The Harvest: A review of Never Stop by Chezidek

Rarity. I do not know a thing at all about actually making music. It is a process which, strangely enough, does not interest me to learn more about but, as you can see, I am most grateful for the finished product. How songs are written does interest me greatly but the act of placing word and riddim together is a process which is beyond me and likely always will be. What I do find myself far more captivated by, however, is the observance and examination of years and years of brilliantly blending those two together and having a successful career in music. This is amplified even more so for me when I have the opportunity to kind of following along actually during the moment and, hopefully, be able to relate the progress to something that sticks out for me, personally; and I am lucky because over all of these years, I feel like I've been on a full-on journey with some of these artists. They're like friends of mine and I can often associate random times and happenings (and sometimes actual people) of my life (I can remember sitting in a car, for example, listening to a Spragga Benz song and kind of 'translating' it for a friend of mine's husband and what started out as a song eventually turned into almost the entire "Thug Nature" album ["Spin yuh roll mi gal!"]) (biggup Dennis) with listening to their music. It was nearly twenty-one years ago now when I came across a very solid debut album called "Harvest Time", from Philip 'Fatis' Burrell and the Xterminator camp for a singer with a most unusual voice from the sweetest place on earth by the name of Chezidek. Though I was all kinds of impressed with what I would hear on that set, I think I would've been pretty surprised had you told a not quite twenty-one year old me that not only would I still be listening to Chezidek's music a couple of decades on (that part wouldn't have been too surprising, actually) but that all of those years later, he would grow into someone whose music I held in just about the absolute highest esteem (at that time, i would've surely thought that about Chezidek's Xterminator labelmate, Turbulence... who fell in love with love songs one day and never came back). I would have been even less convinced three years following that debut when Chezi's sophomore effort, the wildly perplexing "Rising Sun" reached (let's see if it's still weird; I haven't heard it in awhile.... YEP! Still is) and I don't want to make the case that it has been completely 'smooth sailing' over the past twenty years -- it has not -- but given where he's arrived on this day in 2023, though I've never met the man and likely never will, I am proud of the artist that Chezidek has developed into. His name is one just a handful of others (one of which definitely appears on this album) whom I fairly frequently find myself just looking up to see if I've missed anything in the way of new releases because I am that convinced that anything that they drop is at least worth hearing and, potentially, downright special. He is one of the genre's heaviest of hitters in terms of actual quality, at least as far as I'm concerned.

So what happened? Nothing really that I can put a finger on. Chezidek's rise hasn't been a burst or an instant, it's been more gradual. Now, I look back on some of the releases that he's done in his career and I even do it expecting to hear something special and, for the most part, that is precisely what I encounter... so it has me wondering if it's been more of a matter of me changing rather than any type of grand progression in what was already a sizable talent. Along with "Harvest Time" ["Inna dem mind!"], I always go back to a personal few favourites which I mention quite often so I'll refrain from doing it here (but biggup Jahsolidrock anyway) and I find that list growing these days as I go back more often and find such joy on projects that I never rated quite as highly such as "Irie Day", "Mash Dem Down" and "I Grade". At least 'strong' releases from the moment they arrived but I hear them these days with a level of appreciation that I didn't have when they were fresh out of the pot ("I Grade", in particular, is damn near spectacular).

