIVE, THAT MEAN DOG NO BORN FI WALK"] [BOOM!] and offers his typical brilliance to add colour to the otherwise HEAVY composition. 

Later, the (seemingly) very youthful Yisrael Emmanuel also makes an appearance on the stellar, 'How Could I'. This one is just about being grateful for the good things you do have in life ["from you can see, hear, smell and taste and touch, you're blessed with much"] and stop complaining about what you do not. Emmanuel does impress with a very captivating 'rough around the edges' approach so keep and eye and an ear on his future works as well. You should do the same in regards to the present, future and past of the final collaborant (not an actual word) to guest on "Rootical", Trini Roots Reggae empress and my choice as the genre's current most talented female artist, the walking divinity that is Queen Omega, who is featured on the unity tune, 'Together'. 

"Unity is strength!

Strength give much power!

Together we stand, divided we fall

Lets put hand in hand, one and all

To reach the top

Throughout the seasons of time I stop, watch and think

I see the chain is as strong as its weakest link

We need one another, no matter who we are -

Just like the night needs the moon and the stars 

We have to synchronize -

Hail one God and King -

The Maker of all things!

HE is the Ises, Supreme Creator

Let's dwell together in nature"

This song does precisely with concept of unity what the opener does with love and, as I've said in the past, the world is simply a better place when Queen Omega is making music and when she's doing it with Lloyd Brown, there're many people who are going to have a nice day listening to this song and You and I are two of them. 

Including some of them already mentioned (particularly 'How Could I'), "Rootical" features some really SMART moments from Lloyd Brown which stand out on a vivid and glaring level. Such a piece would definitely be 'What You Sow' on a bit of a different level. This song, very straightforwardly, makes it point of everyone correcting our ways and actions before it is too late, but if you really tune it in, you hear some very clever things, especially in the first verse, which give it a much deeper nature as a song. And the dense riddim behind it is solid gold. 'Winds Of Change' is another one which really promotes deep thought and it comes together in one lovely package. This song applies quite literally in this case because it finds Lloyd Brown saying that, whether you're ready for it or not, times change and you must change with  them or fall. This is a very unusual point to make in Reggae where, so many times, the ideology is to return to the ways of old, but Brown is steadfast in his idea to RESPECT change and the passage of time. You cannot always have things your way and even if you can "your way" will also change over time. It is a very gripping song and there is a flute or something in the background which just grabs my senses as well. Check 'Have I Got Through To You', which is Brown just catching up with the listener, making sure that he hasn't lost one or two of us and that we're still paying attention. If you are not you will miss an excellent song, this one highlighted by a gorgeous saxophone played by Jah Bless. Later is the genius 'Just One Time', a song whose intent I had no idea of prior to hearing it (I always like that feeling - when I do not know what to expect at all), and a big surprise. 

"Just one time we have upon this earth

For what its worth - make it work

A just one time we have to live this life

To make things right

Make it right

If your mind shut, you lose

No pressure, do whatever you choose

The road you take is the bed you make

Caught, now you give and take

You dun know life is short

AN EXTENSION CAN'T BE BOUGHT 

Raise up your hear, love with all your might

Come mek wi live life

Don't you know

Life equals love

Don't you know

Life equals love"

This surprise is a nice one. On this song, Brown says to make the best of your life because, at least as far we know, you don't get another opportunity. This song is necessarily broad because improving one's life can literally mean an infinite amount of different things to everyone and the artist leaves it to you to outline what it means to you. Still, I have to say that the cleverest moment on "Rootical" and my choice (and probably only my choice) as the album's headliner is sensational 'Not From Me'. I took this song in a way in which Lloyd Brown is saying that if this album and its messages are ignored -- if no one lives in love, in unity and he hasn't gotten through to one soul out there -- there will still be negativity and nastiness and evil things in the world, but you won't be able to get a drop of it from Lloyd Brown! If you're looking for these things, they subsist in profusion throughout the world, unfortunately, but not from him. This, for me, is a personal song. It is a discussion between Brown and one other person and what he's saying is that you can continue to be a nasty person if you like, but he chooses not to and he hopes that you will also. Big credits go all around on this one from me, but especially to Laurent 'Tippy' Alfred from I Grade who plays a WICKED melodica later on in the tune (and biggup all the musicians here, particularly Alfred, but also Andrew 'Moon' Bain and Jah David) (the great Dean Pond also lends a hand as well). 

