Over again. It tends to be easier to remember certain things when there is a significant moment or occurrence tied to them. If I were to ask you what you remember about some random year that you lived through, perhaps you'd have something specific to say or perhaps not, but if I then reminded you that it was the same year that someone you knew died or that someone else was born, then maybe it might bring back waves and waves of specific instances that you could suddenly recall... because you now you have something in particular to give you a timeframe to attach them to. For example, do you remember 2002?? Musically speaking, in particular? No?? Okay. 2002 was the same year that Capleton and VP Records shipped "Still Blazin'" and had as all wondering if it were some kind of disrespectful to say the album was POSSIBLY as good as or even better than the album which preceded it, the all time great "More Fire" (over twenty years later, it wasn't disrespectful at all). Bring back any memories? No?? Okay, later that year Sizzla Kalonji would put to bed any rumours of his musical demise by giving us "Da Real Thing", providing a hint that the genius behind "Black Woman & Child" and "Praise Ye Jah" was alive and well and still burning. And just in case you needed anything more from the 2002, there was also an album released called "Dutty Rock", which would go to find its star, Sean Paul, and a few of his peers, taking over the entire world for a nice amount of time. There are periods like that which we live through and are fortunate for it but, even more interesting, there're also longer lasting stretches where.... things are just SO DAMN GOOD that it is important while you are in the moment to appreciate what it is that you have because you have enough life-experience to have lost things that you long for, that YOU KNOW are never coming back. Last year we reviewed an album which would go on to be one of the better of 2023 by the name of "Ah Mi Yard" by Achis Reggae favourite Perfect Giddimani. That set was excellent, although on the shorter side of things (had fourteen songs but really just seven with dubs for each one making the second seven) and, looking back to it now, it has aged quite well. A year on, there are two tunes in particular which stand out from "Ah Mi Yard", the title track (normally the case. Just like in the premise of this review, if I asked you what you recall about 'Ah Mi Yard", you're probably going to start singing 'Ah Mi Yard') and another one called 'Give Me My Flowers'. The latter of those two will likely always stick with me because I absolutely LOVE the sentiment behind it of giving someone their credit and their due WHILE THEY ARE AROUND TO APPRECIATE IT! That song and that album, and probably a dozen more or however many more and the one we're dealing with today have lead me to think that maybe it's time to give someone their flowers and not just for one sweet year that they gave us. It's been a really long time coming.
"Ah Mi Yard", like pretty much everything Perfect does these days, came partially via his own Giddimani Records label but this time it was in association with the actual producer of the set, I Grade Records and the Zion I Kings. I'm not going to attempt to run down the list (well I am, but I won't bother you by writing it out) (I'll do it in my head instead), but I have written SO MANY reviews, previews, re-reviews and other features on ZIK released material (and even about IGR prior to their linking with the Z and the K (more on them in a second) or at least prior to my knowing about it) (.... now that I think about it, I also wrote about the Z and the K before I knew about the collaboration as well) (you know what else came out in 2002??? "Culture Dem") over the years. Even with all the time we took off, between dealing with all of the various Akae Beka sets (still have one on my front page to finish, one of these days, for 'Mek A Menshun") and various other things, I don't know if there's anyone else on the planet who has written more about the ZIK than I have - especially given the way I usually write. I absolutely LOVE their work and it has been every bit as influential on what I write as the golden years of Xterminator which would birth the likes of Sizzla Kalonji which really got me interested in writing in the first place. CREDIT is due and I have no problem continuing to pay it.