Moving forward, it'll be interesting to see what Chezidek does when it comes to albums and with whom he works, but his present is looking positively sterling. Along with the aforementioned Xterminator and JSR, when you consider some of the various imprints and producers with whom the singer has enjoyed some of the biggest successes of his career, you're talking about the likes of Massive B, Our Promotion, Tad's and a healthy variety of others which would DEFINITELY include one venerable Irie Ites Records from out of France. Given just how prolific both artist and label have been over the course of the past twenty years or so, it almost comes as a surprise - the fact that they haven't linked up together on an official project to date as, along with that general activity, they've also been highly effective together. As far as I can tell, Chezidek's musical relationship with Irie Ites dates all the way back to 2005 at the latest, so we're nearing two decades of them working alongside one another and we're fortunate that, as the first third of 2023 comes to its conclusion... CHEZIDEK AND IRIE ITES HAVE FINALLY MADE AN ALBUM TOGETHER! The much anticipated "Never Stop" is finally here and it continues to build on what has already been a remarkable year for Reggae albums, following releases from the likes of Queen Omega, Anthony B, Chuck Fenda, Mykal Rose, Jah Mali and others - if you are a fan of the music, you have tons to be thankful for early this year. One of the first things that came to my mind in regards to "Never Stop", again, is in regards to just how lofty the expectations for it are going to be given its predecessors -- in general -- but also in its own 'vicinity'. In 2020 Chezi released an outstanding pair of collections in "Timeless" and 'Hello Africa". Though the former was more of an EP (though a very healthy one at thirty-six minutes long), it was sublime and I am well looking forward to him working with the Ligerians at some point in the (hopefully very near) future (there's a song on that album called 'Over the Mountains' which just.... destroys me); while the latter, to put it simply, was rather easily one of the best albums of his career and we scored it a 5/5 and that was probably a little low, actually (a very fair case could even be made that "Hello Africa" was Chezidek's greatest album to date, in my opinion). So he's been on a roll on the fullest side as well, but I had absolutely nothing in the way of concern of its quality when "Never Stop" was announced because, as I said, the track-record of both Chezidek and Irie Ites, apart and together, is unquestionable. For their part, I won't go through their decorated history, but recently Irie Ites has been back on their grind as well in releasing new riddim projects such as the Ina Struggle and ASAP, as well as an album for a delightful Horace Andy influenced singer from out of Spain, George Palmer, and II has also been working on remastering and re-releasing quite a bit of their outstanding back catalogue as well (and when you really begin to get into the work those people have done over the years, it is damn impressive!). It's been business as usual as it has seemingly always been for Irie Ites. Listening through "Never Stop" did several things for me. It made me nostalgic at times and it also continued to build upon the outstanding new material that we had heard just ahead of the album's release. If you're not doing anything else at the moment, I'd love to tell you about it!.

In regards to the album's announcement and pre-release attention, "Never Stop" has been unsurprisingly impressive. I suppose it's becoming more of a concern of an older era (where we routinely saw albums from big artists on decent labels which went entirely overlooked by all besides a dedicated handful of us) as we see a respectable level of publicity garnered prior to these releases more often these days. Even with that being said, however, even before laying ears on it, I knew that "Never Stop" came from a first-class design; featuring a number of highlighted singles ahead of the release date and a steady reminder of what was to come. Thankfully the music does not let it down at all and getting it started is what I believe was the album's initial single, the golden negativity-expunging 'Dem No Worry' which popped up back in late January. This one had such a chilled vibes to it that I think it may've gone overlooked were it not given a spotlight of its own but for anyone who gave it any type of significant listen, you quickly came to the conclusion that you were listening to something pretty special. Thinking about it now, the vibes kind of fit the nature of the song, in my opinion. There isn't any stress here; there is a course and a method for dealing with any adverse situation (or adversary, for that matter) and that's the road we'll take when we get there ["Think a lucky, mi lucky, but a Jah watch over wi"]. Chezidek isn't losing any sleep over it and he's saying that you shouldn't be either via this gorgeous opener, which prevails as one of the lasting biggest moments from "Never Stop". Next in  is a very familiar tune which I think is actually new, at least to my ears, 'Try', which tests a classic riddim. This one will require a bit more effort on our part (figuratively speaking) as, as opposed to 'Dem No Worry', 'Try' isn't a call for relaxation or taking things easy; it's a call for action and perseverance.

"Dem fight mi but dem caan stop mi

Try trick mi but dem caan trap mi 

Place slippery, but dem caan drop mi

Cause Jah Jah is guiding I

I seh dem try blacklist mi pon hitlist

But every obstacle ahgo get dismissed

And mi seh Jah Jah, You art I witness

I seh dem just cant stop mi now!

