Signatures Vol. XII: Reggae Random

Okay so, I was working on a few ideas for what would be next on the Signature series (it is EASILY one of the most enjoyable things that I write as it, primarily, involves me going through a lot of old music that I really, REALLY love) and I had some good ones. While I'll tell you about a couple of the others in the notes for this (right down there ↓ in small print) the one I'm going on today is probably the most fun and less stressful to write. Today we get random: HERE ARE FIFTEEN RANDOM SONGS THAT I ABSOLUTELY LOVE. Signatures: Reggae Random

{Note: The only rule is that no one artist would be repeated}

{Note 2: If it works out right, there'll also be Dancehall & Soca versions}

{Coming soon: Bushman, Vybz Kartel & Destra}

[BOOM!}

1. 'King Selassie H.I.M.' by Tarrus Riley

Never before. I spend a great deal of time talking about people like Norris Man, Chezidek and others: UNCONVENTIONAL TALENTS. These are individuals who offer a very different style but one which is largely effective and downright stunning when at its best. However, with that being said, there is definitely room for.... refinement. "Refinement" would be someone like Tarrus Riley. If someone had a sound signifying that they had no greater purpose on this planet than to sing this music, it would be Riley and, arguably, the single greatest demonstration of this  EN skill would be in one of the best songs I have ever heard, 'King Selassie H.I.M.'. TEAR! You're likely to find similarly organized songs throughout this list (I know at least one because I've already written it) but you'll have a damn near impossible task in locating one -- on or off this list -- which was as PRISTINE & FLAWLESS as this diamond of a praise. 

2. 'I Have My Goals' by Anthem

Wicked ahgo fall. You remember this song??? Chances may be fairly high that, if you ever were familiar with a band (which may or may not still exist) by the name of Anthem from out of who knows where, you probably do remember 'I Have My Goals' over everything else they've done. I don't know if they still exist and, if they do, under what form. I don't recall where they were from (I want to say Connecticut, US for some reason) but full credit goes to the band for blessing us all with this SWEET uplifting and inspirational piece from many years ago now. Take a listen. 

3. 'Health & Strength' by Warrior King

My Father's work. My Father's work. TEARS! I can safely say at this point that I missed on Warrior King. He's made some fine music  but, to be honest, I expected him to enter a level of the music that he has not and, almost surely at this point, never will. A lot of those very high expectations were built upon the work that would go into his 2002 debut album, "Virtuous Woman" (I have a signed copy of that album around here somewhere and the second one too). While the title track there remains his biggest hit to date (unless I'm REALLY forgetting about something) what his actual BEST SONG has been is of even less question (and, in retrospect, that album had some SERIOUS songs on it alongside 'Virtuous Woman'. 'Never Go Where Pagans Go', 'Breath Of Fresh Air' ["ANYWHERE THERE'S LIFE, YOU KNOW MY PEOPLE WILL BE THERE!"], 'Love Jah and Live', 'Empress So Divine', 'JAH IS ALWAYS THERE'.... and I could go on and on) ('Rough Road', 'It's Been Awhile'). Song #14 on "Virtuous Woman" is the mighty 'Health & Strength' and that song, for me at least, puts "virtually" everything that Warrior King does well at its optimum. It is melodic and beautiful to hear and it also carries a high level of substance to it as well; this time combining the enjoyment of the lovely things the world has to offer with a sense of hard work and accomplishment. I don't find myself looking up much of WK's output these days which is too bad and that's too bad because of the skyscraper of talent this man has as is crystal clear by a song like 'Health & Strength'. 

4. 'Before I Lose My Strength' by Akae Beka

All for The Most High, Jah. Here's an interesting one. On the very first edition of this series, we featured Akae Beka and there were several REALLY difficult choices in tunes that I cut off from the final list (to the point where I may, someday, make a vol. 2 for Akae Beka, specifically, and it wouldn't be difficult filling with another 12-15 songs). One selection was DEFINITELY 'Before I Lose My Strength' from the "Jah Grid" album. I can distinctly recall hearing this song (and most of that album) at a stage in my life where the music of Akae Beka (then Midnite) was almost entirely lost on me and the contrast of what I hear these days is absolutely ridiculous. "Jah Grid" is a borderline Modern Classic in my opinion and its finest offering, 'Enter' was on the aforementioned Signatures: Akae Beka post. Its second best?? That honour is up for debate but it settles at the glorious 'Before I Lose My Strength'. Something that I think is unintentionally beautiful about this song has stuck with me: It is delivered in a way (that may, actually, make it one of the best SANG songs that Vaughn Benjamin has ever done. That was never a specialty of his) that directly coincides with its direction. Benjamin sounds... kind of tired, doesn't it? He sounds like a man who has given almost every last drop of effort that he has in his body and before that final spill has been exhausted -- before he is at THE end of his line -- he has something to say. 

"Before I lose my strength-

All of my breath, OH JAH

A joyful song, I sing

Today & tomorrow"

5. 'On My Way To Zion' by Turbulence

Seeking The Conquering Lion. I definitely considered doing a full Signatures feature on Turbulence but the slightest bit if you want to know the signatures of Turbulence's career,  just dig up the "Rising" album and you'll probably be about 80-85% of the way there. One of the exceptions is, arguably, the single greatest tune he's ever done in my opinion, the absolutely STUNNING 'On My Way To Zion'. If ever you've had the fortune of seeing him perform this tune live (and I have) you'll know just how much you can actually FEEL this song but even the studio version of it does a fine job in capturing its presence. I've definitely had my issues with Turbulence's output over the.... best of the last decade and a half or so (and probably longer than that) but, here, he put on a downright ROYAL performance; one befitting The King.