"If a badmind you want

You can get it if you want it

And if a hatred you want

If you want it, you can get it 

If a grudgeful you want

You can get it, but not from me

Not from me

See I got peace, love and overstanding

See I got peace, love and overstanding

Overflow with peace, love and overstanding

See I got peace, love and overstanding"

Rounding out "Rootical" is a nice trio of songs which also add a bit of colour and texture to the project. 'Na Na Na' is a tune clearly designed to get heads knocking and feet stepping (it works) as one of the most sonically scintillating installments on the project. It features a hypnotic guitar from Moon and is just a great song to listen to. The song which chases it on the album, 'I Don't Think You Heard Me', is kind of a broken lover's song where the communication of the relationship has vacated it and it spiraling out of existence. It still is a nice song to listen to, particularly as it progresses and various sounds are added and added. And lastly, the album's drum heavy closer, 'Can't Lose Sight'. While I can't say that the song is a favourite of mine, I do hear something here which is a quality compelling me to come back to it over and over (and you know I'll find it if it really is there). The song does have a great sound to it, again, and maybe that's it, but I will tell you to give it a while, whether you already enjoy it or not, before ultimately making up your mind. 

Lloyd Brown

Overall, I really want re-accentuate the fact that "Rootical" isn't at all a step outside of what Lloyd Brown usually does musically. If you enjoyed his past five or six albums or so, you're going to like this as well. If you didn't enjoy them, then chances are high that you (are a really bad human who is also unkind to small animals) won't find much here to like either. I wanted to go back and see if it was otherwise, but I could not find a connection between Brown and the label[s] here beyond the aforementioned "Jah Golden Throne", where he had a pair selections (neither of which are on this album, but one did appear on "30") from last year, but in a relatively short time, apparently both artist and label impressed one another to the point that they felt comfortable enough to do an entire project with one another. The results, on one side, is yet another sterling drop from Zion High Productions and the Zion I Kings who continue to clearly demonstrate that when it comes to Roots Reggae albums in the current sense, they have very little in the way of competition as very few do it as well as consistently as they do. For Lloyd Brown, however, "Rootical" is not only a continuation of his mighty form of recent years, it is also a return to the spotlight where fans can fully know about, enjoy and celebrate his wonderful music: Back where he belongs. 

Rated: 4.35/5

Zion High Productions/A Train Entertainment

2013

CD [October 8] + Digital

Review #470

Coming Soon: "Rootical" by Lloyd Brown

"Rootical" by Lloyd Brown [Zion High Productions]

1. 'Live In Love '

2. 'Keep On Keeping On' featuring Jahdan Blakkamoore

3. 'Rootical' featuring Pressure Busspipe

4. 'What You Sow'

5. 'Not From Me'

6. 'Winds of Change'

7. 'Have I Got  Through To You'

8. 'Na Na Na'

9. 'I Don't Think You Heard Me'

10. 'How Could I' featuring Yisrael Immanuel

11. 'Together' featuring Queen Omega

12. 'Just One Time'

13. 'Can't Lose Sight'

Joining an already impressive lineup of names with albums forthcoming in the very near future, which includes the likes of Gappy Ranks, Lutan Fyah and Gyptian is sweet singing UK veteran, Mr. Lloyd Brown who returns with his very first album in… about eight months, "Rootical" which comes via Zion High Productions and the Zion I Kings. Having a very big year of their own, the label has already packaged projects in 2013 for Cornel Campbell and General Jah Mikey and Brown's name is a very fitting one to add to the group, of course. As for Brown, the new album is set to follow "New Veteran" from just February, as well as 2012's fine "30". Interestingly, both of those projects were digital-only releases (and, at least check, "New Veteran" was not only digital-only, but iTunes-only as well) and very much eluded the typical type of attention paid to an album from the well respected vocalist, which was really unfortunate given the circumstances, particularly given that one of the two (I bet you can't guess which one!) marked his thirtieth anniversary in the music business. So "Rootical" not only figures to offer up significant musical moments, but also place Lloyd Brown back in the proper spotlight that his career has shown that he deserves. 

"30" [2012] & New Veteran [2013]

As for the music, aside from the ultra-appealing obvious -- the Zion I Kings linking with Lloyd Brown for a full album [BOOM!] -- they've also supplied him with a huge amount of vocal talent to work with as well. Like who? Appearing on separate tracks on "Rootical" are Pressure Busspipe, Jahdan Blakkamoore and my personal choice as the most talented female currently making Reggae music in the world, Trini Roots Empress, Queen Omega who joins in on the stirring 'Together'. Yisrael Immanuel also makes an appearance on 'How Could I' and the album also figures to offer quite a few big solo moments from Brown. 

Of particular early interest is definitely the potentially giant and very clever 'Not From Me' ["Badmind you want? You can get if you want. And if a hatred you want - if you want it you can get it. And if a grudgeful you want, you can get it but not from me"] and certainly the lively album-opening 'Live In Love'. Lloyd Brown has shown himself, especially in the latest stage of his career, to be someone very reliable to turn out excellent music in general and that is chiefly the case when it comes to albums (I think the last album he had that I did not like was "Brownie Points"). When you blend that with the excellent track-record of Zion High Productions and the Zion I Kings, expectations have to be high for the quality of this one and I'm well expecting something very big.

Check the results for yourself when Lloyd Brown's new album, "Rootical", reaches stores on October 1.