Neva stop, neva neva stop

Try, try, try, try!

The battle hard, but the victory's mine, mine, mine mine!

Dem ah fight mi, think mi nah know dat

Dem nuh like mi, think mi nah know dat

Set trap inna mi way lke roadblock

DEM CUT DOWN DI TREE, BUT IT GROW BACK

Every blow dem ah throw, mi ah throw back"

The chorus on 'Try' is kind of strange because I didn't recall loving it at first but, well after I'm on to another track, I'm still singing it and not in a frustrating way at all. 'Try' is excellent and I'm thinking the masses will eat it up as it is also a quite exciting piece to hear as Chezidek dusts off the deejaying skills to a splendid effect in the name of maintaining the proper course in life in the eyes of opposition. What I believe was the final pre-album single, the very interesting 'Who Fool You' comes near the head of "Never Stop" as well and it finds Chezidek revisiting another very fruitful link as well. I previously mentioned the "Timeless" drop from a few years back, it was done alongside the Ligerians, who also guest on 'Who Fool You' as well. This tune is just HEAVY! From that perfectly rigid one-drop carrying it, up to Chezidek's vocals which move around it so fittingly, 'Who Fool You' is a fully gorgeous composition and one which should find a large audience especially with the more seasoned of fans, as Chezi says that things are not always as they appear. I thought 'Try' sounded a bit familiar but I'm probably wrong on that. 'Jah Jah Bless', on the other hand, I'm quite sure as it appeared in a different version on an album from several years ago by the name of "Irie Day". That cut of 'Jah Jah Bless' featured Chezidek alongside the legendary Capleton, who is not on board on the track that appears on "Never Stop" and though you cannot replace someone like Capleton, with his explosiveness, Chezidek, solo, turns in a fine effort on a simply beautiful vibes in praise of His Imperial Majesty ["Guide our thoughts and direct our footsteps. Alla wi prayers, Jah accept. When I & I call and make a request, Jah Jah never reject. WHEN I & I CALL AND MAKE A REQUEST, RASTA ALWAYS ACCEPT"].

Even casual heads know how much Chezidek loves to sing about ganja and it is a fascination which he clearly has not sated ahead of "Never Stop' as evidenced by the presence of longtime favourite 'Bun Di Ganja'. Chezidek's blazing cut of II's Strange Things Riddim, 'Bun Di Ganja' represents the first big shot from the annals of artist and label spending so much time making big tunes alongside one another and it has not lost a damn thing throughout the years here as it sounds as good as ever! The same is to be said another past mountain of a tune carried here, the absolutely gorgeous 'Who I Am'. This song, fairly recently, has become one of the best songs I have ever heard from Chezidek! It's fantastic in so many ways and I'd known of it prior to then, but.... for some reason it just recently began hitting on me on such a level, which is strange but so be it! It's so delightful as Chezidek full-on celebrates individuality and the differences that we all have. They are beautiful things and are best used bring us together as opposed to drive us apart. 'Mr. Officer' is another piece your eyes and ears may recognize if they're lucky and they also may appreciate the presence of another favourite of Irie Ites, King Lorenzo (who is credited as the far less Google-friendly 'Lorenzo' here). 'Mr. Officer' was a sublime social commentary with an infectious sound which, again, has not diminished even remotely over the years. Lorenzo was one of those artists like Chezidek, Lutan Fyah, Spectacular and a few others with whom Irie Ites made some of their finest work and, in 2009, the singer had his own album for the outfit, the fine "Movin' Ahead" ('Mr. Officer' was on it as well) which is well worth your time if you have not heard it (.... and even if you have. Might be time for another spin). 'Good Girl' was another one that I hadn't set ears on prior to "Never Stop" and although I cannot rank it as one of the biggest offerings here, it is a strong selection and one which I now have a greater appreciation for after more than a few listens. 'Good Girl' isn't really a 'love song' (Chezidek doesn't do nearly as much of those as (TURBULENCE) you might expect), it's more of a motivational drop for women who are living upstanding and respectable lives..... you know what; if you asked me about this one again in a few months, I might actually love it. It does have a very faint, but curious power about it. This middle portion of the album also serves up another more recent single, 'It's Time' which is problems!