6. 'Black Coffee' by Anthony B

No sugar. No cream. The perhaps surprising standout from the self-prouduced 2001 VP released "That's Life" set, 'Black Coffee' was an absolutely GORGEOUS and SMOOTH tune giving praise and honour to the beautiful Black women of the planet ["Here's my token of appreciation"] from the great Anthony B. For as popular as he is (for good reason), coming across compilations of Anthony B's work isn't the most difficult thing but you probably won't find this true gem of a tune that has largely gone forgotten. That is most unfortunate because it easily ranks amongst the finest love songs of his storied career.

"BLACK COFFEE, NO SUGAR, NO CREAM!

BLACK WOMAN MI A DI KING, YOU A DI QUEEN!"

7. 'Ganja Farmer' by Marlon Asher

Stinkin rocket launcher. Undeniably one of the finest ganja tunes in the history of the music, Marlon Asher left an impact on Reggae music over twenty years ago when he dropped 'Ganja Farmer' which can still be felt to this very day (typically I say it doesn't seem THAT long ago, 'Ganja Farmer' does seem twenty years old at this point). A strong case could also be made that it is the single biggest tune Trinidad Reggae has ever produced (and there're a few strong candidates but it is definitely in the conversation) and that has an even greater reach; it probably helped a number of Asher's peers get their foot in the proverbial door and who knows who we're listening to TODAY that we may not have been exposed to were it not for this tune. And as for this tune... 'Ganja Farmer', as effortlessly as possible, burned a giant hole in the minds of anyone lucky enough to get a taste of it, courtesy of a rocket launcher. 

8. 'Rub-A-Dub Market' by Luciano

Living legend. You come to expect certain things from certain people and when they kind of break that level of expectation and confidence, the results typically aren't very good...  but that isn't always the case. When 'Jah Messenjah', the great Luciano, broke the norm with the title track from his remarkable 2011 album for Irievibrations it was wholly unexpected but NOT AT ALL unwarranted. The man has (and had even fifteen years ago) attained a level of respect and accomplishment in Reggae music that is beyond reproach. We all knew that at the time but he'd never really expressed that, musically, until 'Rub-A-Dub Market'. 

"THEM KNOW THAT PAPA LUCI IS A LIVING LEGEND"

His place already secured, Luciano would even take a next step and criticize some of his less storied peers who are not willing to work but full want to reign.

"DEM AH GWAN LIKE DEM A DI ROOT BUT DEM A DI BRANCH AND STEM"

The tune was spicy, out of the norm and a gorgeous highlight within Luciano's LOADED catalogue.

9. 'Upper Room' featuring Empress Cherisse by Anchants

No need to wonder. I don't remember much these days about Empress Cherisse and the band Anchants. I THINK she was from Trinidad but I don't remember where they were based out of by the time they sent out their 2003 project, "Merkaba". I may've lost the stories of their origins but I do know that, barring some type of dementia, I'm not going to forget their actual work because one of the songs carried by "Merkaba", 'Upper Room', has been a personal favourite of mine from the very second that I laid ears on it. 'Upper Room' is... hypnotic. It is a.... CAREFUL EUPHORIA almost reminiscent of something you get from an ultra-tuned in Dezarie and I have gleefully lost myself in it. The biblically armed track is one with at least one foot on terra firma as, in a very relatable way, Cherisse tells us that there're many things that are questionable -- literally an endless line of them -- but there is something or SOMEONE who is above it and there is no need AT ALL to wonder about HIM. 

10. 'God Bless' by Junior Kelly

Anointed & Appointed. Buried on a long forgotten (but SPICY) album from nearly a quarter-century ago by the name of "Conscious Voice" is simply one of the single greatest songs I have ever heard from anyone, Junior Kelly's DAZZLING 'God Bless'. For anyone who has this kind of rigid archetype of what Roots music is, I'd point you in the direction of this most malleable giant. 'God Bless' had its purpose and it served it. Before we get lost in the stars, the track also deserves a giant lyrical credit as well:

"Yeah, though I walk through the Valley of Death, I man will never fret

Cause Jah is by my side and HIM ah guide mi footstep

Stood firm inna mi faith

Cause Jah is very great

So why you choose to fight man and don't appreciate?-

The vibes a weh mi fling, uplift mi race and thing

BADMINDED PEOPLE DEM DON'T WORTH A THING CUZ-

They would like to see you wear a frown everyday

They would like you throw your dreams all away!

But I'm anointed and appointed by Jah

Dem ahgo fi si mi face on ya!"

With that covered... LISTEN TO THIS THING! 'God Bless' sounds GORGEOUS. It's never failed to put a smile on my face in the last twenty-three years and, apparently, Kelly knew precisely what he had on his hands because he literally observes the moment:

"CAUSE A WI GOT THE GIFT FI MAKE HEADS ROCK AND SHIFT"

Yes, sir. Yes, you do. 

11. 'Volume Of The Book' by Ras Shiloh

The whole earth shook. Veteran vocalist Ras Shiloh is probably best known for two things: The first is his massive hit, 'Are You Satisfied', while the second is the similarity of his voice to the legendary Garnet Silk and that's just fine. I would argue that the single best song that he's ever made (even over 'Are You Satisfied'), is the literally inch-perfect 'Volume Of The Book', which appeared on his 2007 Bobby Digital produced set, "Coming Home", for VP Records. I'll put it to you like this: Shiloh is known, as I said, for being very similar, vocally, to Garnet Silk - if 'Volume Of The Book' were placed somewhere in the catalogue of Silk, it would still rank very highly in my opinion. There're songs that I like more than 'Volume Of The Book' in which I will acknowledge the existence of certain flaws which may even add to their appeal but that isn't the case here. If such a thing is possible: 'Volume Of The Book' was PERFECT. There is absolutely NOTHING wrong with it. 