In the midst of the Akae Beka albums and others from Perfect and a few other wonderful artists (some of whom we will be talking about today), the Zion I Kings have maintained a riddim album series which has been both plentiful and fruitful (both of those probably mean the same thing, I don't feel like looking it up to confirm, but what I'm trying to say is that the series has supplied both quantity and quality). With the very first installment arriving in the summer of 2013, eleven years later we're now at number ten! There have been some BEAUTIFUL drops along the way with that number one, the Songbird Riddim, being amongst the standouts. The Lifetime ["Put a fyah in deh!"], the Perfect Storm, the Mash Down, H.I.M. Teachings.... I could go on and there's ten (technically nine, because this is number ten), so I'd probably end up mentioning SOMETHING from them all and justly so. They have given us, fans of modern Roots Reggae plenty to be happy with in the series over the years. The most recent entrant of the series, the Mash Down from 2021 which I just told you about, came via the "Kings", Lustre Kings Productions, and they have been very successful in alternating the label behind the actual releases (which sounds like such a healthy way to do business between three different entities) and in 2024, next up is "Zion", Zion High Productions, who carries the bat for the brand new Full Bloom Riddim, volume ten of the Zion I Kings Riddim Series. I hadn't been aware that this set was even in the offering and it came as a very much welcomed surprise. Norris Man, Ras Shiloh, Etana, Ginjah and now the ZIK all do brand new albums within a week of one another (and I'm going to tell you about someone else, who appears on this one, also having a new studio album out on the very same day as the Full Bloom). This is a FINE time to be fan of modern Roots Reggae and it is only getting finer. Of course, as is the case with any compilation, one of the most interesting aspects of the Full Bloom Riddim is the artist selection. Here, we have a roster largely of artists who frequent the ZIK itinerary (probably a poor usage of that word, but I'm keeping it!) with one or two surprises along the way and some very unique blends of styles jumping from one name to another. They also, delightfully, cover the critique of mine which would have been - 'I wish they would have had this type of an artist'. They're all covered and what results is..... well, it's exactly what you expect. They've been doing this for a really long time. Let's get into it!
Just as important as the names voicing it is the riddim, itself. It's pretty damn difficult to have a good riddim album without a good riddim (you know I'm now going through my mind, trying to think of a riddim that I didn't particularly care for but, somehow, made for a good album) and that is not an issue here at all. The Full Bloom is typical, mellow and ultra easy brilliance from the Zion I Kings which makes for a more malleable and versatile backdrop for its vocalists to shine across (and we'll talk about that more, later). Surprisingly, I'm going to make the case that NO ONE shines brighter than Imeru Tafari, who opens matters on the Full Bloom riddim with the absolutely SHATTERING '1930'. TEARS! You may or may not know Tafari from his famous bloodline and he is living up to his heritage and more with a song like this. I use the phrase 'praising tune' to describe songs like this, generally and that is just what this is, but this is a PRAISE of the HIGHEST POSSIBLE CALIBER! Along with the historical facet it puts on brilliant display, '1930' also brings in present, modern-day application for what history has taught us and puts on a lyrical performance which is not to be missed!
"Haile Selassie give mi di mission and di battlefield
And Empress Menen give mi di formulas and strategy
No lose yuh sanity cause His Imperial Majesty-
Will help you overcome yuh trials and di travesties
MY MISSION IN LIFE IS NOT ONLY TO SURVIVE
DISGUISE DI TRUTH DEM IN LIES
I WANT YOU OPEN YUH EYES
THE KING AND THE QUEEN DEM WAAN FI DIVIDE
HAILE SELASSIE A LIFE"
When I heard this tune, it gave me the core idea for this review. There have been SO MANY times like this where I listen to a tune from the ZIK and it just... it floors me! I can go through albums full of them for the sake of nostalgia and just spend hours and hours HAPPILY enjoy the trip back. '1930' has just been added to that itinerary going forth (think I used it right that time). We go from The King of Absolutely Everything to The King of Fire as Capleton blesses the Full Bloom with the outstanding 'Hold Your Head'. Nowhere near as active as he once was (and that's perfectly fine), these days I don't take appearances from King Shango for granted and he makes it very easy not to because he is as dependable as ever. I don't think this is 'officially' the first time Capleton has worked alongside the ZIK (he was actually on "Culture Dem" but that was probably before ["CYAH EVEN SI DEM, WHOLE A DEM AH HIDE!"]) but it just may be and, regardless, I would LOVE if he made it a more frequent stop of his, even these days. Capleton has long been one of those individuals who has something which, perhaps, overshadows his talent. The ENERGY that man has brought Reggae has been unrivaled but, anywhere even remotely near his best and he's one of the most lyrically gifted lights the music has ever produced. Things stay easy here (for the most part, he does give us a bit of spite, here and there) on a big inspirational vibe which worked excellently for me and it still is. Micah Shemaiah is certainly no stranger to the works of the Zion I Kings and he returns to also have a bit of the Full Bloom via the infectious 'Dis Ya Rockers', turning back the clock to a sweet era of the music and doing so on a very fitting platform. Along with paying homage to yesteryear, 'Dis Ya Rockers' also does a great job of something that can be very powerful: HE MAKES THE LISTENER FEEL GOOD! 'Dis Ya Rockers' is soul food. It's really pleasing for the senses and it isn't in this kind of vacant way, either. There is substance here as well and I ended up coming back to this one quite often (and I still do), for good reason. Very soothing.