"Can hear it everywhere you are

Listening to the voices everyday youth, star

Never let the system tear you apart

Ah seh a revolution soon start!

Dem think a peace and safety and ah lay back

Di promise and di prophets all find a way back

Seh all di downpressers ahgo get a payback

DI WARRIORS DEM NAH STAY BACK!

Di Empress dem clean di youth dem safe intact

A fi wi liberation dat

Wi climbing to di highest of heights, wi nah stay pon flat

A SEEKING WI REDEMPTION DAT!

Wi gonna burn dem down, wi gonna burn dem down

It's the time!

It's the time!"

Grrrr! The time is now to make some big changes in the world and that is the core sentiment behind this chunk of absolute deliciousness of a social commentary. I missed it? I knew of 'It's Time' and I thought that I'd climbed all over it but... I mean.... I didn't know it was like this. This is something else.

Speaking of social commentaries, Chezidek also takes about four minutes to give his opinion on one of the biggest occurrences in the world over the past year or two on 'Ukraine'. There is a certain simplicity that this one has that I well appreciate. Chezi doesn't approach it from the standpoint of a political scientist or even someone directly involved, but he gingerly makes the point that such a happening is the concern of the entire world and that things need to change. 

"So call the general, tell him:

Call the president, tell him:

No more bombs and no more shelling

NO MORE SHOOTING WHERE PEOPLE DWELLING

And all di long-range missiles that you selling

It only add more to di blood-shedding

Seh it's the wrong direction weh yuh heading

How much innocent life lost already?

It haffi done

It haffi done

It haffi done

It haffi done

I waan yuh build back di bridges

Tear down di fences

Forget di evil - back to yuh senses

Innocent life lost down in de trenches

Woman & children, living in tents

Seh di consequences

Consequences

Whole world ah feel di consequences

Consequences

Consequences

Death & destruction: consequence

They've been bombing hospitals, schools and churches

Kiling di people, they show no mercy

Villages empty, towns are empty

Cities are warzones

There is no ending"

It hasn't been a 'popular' topic in Reggae music that I've noticed so, just in theory, I'm happy that Chezidek chose to make a song about it and it doesn't hurt that the results are of such a high order as well. The Mafia & Fluxy laid Down In Jamaica Riddim ["Caught up inna bad traffic! It's like a money racket!"] backs 'Bad Out Deh' which also features the handiwork of the legendary Mr. musical everything, Dean Fraser (you know how respected you are when you do not utter a single word on a track and get an official credit as a featured artist). Another beaming piece about  the state of affairs in the world, like..... just about all of the other tunes you will find on this album, 'Bad Out Deh' shines (did you catch what I did there? Did you???). In this case, in particular, what really stands out is just how bright the song is (and I'm still doing it). There is a joyfulness here standing on top of everything else! No, things aren't perfect (and they never will be) and they aren't how we would like them to be right now, but certain things exist and are in place for us all to be thankful for and to enjoy ["Without life, mi seh nothing can work"]. Also, I have no idea who they are but I do give a credit to the backup singers who, although it is subtle, really add to what turns out to be one SWEET vibe. The final offering (technically) from "Never Stop" is problematic for me. I have issues with it. 'Kill Dem' just so happens to feature Chezidek alongside the wholly incomparable Queen Omega! What! HUH! Stop playing with me! Fresh off releasing my choice as the sitting album of the year "Freedom Legacy", Queen Omega makes an explosive appearance on another one of the top contenders and she does so with her typical flare and genius.

"Alright, alright mi seh one day, yuh judgment ahgo reach yah

Surely won't miss yah, ahgo meet yuh

Listen to the musical teacher

The statutes, laws and ordinances - is that is what mi feature

Thou shall not kill, it is said by The Creator

The leaders have no love!