12. 'I Wanna Go Home' by Alborosie

Island in the sun. I am not a fan of Alborosie's. I never have been and I almost certainly will never be. For some reason, his brand of music has just never appealed to me and though, once upon a time, I definitely did give it a shot I can honestly say that I haven't listened to much of his work, period. Something new coming from Alborosie will likely not get much of my attention. HOWEVER, with that being said there is one exception to all of this within Albo's catalogue, the complete and utter JEWEL that was 'I Wanna Go Home'. The song was just so easy and it was one of those magical times when the vibes of the tune so perfectly match the actual nature and focus of what is going on, lyrically. I wouldn't be surprised if I never found another Alborosie tune that I even kind of like but a big for 'I Wanna Go Home', he has earned and will always have my respect.

13. '50 Push Up' by Spectacular

Hundred skip. I'm probably more open on the heels of his wicked latest release, "Stay Up", from last year but that album didn't represent the first stroke of genius made by the scathing Spectacular. Way back in 2005, the Kingston native served up his debut set, "Find Yourself" and the lasting track from it maintains its STRENGTH to this very day. '50 Push Up' was a song stressing HEALTH & FITNESS of the highest caliber. You're well familiar with Roots music singing about the importance of keeping one's soul and mind in-shape by focusing on the proper things and, of course, praising His Majesty. You'll also hear the occasional offering talking about things such as living a more natural life and putting healthy things into your body. All the more rare is what '50 Push Up' does (as its title DIRECTLY suggests).... it's still necessary for you to break a sweat sometimes to keep your body in shape and to build muscle. There's a certain simplicity to this one, beneath everything, that really helps it along and made it a favourite of mine. Time to get off your ass and do some work!

14. 'From The Beginning' by Lyricson

The powers to sing. Though I may've (I did) beat up on Lyricson's most recent album, "African Dream", I actually did so because I've been witness to the mountain of talent on which he rests his head when at his best (and he's had an EP since then called "Zodiak Vol. 2", I didn't love that one either). Demonstrated amongst his earlier work on albums such as "Keep The Faith", "Born 2 Go High" and "Messages", the incredibly gifted Guinea born vocalist's  talent can be amongst some of the very best in the entire genre when steered properly and WITHOUT A DOUBT the best example of this would come on that "Messages" set from 2012, 'From The Beginning'. WITHOUT QUESTION, 'From The Beginning' is the single best piece of music that I have EVER heard from Lyricson (there exists a chance that he's made something that I haven't heard that I would rank higher but I HIGHLY doubt it) and you could drop it into the catalogue of a handful of others with more storied careers and that would still be the case. 'From The Beginning' was FLAWLESS. 

15. 'Manifess Joy' by Arkaingelle

JOOOOOOOOOY! I may have bad news for you, if this song does not bring a smile to your face. I regret to inform you that your ability to smile is GONE! It's found something else to do with its time and it's spending most of its time at someone else's house. For the rest of us, however, the Arkaingelle THRILLED! I've spent nearly twenty years singing the praises of the SWEET 'Manifess Joy' and with good reason: It's simply one of the best songs that I have ever heard... with no qualification at all (not one of the best from Arkaingelle, from Guyana or during a certain time period. IT IS ONE OF THE BEST SONGS THAT I HAVE EVER HEARD!). I should also do something that I'm not sure that I've ever done and give credit to a beautiful background singer who almost serves as a duet partner as much as a backing vocalist (...and may just be Malika Madremana).

Most Wanted: 2026

Okay so, that was 2025. I hope you liked it but if you didn't, there's nothing we can do about it now. It's over... on to the next! We had some very impressive releases from some expected and some unexpected stars to help make the year fun and, presumably (and hopefully), this time next year, we'll be saying the same for 2026. So we're already looking ahead to what the future might have to offer and to do that we're going to use a feature from back in da day. Today we assemble a group of ten individuals who we're hoping to hear from in the new year. Most Wanted 2026!

{Note: Names appear in no particular order}

{Note 2: I intentionally excluded people who I know have albums scheduled or are heavily rumoured to be releasing albums}

Anthony B

It was just 2023 when the great Anthony B released his most recent set, "Bread & Butter", so while the world isn't exactly starving for a new one from him just yet... it would be pretty nice considering the roll he's been on in recent times. I'm sure I'll say this in regards to someone else (if not everyone else) but, with the right producer, based on what he's been up t o lately, I think Anthony B's next album -- whenever we get it -- could be a contender for best of that year. Even at such an advanced and well grizzled stage in his career, the Original Fire Man appears to be well within reach of his prime. ANTHONY B! SHOW EVERYONE WHAT I MEAN AND DO AN ALBUM IN 2026! PLEASE.

Queen Omega

We're just coming up on the third anniversary of "Freedom Legacy", Queen Omega's most recent studio release but prior to that, a truly ridiculous FIFTEEN YEARS had elapsed in between records from her, which was entirely unacceptable. Three years is just fine in my opinion and the star of our Album of The Year for 2023 would look just fine making her return in 2026. In the summer or so I actually heard an interview (on a radio station in Toronto, I THINK) where the Queen said she was at work on her next album and I, of course, glued into that fact. She didn't say with whom she was working or give any type of timeframe for its potential release whatsoever but, if she does make an appearance next year, she could definitely do a lot for 2026. 