The Full Bloom Riddim carries tunes from four of my favourite current lyricists today and neither of them disappoint and turn up with big winners. First in, appropriately, is GRAMMY AWARD WINNING Kabaka Pyramid, with 'Start My Day'. I didn't recognize this track my name but when I got the very first taste of it, I started singing along with parts of it ["Besides you is the warmest place"]. It may've been the first sample of the forthcoming Full Bloom that we received when it dropped earlier this year. With seemingly the easiest of efforts, the Pyramid spends stretches of 'Start My Day' positively DAZZLING the listener. I'd call this one a love song, it basically is, and it's relatable as can be: 'Start My Day' is a song about the realization that you have found your PERSON and all of the wonderful feelings that comes along with it. Whoever they are and wherever you are with them, that's the person you need to be with and Kabaka Pyramid made a great song about it. If you've spent any time at all hanging around these parts, chances are more than decent that you know that I have been a looooooongtime staunch supporter of the lyrical prowess of Lutan Fyah as well and he's given me decades now of ammunition to show why. Here, he teams up with veteran Little Roy to push the SMOOTH 'Jah Can Count On I'.
"Like thief in di night, when all at rest
Everything calm and no one expect
JAH CALL AND DEM NO READY SO DEM WASH WID COLD SWEAT
And when di heavens declare, The Most High mek a step"
There is a BEAUTIFUL blend of MOODS on 'Jah Can Count On I'. The chorus, arguably the most intoxicating on the entire riddim, is so easy and relaxed but then the Fyah does kick in occasionally, bringing in a nice amount passion, giving the tune such a strong dynamic. Easily one of the strongest selections here as Lutan Fyah & Little Roy prove to be a MAMMOTH pairing (and forgive me for a second for being a giant nerd, but the ZIK have a history of bringing together very interesting styles on tunes for combinations and this isn't the only time it happens on the Full Bloom Riddim). My expectations went straight through the roof when I got to track #10, 'Greatest Thing', as the name behind it is another longtime favourite of ours and someone who has shown herself capable of downright DOMINANT lyrically, VI wizard, Reemah. On this track, she's simply giving thanks for waking up another day and being able to enjoy life. The song is a very basic (not really) CELEBRATION OF BREATHING and the artist, once again, continues to fuel rumours that she is.... either from another planet or from another era where they have time machines because this shit is just not normal:
"When I wake up inna di morning time
I grateful that I si di sun shine
GIVE THANKS FOR EVERY BIRD, TREE AND VINE
Count up mi blessings and a di more I find
Know that life is a precious design!
Coulda never unda none di dollars and coins
STILL APPRECIATE EVERY HILL WEH I CLIMB!
AND LIFE IS A GIFT FROM DIVINE!
Life is di greatest gift weh I know
AND LOVE IT A DI SEED AND THAT'S WHAT I SOW
So watch it and grow bigger than silo
Yeah, mi spread it from di UK down to Cairo
You no si a life - dem ah waste it
And when it gone, wi could never replace it
STILL AH SMILE THROUGH DI STRUGGLES WEH MI FACED WITH
AND IF A LOVE, WITH OPEN ARMS WI EMBRACE IT!