That mean seh dem a hater

Dem breeding hate and fraction 

Worshipping their saviour

Rejoice in shedding blood,dem nuh respect how they make yuh

Dis prayer coming differently, it's hot like the equator!"

I had seen what turned out to be a very basic and somewhat confusing tracklist for "Never Stop" and though I'd seen a tune called 'Kill Dem', I had no clue that Queen Omega was apart of it and when I finally did see that she was on board, it made a set that I was already well anticipating even more promising, if that were possible. She doesn't disappoint (she never does) and neither does Chezidek (ditto).

While the physical version of the album stops right there, the digital version of "Never Stop" also brings in more material. Of significant interest would be the presence of dub versions of four of the songs I just told you about with the very first, fittingly, being 'Kill Dem' which is now 'Kill Dem Dub'. When I saw this, there was one track which stood above the rest that I was hoping Irie Ites had taken the time to do a dub of and sure enough it comes in second as 'Who Fool Dub'. I am no dubhead, I am far from an expert on the topic in any way, shape or form, but I just knew that 'Who Fool You' had a sound which made it a perfect candidate for such a mix. It has a certain 'density' to it that I typically am attracted to and I got nowhere into before it brought a smile to my face! Clocking in at only five seconds north of the original version, it even sounds like so much more, making it not only the finest dub on "Never Stop", but amongst the very best altogether. 'Try', relicked as 'Try Dub', and the opener which is now 'Dem No Dub' round things out, providing a notable contrast between an old school sound with more of a modern one and the latter actually manages to also place itself quite highly on the release in my opinion. Lastly, and curiously, also present is another dose of 'Bun Di Ganja'. on the digital list, the first tune is "Burn Di Ganja - Edit" and this one is just "Bun Di Ganja" which makes me think that one is just the remastered version while the other is the original. They're very similar, I hear no appreciable difference but apparently someone (or maybe everyone) at Irie Ites really loved it and... you can't blame them for that. I also want to mention that there are several Chezidek/Irie Ites creations that did not make the cut here and while, clearly, they couldn't have included every single song they've ever done and still have room for new material, I was wondering why something like 'Powers of The Lion' was absent.... but maybe that's just me!

Overall, despite the extremely high and, perhaps, borderline-unfair expectations I had going into it, "Never Stop" still manages to impress and it does so in a way which isn't full of tricks at all. If you've enjoyed much of Chezidek's output over the past twenty years or so, I can all but completely guarantee that you will enjoy it as well. Furthermore, it also comes through in stereotypical Irie Ites style. If you know what they do, you know that quite a bit of it has more of an older Reggae/Dancehall sound; it is what they've always excelled at and they do it just as good if not better than any modern Reggae imprint going today; so if you like what you've heard from them regardless of the vocalist, "Never Stop" is also going to work for you. I would also place the release in the upper portion of the catalogue of the artist; he has made finer, but not many and I wouldn't be surprised to see the quality of this one, like several of its predecessors, only get better with time. If he has shown nothing throughout his career, Chezidek has well demonstrated a 'rising durability'. His music not only ages well - it seems to get stronger. "Never Stop" will be more of the same within a career which has been so much fun to watch, looking back, and is as "strong" today as ever. Well done.