Damian Marley

"Stony Hill" will turn eight years old next summer and one of the legit, bona fide superstars of the genre, Damian Marley, figures to be DUE for a new set any one of these years now (and I can recall hearing a rumour that he was coming with something late 2024, I believe) and one would think that he is actively at work on the next project. I always enjoy stressing the fact that, despite the most obvious thing about him -- he's Bob's son ["Tell mi which CD do you think dem get? Di one closest to di Bob Marley boxset"] -- Jr. Gong is a wizard. Lyrically, the man is virtually peerless and what he is capable of is downright special. Hearing a brand new performance of his talents is always a gift. Hopefully he brings gifts next year and I think he will. 

Ras Batch

Without looking anything up, I would probably say that Ras Batch releasing an album in the next twelve months would be THE biggest surprise if everyone on this list were to do the same. The last time we heard from him would have been on "Rootz & Kulcha" from early 2017 and if you know anything about Batch, he pretty much likes to do his albums by himself. Of course there're exceptions (one in particular) but he generally keeps production in-house via his own Sound V.I.ZIon imprint. That's fine but I think if he could, somehow, get into that never endingly active mix of Trinity Farm Music (like other VI artists, Ancient King, Abja, Danny I and  even Akae Beka) it would see the rather reclusive Ras Batch to a greater level of frequency... and he can bring Ras Attitude with him! I don't think it happens but stranger things have. 

Sara Lugo

Finally (technically. I'm writing this one last but she won't be listed last), you knew she was coming. How about a new Sara Lugo album for the new year?! Recently returning to the familiar ground of Oneness Records, the now VETERAN singer (Sara Lugo's probably getting towards (if not already) forty years old (that is RIDICULOUS!)) (further research reveals that she just turned 38!) could definitely freshen up 2026 via dropping album #4. It's been a minute (and four and a half years) since "Flowaz" ["Bring me flowers!"], so she's also due (...for an album) any year now and 2026 seems as good as any. I'm actually going to predict that this one does happen in the new year. Maybe it comes from Oneness, maybe not, but I suspect Funky Comfort will reign in 2026!

Luciano

I could definitely be wrong and I probably am but, off the top of my head, I THINK that the most recent studio album that we got from the great Messenjah, Luciano, was 2020's Oneness produced GIANT, "The Answer". He's had re-releases, remasters, greatest hits and compilations since then but, as far as I can tell, not an actual new album since it (he had one called "Return Of The Chronicles" which was an odd R&Bish re-working of some of his biggest hits that was really hard to listen to). That's fucked up... it just is. Even if I'm forgetting one, hopefully one of the greatest voices this music has ever produced and one of its longest serving soldiers comes back to us in a characteristically BEAUTIFUL way in 2026. 

Mark Wonder

There was an EP back in '23 called "Reflections Of The Dragon Slayer" but I think that the last full album from the GOLDEN Mark Wonder remains 2020's "Remz Of The Dragon Slayer" (the man has been slaying dragons for a really long time). That album came from a very familiar source, Oneness Records and, not too long ago, Wonder appeared on their High Peak Riddim. I'm thinking that 2026 could be a very good time to get the old band back together again and see what could happen. What could happen has history as, way back in 2012 Wonder & Oneness teamed up on the aptly named "Working Wonders" which is, EASILY, one of THE best albums I have heard in my entire life. I think that it's time for a sequel ["WHO ELSE COULD IT BE?!"]. Will it actually happen??? I wouldn't bet on it. 

Busy Signal

This one is very specific and I don't really think that it has a legit shot of happening but let me ask you something: How damn cool would it be if Busy Signal's next album came via the Zion I Kings?? Doesn't that sound pretty good?! Obviously, the thought arose as the well versatile Busy actually did cross paths with massive Reggae collective for a single, 'The Days', back in October. Now, if they could get together again.... this time for a full album, the results, just as the quality of the single would suggest, could be MASSIVE.

Jah Defender

Such a list from me these days HAS to include the currently flaming chanter from out of Trinidad, Jah Defender. Along with being quite active these days, he lays a giant claim to dropping THE single best tune that I heard in all of 2025 altogether 'Haile Selassie I', so of course I'm interesting in getting my hands on a full release in 2026. Magnifying matters is the fact that he's been doing a lot of work with one single outfit, House Of Riddim. I can DEFINITELY see HOR reaching with a full Jah Defender project in the new year and you know what? I think it WILL happen and if it does, at least on paper, this one will have Album of The Year potential in my opinion. 

Reemah

I know that I said that these were listed in no order in particular but I specifically saved Reemah for last because she's probably my #1 in terms of how much I want it to happen. It has been a downright heinous soon-to-be eight years since her last set, "Breaking News", and... frankly I'm getting tired of waiting. This is some bullshit! Had I done this list last year or the year before, my prospects would have probably been higher. Today? Nope. I have none. I don't think this is happening. I do hope that I'm wrong but I'm not seeing one of the true, bona fide GENIUSES that we have today doing a new album in the new year. I'm just not.... but DAMN, I HOPE I'M WRONG! 

UNDERSTOOD!: A review of Upliftment by Derrick Sound

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

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

2024

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

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

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

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

"Nuttin no negative, so wi no deal wid minus

Wi blessed and multiply, so they cannot divide us

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

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

AND YOU CAAN DRAIN WI ENERGY, GO DRAIN YUH SINUS

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

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

MI POSITIVE OF DI FACT NEGATIVITY TIME UP"

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

"Yeah di massive, ah si positive

POSITIVE INNA WI NOUNS, WI VERBS AND WI ADJECTIVES

REAL & GENUINE SO NO PRESERVATIVES, NO ADDITIVES"

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

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

SELASSIE I. NOT PERHAPS OR PROBABLY!"