More life and a dat wi embrace
Haffi mek a choice and wi cannot hesitate
MINDSET AND OUTLOOK, A DAT FI RENOVATE
But it begin from within, so that first fi elevate
Got to focus on di positive
Cause life is there to teach, no matta what it is
YEAH. AND WHEN I LAY DOWN ALL MI BAGGAGES-
I SEE LIFE IS JUST BEAUTY WRAPPED UP IN DIFFERENT PACKAGES
Wi know life is di greatest thing
And I am grateful for the joy it brings"
WHAT! PARDON! EXCUSE ME MA'AM! Again [!], give thanks that you live in a time where you're able to hear 'a person' (or whatever she is) who is capable of doing things like this. Off the top of my head... I can't recall the Zion I Kings doing a full album for a female artist (there was an EP by someone who we'll be talking about in just a minute), if/when that time was to come, surely Dezarie would have to factor into that, but so would Reemah. A sharper pen in any genre of music that I listen to simply does not exist. Unsurprisingly, also making an appearance on the Full Bloom Riddim (he and Lutan Fyah have been on each and every riddim in this series) is St. Thomas supernova, Pressure Busspipe, checking in with the towering 'Ever Need'. Wayyyy back on the aforementioned Songbird Riddim, now nearing eleven and a half years old, there was a tune by the name of 'I Know' by Danny I (biggup Danny I). The very first words spoken on that song, "WHEN I HEAR THE SONGBIRDS, I THINK OF YOU", for obvious reasons, provided that track with its SIGNATURE moment for me. When you speak of the Songbird Riddim (or even if I just hear the WORD "songbird", in some other capacity), I instantly go in my head and start singing 'I Know'. I bring that up here because I'm not surprised if, a dozen years from now, someone says "full bloom" and I'm thinking:
"Jah love is all I ever need"
In its complete simplicity, Pressure lands what may just be the single mightiest blow on the Full Bloom Riddim; and thankfully (and predictably), the line is surrounded by typical brilliance praising His Imperial Majesty.
"This moment, I've got to say-
Life is amazing, it's what you make it
Every morning I meditate, so doing some good, as much as I could
I'm grateful for everything
We thank you, Jah, for restoring life
His mercy endureth for i-ver and i-ver
In His name, I rejoice
Jah love is all I ever need
The war and crime bring misery
Jah love is all I wanna see
Inna Zion, there is no poverty!
Got to live a little
With the life Jah give you
HAVE ALL THE CASH AND, WHEN IT GONE, CAN'T TAKE IT WITH YOU
Do so everyday, freedom is the only way
The negative will get you caught in the middle
DO SOME POSITIVE AND THEN YUH BLESSINGS TRIPLE
LOVE AMONGST THE PEOPLE NEVER COST A NICKEL
Fi yuh owna happiness, yuh responsible"
The highlights continue to roll through the Full Bloom Riddim and from many different directions. Certainly one of the most (and maybe even THE most) curious comes in 'Too Dread', a giant combination bringing together a pair of ZIK vets, Arkaingelle (will always give a massive credit to Arkaingelle for dropping one the single greatest tunes I have EVER heard from anyone, 'Manifess Joy') and Jalifa, as Guyana meets Trinidad. Back in 2020, Arkaingelle would release "Nuh Watah Down", a beautiful album (which would make for a really nice Vault Review someday), courtesy of ZHP and two years on, Jalifa would do the same with her EP, "Incient Ras"; so neither being here comes as a shock at all but it doesn't seem like an obvious combination at all and whoever had the idea is showing a bit sagacious planning behind the scenes, themselves (same person was probably responsible for pairing Norris Man & Pressure back in 'da day ["WHEN YOUR TIME IS UP, DON'T CRY TO ME! YOU WERE WARNED ABOUT THIS!"]) because 'Too Dread' is as sublime as it is colourful. What I took from this one is the importance of standing up for what's right, no matter the circumstances and if it 'invites' negativity from some others, or if some take "offense" to it, then so be it. I'll refrain (as much as I don't want to) from transcribing anymore lyrics in this review, but Jalifa BLAZES throughout, especially during her final verse ["Don't call yourself a lion. You're a frog"], while the Arkaingelle keeps us grounded. I wouldn't expect it to happen again -- I didn't expect it to happen this time -- but if these two.... wanted to make another tune (or two or three), you wouldn't get a complaint out of me. Earlier this year, Peetah Morgan from the famed and GRAMMY AWARD WINNING Morgan Heritage made his transition, but he has left us with years and years of works to go through and enjoy and dissect and his latest creation, 'Who Run The World', is a golden social commentary on the Full Bloom Riddim. Questioning the genuine 'super powers' of the world, Peetah suggests that IT isn't necessarily he or she is loudest of most visible (or who "hold a glock") but is, instead, someone keener on keeping a lower profile while things play out on the forefront. Peetah has (not had, he HAS) a very interesting voice. It has a really large PRESENCE to it and his music, inherently, stirs up some type of emotions in his listeners and when you put it together with such a well written and structured composition as you have in 'Who Run The World', the results are damn impactful and biggup Peetah Morgan.