Rated: 4.75/5

Irie Ites Records/Evidence Music

2023

CD + Vinyl + Digital

No One's Sidekick!: A Review of Movin' Ahead by Lorenzo

And think about some of your favourite labels and your favourite producers in Reggae music. If you think about, specifically, how those labels came to be who they are and came to be what appeals to you. In most cases, you’ll see an interesting trajectory which may start with something like ‘Producer A’ decides to become a producer and in doing so he/she aligns himself with ‘Artist A’. Most labels tend to have ‘favourites’ to put it flatly and in the case of newer labels and producers it’s glaringly clear. I could give you quite a few examples of the likes of Don Corleon, who basically had his early successes tied onto those of the one Vybz Kartel, with SO MANY of the DJ’s early hits being produced by Corleon. And now, when you look how they’ve reached the levels to which they’ve come (and having sensed declined recording with each other quite a bit), I think it’s far more than just a coincidence. Also you can look at Stephen ‘Di Genius’ McGregor. While his own personal fame has fairly outshined any of his artists at this point (unless you’re counting his Father as his artist) (and I’m not), you also see that his brother Chino, at this point, is tied in with the wunderkind and, by extension, ask yourself what might become of him if Stephen just decided to quit the business today and go and do something else. However, what I’d like to speak on here is a rather strange expansion of this concept. To use, again, Corleon as an example: Of course you recall Kartel and Corleone vibing together and making a steady stream of hits, but do you remember Wayne Marshall and Corleon doing the same thing? Are you paying attention (you DEFINITELY need to be) to the WICKED Bramma De Bomba, who also records with McGregor (and is, in my opinion, leaps and bounds ahead of Chino in terms of actual skill and application of skill at this point)? What about the oft-mentioned Kemar ’Flava’ McGregor? Despite the fact that he is well known for voicing some of the biggest names in the Roots Reggae genre (from all over the world), and even albums for them, do you remember that there used to be a BIG artist by the name of Prestige who used to wonderfully work out each and every one of Flava’s riddims which passed through. At the height of his powers, Stephen ‘Lenky’ Marsden routinely gave shots to a young artist (who I honestly didn’t like) named Zumjay. You can also apply this concept with a bit of historical perspective, which would bring you to artists like Prince Malachi, everyone who used to voice for Main Street not named Red Rat and ESPECIALLY Wayne Wonder. These are artists who MAY not have the biggest of names (but then again, they just might), but they kind of ‘tag along’ to certain producers and eventually gain access to their audiences doing just that. Well it’s time to add another name to that group and this one, Lorenzo, is actually WELL TALENTED also.

If you aren’t very familiar with one of my favourite international labels, French based Irie Ites, then the name Lorenzo, in the scope of Reggae music, may not be very recognizable to you either. However, if you do the well solid label and it’s many WONDERFUL productions, then certainly, you’ve ran into the singer more than a few times through the years. Personally, I first saw his name back on the EXCELLENT 2004 release, Pack Up And Leave from Guyanese chanter Ras Mac Bean, where he had a very nice combination, ‘Forgive Dem Jah’ alongside Mac Bean. Since then, Lorenzo has been afforded nearly EVERY (if not each and every single one of them) riddim which Irie Ites has pushed and, apart from Ras Mac Bean, he’s probably been overshadowed by the likes of Luan Fyah, Turbulence and some of the other well known artists who usually voice Irie Ites’ projects. Well, apparently there is something to be said for perseverance as, even though you won’t find an album produced by Irie Ites in the well discussed pasts of Lutan Fyah or Turbulence (or Chezidek Spectacular whom they also voice very consistently), you’ll now find such a project for Lorenzo with Movin’ Ahead. This album was certainly a (very welcome) surprise to me. I didn’t know that Lorenzo’s music was doing much damage at all for Irie Ites and I don’t remember hearing any of his tunes playing in the Caribbean anywhere or any general buzz about the artist. But apparently in Europe he’s quite the big deal and the anticipation for a debut album from Lorenzo has been quite high (and we give thanks for European Reggae heads). I don’t think I would’ve ever said such a thing, but Movin’ Ahead is an album I probably would have NEVER expected to see though, but it DEFINITELY validates its existence and does so almost instantly. What you’ll find throughout the album is, essentially, a very well done and incredibly compelling and interesting introduction to the artist that is Lorenzo. It’s also interesting and worth noting that the singer, more or less, went through his developmental years voicing Irie Ites projects (in fact, that’s the majority of what he’s done altogether over the years), so what you’re basically seeing in the album is Lorenzo at what is probably his ABSOLUTE best. He knows this material like the back of his hand, he’s been honing his craft at it for years and on the very first tune and through the duration of the album, with nearly every stop, he shows it and then some. Lorenzo is basically a singer (although you could call him a chanter, I GUESS) and I’ve described his sound as being somewhere between the genteel Martian-like tones you hear from Chezidek (more on him in a minute) and when Turbulence REALLY fires up the vocals. Lorenzo is somewhere in there in my opinion and what I learned on Movin’ Ahead (as if I didn’t know it already) is that he also fits into that ilk of artist as a WRITER. Some of the vibes on this album are HUGE, from a lyrical standpoint and although there is well room for improvement (there generally is), for someone who was almost never in that great limelight like several of his peers, Lorenzo now pushes himself into primetime with his excellent debut album.