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

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

coming soon

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

"You haffi give up the good fi the great

A wise man will change his mind

And a fool will never si di sign

Look like seh di government blind

So wi, seek knowledge and break dem chains

Until yeah, wi start si change

Eternally fyah gwan blaze

Try fi open yuh ears

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

Evidence nah go deliver dem evil

Have a voice so wi speak to di people

Step forward: In the ground

Or take ten steps back, into safety

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

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

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

"Nuclear weapons are deployed

And dem ready fi destroy

Wid dem weapons of destruction

Get yuhself employed, whether girl or boy

Dem ready fi go start up di action

Who will survive?

Tell dem a di fittest of di fittest

Set up yuh grounds, mek sure that you legit

Sorry for those who just can't resist

LIVING INNA ZONE WHERE DEM DON'T HAVE NO LIMIT

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

Should be making that paper

Stocking up yuh spinach

If a war dem come wid, a no my image

NO, DEM CAAN GET MI TIMID!"

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

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

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

Rated: 4.75/5

Evidence Music

2025

Cali Roots Riddim 2023 by Collie Buddz

The Cali Roots Riddim 2023 [Collie Buddz + Ineffable Records]

1. 'Open the Door' by The Movement

2. 'A Thousand Times' by Busy Signal

3. 'Leon On Me' by Fiji

4. 'High' by Khalia

5. 'Do It Right' by Gondwana

6. 'Never Give Up' by J Boog & The Green

7. 'Light It Up' by Mihali

8. 'Press Remix' by SOJA

9. 'Shine My Light' by Irie Souljah

10. 'Waste My Time' by Little Stranger

11. 'Life Is A Cycle' by SARA LUGO

12. 'Life' by Hector Roots Lewis

13. 'No Boundaries' by Iya Terra & Dub Inc

14. 'Romeo & Juliette' by Shwayze

15. 'Jah Spotlight' by Luciano

16. 'Marry Me' by Anthony B

17. 'The Butterfly Remains' by Mike Love

18. 'Upside Down' by DISPATCH

19. 'Music Is The Remedy' by Eli-Mac & Inna Vision

20. 'Living In A Brighter Day' by The Expendables

21. 'Hold On' by Cydeways

22. 'Love Your Love' by Claire Wright

23. Cali Roots Riddim - Instrumental

Okay so, something that I simply HAD to tell you about because we've had our eyes firmly on it for maybe a month now is the brand new and GORGEOUS riddim from Collie Buddz & Ineffable Records, the latest installment of the Cali Roots Riddim (which seems to be somewhat of a running series). When I initially saw the lineup of vocalists on this riddim it stung me and long time readers of ours will know exactly why that was the case (so will new ones if they noticed what we did with the tracklist up there) and it still remained the matter of hearing the actual riddim itself (you can have literal deities singing the songs if they track is trash then no one wants to hear that). Fortunately, now that the Cali Roots has made its way forth, the work that Collie Buddz and J-Vibe have done is not only befitting some of the genre's most gifted wordsmiths, on its own, it is simply beautiful! It has a very nice cool vibes to it which, again, when you put it behind the right vocalist, really shines even brighter. Fortunately, Collie Buddz and company were also sure to include a clean version of the Cali Roots so we can all see that, even sans a single word, this thing is golden!

Now, even a cursory glance of the names appearing on this set will do interesting things for you. Names such as Luciano, Anthony B (who had an EXCELLENT tune on a previous version of the Cali Roots that you may remember, 'Chill Out' ['I just wanna dance and listen some rub-a-dub"] which is featured on his latest album, the BIG "Bread & Butter") and Busy Signal will definitely pop out for fans of all experience levels and one or two more, such as J Boog and Grammy winners, SOJA will also be familiar to quite a few ears as well. HOWEVER, readers of ours will immediately recognize the fact that my eyes were fixated on one name in particular amongst the rest.

....Yep..... it's SARA FRIGGIN LUGO! The looooong as hell time Achis Reggae favourite (if we had a Hall Of Fame, she would be in it) (....that's actually a pretty good idea) absolutely blesses the the Cali Roots  with what turns out to be its finest moment altogether with 'Life Is A Cycle'. 

"Watch the tone you speak in

Is it positivity you are seeking?

If all youi do is argue for no reason, better prepare for winter season

Life could be so beautiful, easier when you're grateful

From now on, focus on the blessings

Watch what happens when you rethink this message"

BOOM! 'Life Is A Cycle' is absolutely gorgeous! What a lovely tune and one which is fully emblematic of the quality levels of.... simply one of the greatest we have ever seen (she's probably like... thirty and I'm already saying that about her, but fully well earned around these parts, definitely). Fortunately, Lugo isn't the only star shining on the riddim as 'Life Is  A Cycle' is joined by big efforts from the previously mentioned Busy Signal (who absolutely TOYS with the track on his 'A Thousand Times'), J Boog & The Green and Anthony B, although, SHOCKINGLY, Luciano misses the mark with 'Jah Spotlight' which sounds oddly off-key and just odd at times in my opinion. Iya Terra alongside Dub Inc also turn up nicely with their 'No Boundaries' and the Cali Roots Riddim 2023 also includes several nice surprises from the likes of sweet singing Hector Roots Lewis, Mike Lewis with the curious 'The Butterfly Remains': A tune I was well looking forward to hearing and one which most certainly did not disappoint. Still, I have to say  the largest revelation from the riddim comes from the all kinds of impressive Khalia who torches everything in sight with her GOLDEN love song 'High'.

With big respect to Busy, it's probably the second best song here altogether and definitely keep an eye on Khalia going forward (and going backward) as well. Although the man of the moment, Collie Buddz himself, doesn't actually take on his own riddim, as I said he does give us a delicious clean version of the Cali Roots, which we always love to hear.