The album for the Full Bloom Riddim released officially on the 19th of July, 2024. On that exact same day, another album by the name of "Feeling Irie" also launched on LTK20 Rechordz (now why would you spell it like that???). Besides a genre, both share the talents of the great Glen Washington. Here, the ever present ZIK fixture ["The joy! That Jah blessing brings"] stands up for everyone, everywhere and gives us 'Rights For Everyone'. I loved the way this tune starts combined with where it ends up:
"Open your eyes and see what Reggae music is doing for me
People are out on the floor, saying 'pull it up' and 'play it some more' "
[Last time, I promise] The Clarendon native goes on to speak about several different topics but the one I think that brings them all together is the idea of speaking up and speaking out when things are not right. That's what Reggae music does. That's what you do to bring honour to His Majesty. You don't allow corruption to exist and not say a damn thing. You make songs like 'Rights For Everyone' and if you can't do that, then you play it for anyone who will listen... or you write giant reviews and suggest that others take a spin. If you missed out on Kabaka Pyramid's 'Start My Day', then maybe the first time you laid ears on the Full Bloom Riddim came courtesy of Jesse Royal on the absolutely GORGEOUS and quite clever 'Love That Don't Change'. Do you have someone in your life, WHOEVER IT MAY BE who you know that you can just depend on, regardless of the situation. If you need any type of help they're there for you without question. 'Love That Don't Change' isn't a song about honouring that type of person or thanking them (though you should do both of those things. Right now and every chance you get). It is about BEING that type of a person for others. Being dependable and caring about your loved ones and demonstrating it at every opportunity. 'Love That Don't Change' is also golden. Along with the sentiment, it just SOUNDS divine. 'African Pride' also sounds nice (the song and just in general) as its star, MediSun, delivers a very slow and easy BURN in the name of the African Diaspora. MediSun also appeared on the Mash Down Riddim (with the blistering 'Hands Off') and if you've been paying attention to his output in recent times, you've noticed that he has been enjoying a FINE form over the past couple of years or so (and it continues. He has a couple of other new tunes, 'Extra Heavy' and 'Mek A Sound' which are also top notch). Still, with that being said, 'African Pride' ranks healthily alongside his very best as MediSun continues to prove himself someone difficult to ignore. 'African Pride', as someone of African descent, just hit me in so many nice places and I spend the vast majority of my time listening to it with a smile on my face as my default position. A definite highlight on the riddim and were it not for the fact that I've already put entirely too many lyrics in this review, I'd have no problem including blips from 'African Pride' as well, but here's a paragraph break so you can actually hear the tune for yourself.