Besides having the backing of Irie Ites, one of the world’s finest (and most consistent) Roots Reggae imprints, having a very nice delivery and very nice musical sense, Lorenzo also has going for him the fact that he was born in the greatest place in the world, ST. ANN’Z! Continuing a very nice line of artists (and writers **wink wink**) from the magical parish, currently joining the likes of Chezidek, Perfect and Ras Myrhdak, amongst others. All magic which resides on Lorenzo’s debut album Movin’ Ahead begins with what is my choice as the album’s finest tune altogether, the downright MOVING ‘Jah Love’. I know what you’re thinking: ‘Achis, the title is lame and stereotypical. What’s so good about this song???’, well I’ll tell you. It’s LOVELY. The tune brings in such an EMOTIONALLY inspirational and uplifting vibes that it almost catches you off guard. The tune is also somewhat texturally different from a lyrical standpoint as Lorenzo, quite literally, goes through the process of seeing His Imperial Majesty as the source of his own inspiration and motivation by saying on the tune’s punch line “Jah Jah love is like a burning fire, that keeps on burning deep down in my soul”. That’s the feeling that comes with this song and continues in that wonderfully direct manner. HUGE VIBE! The next tune up, the title track, in my opinion a very conceptually fitting followup because it basically expands on the vibe of Jah Love. Her, Lorenzo beautifully declares himself prepared and energized for progression to the next station in life (whatever it may be), “through the powers of The Most High”. The tune also happens to be one of the best and most sonically pleasing on the album named after it and, linguistically speaking, perhaps the clear choice for the album’s title. Lastly, on the opening bit, is another STRONG effort as Lorenzo goes Eek-A-Mouse on the people with the bubbling ‘A Wa Do Dem’ which is one reaching at the frienemies of the world and those unfortunate enough to come into contact with such a person, “a wa do dem, a wa do dem? A say dem a mi friend but we know a pretend, dem a pretend”. This one pulls another very nice vibes, just listening to the song and the powerful message pushes near the top of the class on Movin’ Ahead.