The Cali Roots Riddim 2023 edition is currently available now courtesy of Collie Buddz and Ineffable Records.

IT LIVES: A review of XTM Nation Presents Fatis Tapes In The Oven Vol. 3

Heritage. I'd like to think that it is the case for almost everyone who takes pride in doing almost anything that you'd like to be able to say that whatever it was that you've done, you have managed to make some type of lasting impression. Even if your "whatever" is working some random, dead-end job; you'd probably take at least a little gratification in knowing that, when you left and moved up in the world, your poor replacement/s had to go through a month or two hearing about how large the shoes were that they had to fill. Even for me, I do have to admit that at the beginning of our hiatus, it was nice to see people on the page and sending us messages saying that they missed us and needed us to come back because it makes me feel that when the day does come that we end things around here, as I have said in the past, all of this work that we have done can be useful to someone somewhere. It's a nice thing to think about. When we talk about musicians and artists, it is exactly what I just said but magnified maybe millions of times over. Can you imagine making a song that has touched people to a degree that, as long as there're people on the planet to sing it, someone somewhere will be singing that song and telling others just how great it is?? Can you imagine how good that must make someone, particularly in the winter of their lives, seeing clear evidence of the successes of their life's work. On the largest scale as far as what we do, I wonder if Bob Marley had any idea of just how big the legacy he had created was before the end of his life. I wonder if he knew that he had provided the necessary framework to send the greatest musical artform the world has ever known into international prominence and, quite literally, make himself one of the most popular and beloved individuals to have EVER lived. He probably had no idea and that's too bad. I often wonder about (and talk about on these pages) our current artists today. Some of them have an entire career worth of music that will never be forgotten, while others have singles here and there for which they will likely forever be known and others still may have come to [and remained in] be beloved for various reasons (such as an unsual skill for example) (biggup Vaughn Benjamin). As we progress, it will be most interesting to see how history begins to treat many of them.

Of course something that helps to build a legacy and notoriety which lasts beyond you is when you have someone directly continuing to display your work to the masses. When the generation after you and the generation after that knows who you are and has some type of grasp on what you did in your own era -- and then has a reverence for the work -- you may have something very special and may be in the process of 'building' a reputation which will last as long as humankind does. Let us take, for example, the case of my absolute favourite producer and favourite label of all time, Philip 'Fatis' Burrell and the notorious Xterminator Productions. There is first the direct method of remembering the work of Burrell and Xterminator: The label would be very instrumental in the careers of bona fide Reggae legends Sizzla Kalonji, Luciano, Beres Hammond and Cocoa Tea, and it would also see to stardom a variety of especially gifted vocalists such as [but not limited to] Turbulence, Mikey General, Prince Malachi and Chezidek. The work done in the case of all of these wonderful artists, and others, will find its way onto the tongues and lips of someone, somewhere in the world FOREVER. In those instances, however (as is the case right now - and for pretty much everyone) (trust me. I know), you may be unlikely to know the source of the material that you're singing, outside of the artists (and, then again, maybe not). The actual work of making sure that people remember the XTERMINATOR name directly is most vividly being done in another way.

2018 & 2019

I don't know if Xterminator is still at work today in any form. I doubt it as Philip Burrell transitioned just about eleven years ago. What I do know is that what I have to come to expect from the label in terms of actual releases over the last few years or so has been in the hands of one XTM.Nation. Ran by Fatis' son, Kareem Burrell, XTM.Nation (a BEAUTIFUL name) has done a wonderful job of not only existing as its own brand and imprint, but also of being something of an evolving musical museum of sorts for the works of Xterminator (and further research reveals that XTM Nation is Xterminator. They are one and the same). One of the ways they have accomplished the latter is through releasing albums full of some of the, perhaps, lesser known bits of Xterminator via a most interesting series by the name of "XTM Nation Presents: Fatis Tapes In The Oven". The first installment of the series would arrive almost five years ago now in early 2018, featuring top notch sets from the aforementioned likes of Turbulence and Chezidek in particular, as well as others such as Nadine Sutherland. The very next year the second release in the series would arrive and, though a third smaller than its predecessor, the album will still carry compelling tracks from Lutan Fyah, Ras Shiloh ["There's no reason for this life of war. What the hell is it that you're fighting for?"] and even Jr. Demus. Though it's now taken nearly four years, we're getting the third piece as "XTM Nation Presents: Fatis Tapes In The Oven Vol. 3" has now arrived. There're definitely children of former greats in Reggae music who are, in one way or another, doing their part in keeping alive of the respective memories of their parents. Someone who definitely comes to mind is the great Addis Pablo (new album, "Melodies From The House Of Levi", out now), who is continuing, DIRECTLY the life's work of his legendary father, Augustus Pablo, by utilizing the same obscure instrument [the melodica] to demonstrate a master class of Reggae music. This method here, however, seems even more direct and, again, as someone who was greatly impacted by the music of Xterminator at their peak and still to this day, I am SO happy that much of this work is put together in this type of package for the masses and, particularly, for some of the younger listeners. Old heads, like You and I, will also enjoy and not only for nostalgia. One would presume that the younger Burrell and XTM Nation would have an unrivaled level of access to Xterminator's vault (like ALL ot it, basically) and because of that you'll encounter tunes which are incredibly obscure and others which are totally unreleased altogether. Regardless of who you are, you are almost assured to find some level of interest in this project and all of that is just on paper.... wait until you actually listen to it!