"Like di lions in foreign cages-
Dem send di missionaries out to miseducate us
500 YEARS OF DI WHIP COULDN'T BREAK US
NOT EVEN DI ATROCITIES WI SUFFERED ON PLANTATIONS"
[I couldn't help myself] Swiss chanter and another returner from the Mash Down Riddim, Ras Teo, stops by the Full Bloom Riddim as well to teach us about 'King Lalibela' with a song that should have probably come with a warning of sorts. Teo's music, at least in my opinion, has an extremely straight-forward charm to it. For the most part, he seems to keep it relatively simple and when you have actual talent (and he does) and you make a sound like that, I think that it provides your music with a very OPEN dimension to the point where if you were to ask me which tunes on this riddim I would recommend for more casual listeners of Reggae, 'King Lalibela' would definitely be in that lot. The warning it would come with would be at the chorus. It is so simple and so nice but it will GLUE itself to your brain and it will not remove itself. It just won't. When you dig into the actual verses, you'll come to notice that much of the rest of the song (pretty much all of it) is also just as hard to shake as 'King Lalibela' is just one SWEET sound and it also has depth to it as a lovely. Speaking of lovely, also included here is 'Full Bloom Dub' and I'm not going to insult your intelligence by explaining what that is directly, but I will say that I always enjoy clean versions of tracks on riddim albums, particularly ones from the ZIK. I lack the musical education to explain exactly what I hear but I will say seems to be a staple of theirs is the amount of detail that goes into their work. I know that sounds ridiculous but what I mean is that when you listen to a clean track from the Zion I Kings as opposed to it with vocals (although sometimes you'll hear it there as well), the thing just BLOSSOMS. IT BLOOMS! It develops and reveals itself to be something more than you noticed originally. In this case, what always stands out is this lovely horn which is ever present but not domineering and when you take it in sans vocals, I'm now fixated what I presume is a drum (meaning it most certainly is not a drum) which almost sounds like a heavy-handed clap to my ears. You knew it was in there -- it's Roots Reggae music, it's always in there -- but DAMN does that thing grab you when you remove the vocalist as does the guitar work. I don't have credits for this one but biggup all of the producers and players of instruments who also do excellent work. I also want to mention that, when you do add the vocals, there seems to be a BOUNCE And I think here is a nice spot to give credit to the artiste as well. The cover art here so nicely fits the material. The Full Bloom blooms EVERYWHERE! It blooms on the countryside and it blooms in the ghetto!
Overall, unless I'm REALLY forgetting something (and there have been some very good ones in there) (.... like pretty much all of them, but some of them have been smaller) the Full Bloom Riddim is now my favourite installment of the Zion I Kings Riddim Series. From beginning to end, literally EVERYONE, performs wonderfully. There are some MIGHTY performances to be found here and I think this set does what a great riddim album (and just a great compilation, in general) should do, in my opinion: It makes you want more. It gives you an impetus to begin looking up some of the artists you may be un/under familiar with and, when you see the "Vol. 10" on the cover, you're probably going to want to see what was up with the first nine. The first nine were all superb but #10 is something a little more. The Full Bloom Riddim is exquisite, they always are, but its album is downright immaculate and it is so good that it lead me down a road to thinking of all of the wonderful times we've had in covering the music of the Zion I Kings. They have spent the entire time of their existence making a level of music that has very little in the way of actual peers. The Full Bloom Riddim album is the best compilation of Roots Reggae music I've heard in a long time and MAYBE the best the ZIK has done since "Joyful Noise". AMAZING!
Candy. As I got into the release that we're looking at today, I began to attempt to try to come up with a list of the sounds, specifically in Reggae music, that I find most pleasing. This list was going to be from a purely auditory standpoint (because now is not the time to get into just how much fun I have in attempting to break down lyrics). These are to be sounds that, in just hearing them, it makes me feel really good - and I came up with some very interesting stuff! The first one was the most obvious and easy to come up with as I've recently been listening to quite a bit of his older music, but a dive through the vault of classics from Jah Cure is one having no equal that I've come across. Tunes such as 'Jah Bless Me', 'Guide Us Jah', definitely 'Songs of Freedom', 'Chant' w/Spectacular and a few others (like 'Western Region' and 'King in The Jungle' alongside Sizzla) are delightful in a way that no one else's music is. Of course this is exclusively due to the Cure's vocal prowess (many of them are also extremely well written but, again, we're not talking about that today) and on a similar note would be the pure sonic appeal of listening to artists such as Etana, Bushman, Natty King, Queen Omega and others (like Glen Washington) who can thrill listeners fully based on the capacity of their voices - even before you get into their actual material. The complete antithesis would that -- though yielding the same results, essentially -- would be a particular group of Dancehall DJ's who always tend to get my attention. The archetype of the style (its DAD) would be Bounty Killer. These are very cut and deep toned artists who come with a command and a presence that is damn hard to ignore for anyone in general, but if you do have a taste for it (and I do), what you're going to hear, at its , is some of the most thrilling experiences Dancehall has to offer. Along with the Killer are names such as Merciless ["Have mi owna image, mi trace like no gal. DJ fi know seh that mi exceptional! Mi no sound like no bwoy, mi have mi own vocal. Mi will murda dem foreign or local!"], Baby Cham, Kalash (biggup Kalash, new album, "Tombolo" should be out now by the time you read this) (features a tune with Bounty Killer) and Aidonia who would lead me into a next category of sonic thrillers, where he has very little in the way of company. What Aidonia can do with the spoken word, what Papa San did, what Saik could do (probably still can.... but it's been a minute Saik) (.....any day now sir) (Admiral T might even be another one) is so utterly impressing that I wish I could do anything that good. Having that type of control over almost anything that we, as a damn species, participate in so frequently (the usage of language), is a DEVASTATING ability and one not having to try too much to grab and keep my attentions and affections.