As I said, if you’ve been paying attention to Irie Ites’ projects over the past few years, you’ve definitely become well acquainted with Lorenzo (perhaps even without knowing it) and some of the more familiar material on Movin’ Ahead is also some of the best here. Check ‘Only Solution’ from II’s riddim of the same name from last year. Only Solution is EPIC! This tune comes swaying in with a message that The King is the only solution for the wickedness going on in the world and those purveying such negativity are certain to face HIM one day. Mafia Fluxy laid the musicology for II’s Down In Jamaica riddim (as they do quite often for the label) and Lorenzo’s cut of the piece, the lovely ’Show Some Love’ is definitely one of its best (along with Lutan Fyah’s RIDICULOUS ‘Bad Traffic’, you NEED to hear that song). Right after Show Some Love, again, those similar vibes are reinforced through the antiviolence number ‘Gun Play’. This one comes through (Mafia & Fluxy again) Irie Ites’ relick of the classic Rocking Time riddim (a piece thought to be KILLED as Sizzla murdered it TWICE with ‘We Got It Right Here‘ and ‘Show More Love‘). Gun Play is fairly straight forward and standard in terms of message, but Lorenzo works this one for everything it has, pushing a passion for the vibes and the importance of the song which is simply not to be missed in my opinion. The tune here most likely to get most of the attention is the album’s only combination and another previously released tune, the obligatory herbalist tune, the hypnotic ‘Mr. Officer’ alongside Lorenzo neighbour, the aforementioned Chezidek. Besides being a MIGHTY tune, it also is one livicated to the late and great Mikey Dread and as the tune goes along (it’s nearly eight minutes long) it ASCENDS into this DIVINE dubbed out portion, just as The Dread would have intended. TEARS! TEARS on that tune! I also recognized, clear and far, one of the best tunes on Movin’ Ahead, ‘Life To Live [Love To Give]’ as it isn’t a II production, but instead comes so tightly over Jam’Strong’s Stronga riddim and you’ll absolutely love the bouncing nature of this one, combined with the message, almost guaranteed. And lastly familiar to my senses is the somewhat solemnly vibed, but nearly MASSIVE ‘A So Dem Stay’, over Irie Ites’ rebirthed version of the ‘Strange Things’ riddim (most of these riddims that I’ve mentioned also have albums of their own, nicely, including the Stronga). And as Movin’ Ahead winds down, there is a stretch of four tunes here which were completely new to me, two of which I COMPLETELY enjoyed. The first is actually one which I didn’t know if I completely liked at first, but it’s well grown on me, ‘Need My Lady’. On a cursory glance, the song is one which is, again, kind of a fair and standard lovers tune, but I think it’s better than that now. It’s a very well done vibes and each time I listen it I get something more out of it (and my wife LOVES this song). ‘Call Me’, I don’t like much. The tune is kind of a dark and murky sounding Dancehall/Hip-Hop tune of sorts and I don’t necessarily have a problem with such a thing, but this one really just doesn’t go anywhere (what I think would have helped would have been like the addition of a Dancehall artist, so Lorenzo wouldn’t have had to vibe the entire thing by himself). I’m also not completely sold on ‘The Way They’re Living’. This one is a Hip-Hop sounding tune, but lyrically, it’s pretty impressive (it even features one of the lines of the entire album when Lorenzo says, “they see progress and wanna break it up. When The Lion HIM a sleep, don’t wake HIM up!”) and I can well see myself enjoying the tune mightily in a month or so. And finally there’s the Nyah drum infused ‘Bless Me Jah’, which is OUTSTANDING! This is EASILY one of the best tunes on Movin’ Ahead altogether (and should you want to call It THE best, I won’t argue across that). The tune doesn’t shatter new ground or really go in much of a new or ‘revolutionary’ direction, but it just sounds so nice and is, at it’s core, so quietly passionate about the subject at hand (kind of like Lorenzo himself) as the singer calls on for a blessing for the future and with vibes like such, it’s one he’s sure to get.

Overall, yeah, you want this album. Ever since I’ve heard about Movin’ Ahead coming forth, I was very much so looking for to it, because it just seemed like such a wonderful IDEA from the guys at Irie Ites to push at this point. Again, Lorenzo has just kind of been ‘hanging out’ with the label for a long time and he hasn’t been that ‘all star’ performer, but much more like a utility player or a jack of all trades, which is, quite often’ just as important and that resonates THROUGHOUT Movin’ Ahead. Of course, that’s not to say that Lorenzo can’t be that all star (or that he isn’t that already, for that matter), but I still kind of appreciate it even more given the set of circumstances I think. Lorenzo is an artist who has well served his time in the shadows and hopefully Movin’ Ahead is a sign of more future roles for him in the spotlight. If you’re like me and are a heavy fan of modern Roots Reggae, after spinning through this album, you’ll be ready to drag him into that light, even if he doesn’t want to be there. Very well done.

Rated 4.20/5

Irie Ites

2009

Lorenzo @ Myspace

{note: review is done on the digital version of the album. Reportedly, the actual disc has 3-4 more tunes, so you may want to see if you can find that. If you do choose that route, don't email Irie Ites asking them how to find it, because you will NEVER get a response! EVER!}

{note 2: thank you}