Along with being my favourite label ever, Xterminator has always been an interesting point of discussion for me, in general. Not long ago at all -- without even knowing that this release was in the offering -- we cracked open the vault and, most randomly, took a look at "The World Shall See", a more than respectable compilation of the imprint's music now more than a couple of decades old! Add to that all of the years of Sizzla, Luciano, Turbulence and Luciano albums that we've done and, CLEARLY, it's something that I look forward to writing about and biggup XTM Nation for the FRESH opportunity once again (was SO excited to dig into this one). Coming through at an hour spread across fifteen tracks (meaning a very healthy four minute average), "XTM Nation Presents: Fatis Tapes In The Oven Vol. 3" (which I will now begin referring to as "Vol. 3") begins with a song that I've never heard before courtesy of the esteemed Ini Kamoze, 'They Don't Know'. Just a few weeks ago, Kamoze released a remastered version of an older single, 'Hardware', on XTM Nation and his most recent album, 2016's "Trampling Down Babylon" was another project with Xterminator/XTM Nation. Most notably, the union also produced the massive hit, 'Hot Stepper', as well; so, whether you realize it or not, the Ini Kamoze - Xterminator connection is one which definitely reaches back quite a ways. This tune is a LOVELY one which I took to be about the mistakes you make in underestimating people and overestimating yourself - thinking that you're smarter or just full on BETTER than anyone else. Kamoze has always had a very interesting style for me. It's at times both monotonous and highly melodic and though I rarely speak about his work, I well respect his talents and it's because of pieces just like 'They Don't Know'. Next up is one of the main attractions for me (and probably for everyone), as my favourite artist OF ALL TIME, of course, makes an appearance as Sizzla Kalonji spellbinds on 'What I See'.

"What I see is harmony-

Taking hold of everyone's hand

As for me, let it be

Stop the war, it's been much too long 

Look what they live fi si -

LOVE, within the neighbourhoods

Gratefulness happening as it should

In time passed by, even I myself would-

Wonder who would step forth and show me any good

BUT IT IS THERE

I see it all now

Love in the air, no war is allowed

Everyone been caring

Only love outpouring

We should all know to grow all di seed weh wi sew"

This track, BRIMMING with positivity actually reminds me a bit of another older tune from Kalonji, also produced by Xterminator by the name of 'Love Amongst Me Brethren ["To Sizzla, that heaven. None of us can run from the truth"], for some reason. They resemble one another FAINTLY at best but both were sensational on a very direct and basic type of vibes. You won't be shocked to find out that, albeit by the slimmest of margins, 'What I See' is my favourite song on the whole of "Vol. 3", but I think I may be a bit biased. Up next is the legendary 'Messenjah', Luciano who makes his contribution in a big way (also quite simple, but that is the norm in his case) on 'Youthman'. You know precisely what this one is about simply based on its title but don't make the mistake of letting its predictability cloud your judgment in respects to its quality: 'Youthman' is EXCELLENT as the dominant singing voice in modern Roots Reggae gives a MASSIVE pep talk to the youths of the day. This song has some very difficult to describe FEEL about it.... or something  that is quite special to my ears. I'm struggling mightily (and am about to give up trying) to find the right word but there is some... CRISPNESS to 'Youthman' which definitely heightens it for me and if I'm the only one who feels that way, it won't be the first time. The big voiced Jack Radics asks 'Where Do The Children Play' which, at least for me, is VERY clever. What I got from the direction on this one is the idea that the world has gotten SO ridiculously complicated and people have become involved in so many different things that we have never throughout history that we have managed to lose focus on some VERY basic aspects of traditional everyday life and Jack Radics is STUCK on it  ["We've come a long way. We changing day-to-day. Tell me, where do the children play?"]. He's wondering what the hell is going on and, unfortunately, he may be in very select company. 'Where Do The Children Play' is fantastic if you give it the opportunity. Wrapping up our first third of selections on "Vol. 3" is Reggae royalty, Marcia Griffiths, with the delightful 'Cry To Me'. If this one does NOT get your head bobbing and something moving in you then you may want to consider seeking immediate medical attention. 'Cry To Me' isn't going to change lives (obviously, it's almost thirty years old), but it is a JOY to listen to and, of course, any time you can attach Griffiths' name to virtually anything, it's only going to improve it.

Perhaps by design or perhaps by coincidence, but the next lot of artists on "Vol. 3" features five extremely esteemed vocalists, two of which were fairly consistent in terms of the work they did with Xterminator and three others who were a bit more surprising, at least for me. The biggest of them all provides a tune which I'm almost certain that I've never heard before as the truly timeless Beres Hammond brings 'Never Again' and says it to, arguably, the second finest tune on the album. There's just something about this man singing a song where he pushes his vocals -- even just a little that just you. It's almost unsettling and I mean that in a good way. As to the actual tune, 'Never Again' doesn't fall out of the scope of what you've come to expect from Hammond throughout the years in terms of either direction or quality and, again, it is exemplary from someone who has made an entire career (and then some) out of being exemplary and does so, here, in the nature of learning from one's experiences. Cocoa Tea is an artist whose career has been very closely associated with Xterminator and while no one will be surprised to see him appearing on "Vol. 3", we should be pleased with the results in 'Each Man Take Over'. Cocoa Tea's style has always been fairly simple and straight forward for the most part (even when at his best) (particularly when at his best, actually), but this one is a slight deviation in my opinion. 'Each Man Take Over', won't confound anyone lyrically (hope it doesn't) but it is a set about how, anywhere you go in the world things change. Everyone from everywhere sets the rules and laws (whether actual or.... territorial) for everywhere you go. Wayne Wonder did not voice a lot of songs for Burrell that I know of but he clearly made the most of what he did as evidenced by the very COOL 'The Way I Am'. I barely even know how to describe this almost R&B-ish piece outside of "very cool". The vibes are so nice and relaxed that I wouldn't at all be surprised if Wonder heard the riddim and just came up with the song on the spot. It isn't amongst the class of this album, but you let this song play and play and it'll probably show itself to be better than you originally thought. The generally underrated Spanner Banner does go just a bit higher with his solid lover's tune, 'I'm Crying'. I've never really been much of a fan of Spanner's, but he is someone whose talents I do appreciate (and I can say the same of his brother, Richie Spice, whom he often resembles vocally)and have appreciated throughout the years. I've never heard this particular song and while it isn't great to any degree, if you needed more a direct love song for this compilation, you have it here. Outside of 'Never Again' the second best tune you'll find in the middle portion of "Vol. 3" is definitely 'Know What Is Life' by the always welcome Pinchers. While I have rarely ever written about the work of Pinchers, I have been a fan of the curious voiced singer and, here, somewhat like Hammond, he delivers a golden offering largely about experience. In this particular case, Pinchers make a direct correlation between POSITIVITY and life experience and how crucial it is to not only look after one another, but to accept help when you need it (and ADVICE). 'Know What Is Life' is very impressive, although somewhat oddly vibed (I told you what you'll do with your head on 'Cry To Me', I'm thinking this one may just have you neck confused) - we'll overlook that.

Impressive singers continue to appear throughout the balance of "Vol. 3" as its final trio of selections come via big time crooners. As far as Xtermintor goes, in particular, none of them are bigger than the tones behind 'We Tired A It': Mikey General (big new album, "Hold A Heights", you should check it out). Again, I'm going to have to confess my potential bias in this instance because I LOVE Mikey General and 'We Tired A It' is a big, big winner her to my ears. The track finds the General outlining frustration of having endured centuries and generations of oppression.

"They gave us emancipation, but they took away our rights

Through some education, they demoralize our lives

Give worldly possesions only to a few

And use it as a barrier against the multitude"

This one comes in with quite a bit of lyrical HEFT as the singer does pay attention to get as detailed as he possibly can in several instances, which is a nice thing. It succeeds in its specificity which isn't something you're always going to say about Mikey General's music, but let this be an exception and an impressive one. The great Sugar Minott says that "you can kill 'The Goose' who laid the golden egg" on a tune that I'm well familiar with prior to "Vol. 3" (I cannot confidently say that I knew it was from Xterminator though. I'm actually inclined to say that I did not know that). I've always taken this song as an expression of both the level that Minott was pleased to have reached during his career and as a statement of the responsibility which he felt came with it. He was one of the biggest 'big men' of his era (of any era) and, thus, it came with the obligation of setting a good example and being a good role model for all of the youths and elders aspiring to be where he was. Sugar Minott embraced that and I think that 'The Goose' was his 'invitation' for others at his level and near it to do the same. The final tune on the album, 'We Give Thanks' from sugary sweet singing Al Campbell, is definitely not a favourite of mine, but I do not hate it. 'We Give Thanks' is just kind of here. It's harmless and pretty much anytime you get to hear a song sung by Al Campbell, it can't be too horrible, but the song doesn't do much at all for me. Following the middle of "Vol. 3" and given what was to come later on, it could have definitely used a bit more in the way of fire and if you need fire in Reggae music, you cannot possibly do better than in retaining the services of pyrotechnics MASTER, Capleton who well adds some bite with 'Clean Hands'. I've said it before and I will say it again here: You will often find yourself distracted when it comes to Capleton, given all of the FLAMES and dramatics that the man comes in with, but when you REALLY get into it, Capleton is a top ten lyricist in the HISTORY of Reggae music. He toys with the words at his best and you listen to what he does with this one - a scintillating display about bathing oneself (spiritually) and living up to your standards (or upping those standards if need be).

Another veteran of Xterminator, Jesse Jendau (aka Congo Jesse, Jesse Jender & Jesse Jendah), also provides this release with a little bit of chanter's heat with 'Where Can I Find' (which, for some reason to my ears, sounds like something you'd hear from Determine. You wanna talk about underrated lyricists.... don't even get me started on Determine. That man is a master) (probably my favourite Jesse Jendau tune was 'Ghetto Youths' with Sizzla and he had another named 'Fear No One' which was GIANT). 

"Where can I find

LORD

That peace of mind

WHOI

Lord, in this time of war and crime

You set up mi bredda fi be warmonga

All over this world, inna di ghetto era

Substance abuse, it gone pon top

Everywhere big .45 clock

WI NO DESIGN NO GUN, WI NO DESIGN NO CRACK

But war ah hit inna di Black man lap

You look inna di future and yuh bound fi si di trap

Oh lord, what a joy when Black man touch di top"

Jendau SHINES on the excellent social commentary, which finds him searching for a more basic and peaceful plane of existence; something which certainly isn't too much to ask for. "Vol. 3" would be less than it is sans 'Where Can I Find', well registering as one if its definitive highlights.

Overall, I don't want to make more of it than it is, "XTM Nation Presents: Fatis Tapes In The Oven Vol. 3" is just a damn solid compilation. That is true even if you take out the circumstances. Such a setting when observed, however, will make it more for people like myself (and probably yourself, if you're still reading this). This one comes in with all the nostalgia and musical ECHOES that you would hope from such a project and I really LOVE, again, how this music can be given and re-given to older fans as well introduced to newer heads at the same time. When XTM Nation does that, not only are you keeping the music of Xterminator alive DIRECTLY, but you're also very likely putting it in a position where someone who was never familiar with their work ends up doing what I did so many years ago and falls in love with what is EASILY one of the greatst musical legacies in all of Reggae music history. 

Rated: 4/5

XTM.Nation

2022

Digital