Something else really doing it for me (and I'm going to go ahead and assume this is the case for virtually everyone) is when I hear a BIG riddim. These are fantastic because many times they have a double impact: On one hand there is the track itself you are enjoying AND, on top of that, when you hear the first few notes of a riddim and your brain begins to register exactly what it is, what you're also likely to do it is to begin to associate it with a song on the riddim. Going a step further, if you've listened to the music with any type of regularity over the years, chances are high (they're 100%) that you've accumulated favourite riddims which may be in that category because they backed several tunes which you love or maybe even just because the riddim itself, as a composition, was impressive to you (and occasionally you will run into a very nice track that, for one reason or another, despite carrying a number of tunes, just doesn't seem to produce any of the quality of the music). That work and that credit goes solely to the labels, producers and players of instruments and today we find ourselves, WONDERFULLY and once again, dealing with genuine masters of creating some of the strongest Roots Reggae music of the generation.
Our readers will be ultra-familiar with the work of the Zion I Kings collective as we have enjoyed their output and featured it, in one way or another, throughout the life of this blog (our first post was on 22 February, 2009, the first time we dealt with something from at least one channel of the ZIK, NiyoRah's classic "Purification Session", was on the fourth of April). Along with literally SPRAYING Roots Reggae music with outstanding releases from various artists, the ZIK have also really done well in getting their own name out there and furthering their well earned reputation as some of the greatest maestros the genre has to offer. They've done this in a couple of ways, directly; one of them being their fine Riddim Series which are compilations featuring very talented vocalists atop some pristine creation of the ZIK's. At last count, 2018's H.I.M. Teachings Riddim marked the most recent installment of the Riddim Series (hopefully they get back to those in the near future) and along with that, the ZIK have also maintained a running Dub Series as well. Beginning with 2016's "Dub In Style", the Dub Series returned following a three year absence in early 2021, via "Zion Ites Dub", its fourth release (just in case you're curious (and you are) the best of them, until now anyway, in my opinion has been #3, "Digital Ancient Dub") and now the Zion I Kings are back again with another fine Dub release (which may or may not officially be a part of their Dub Series) (it isn't written on the cover as it has been for the previous four albums) the curiously title "Future Oceans Echo". As has been the case on both aforementioned "Dub In Style" and "Digital Ancient Dub" (which would represent the the odd numbered releases of the Dub Series and if this is one of them, it would be #5), "Future Oceans Echo" comes through the "Kings" outfit, Lustre Kings Productions and Andrew 'Moon' Bain (in association with Galactic Soul Music, and features the work of, of course, Zion High Productions and I Grade Records, respectively. Not to dwell on it too much, because I'm sure I've done it in the not too distant past, but I have been a massive fan of LKP's, in particular, for two decades now - since the label dropped "Culture Dem", one of THE most significant compilations I have ever come across to this day and since then, they've done nothing but build upon that outstanding set. This latest brick, "Future Oceans Echo", is a most interesting one as it is, sorta/kinda a 'concept album'. The term is one I typically dislike (because I'd like to think that all albums have some type of concept behind them), but it is definitely applicable in this case. As its title would suggest, "Future Oceans Echo" is centered around the earth and, specifically, the ocean and all things aquatic. Because of that, all of the productions have water-centric names and themes and you'll also hear occasional sounds of the ocean actually incorporated into the production. On top of that and DELIGHTFULLY, I've also read that a portion of the proceeds generated by "Future Oceans Echo" will go to aide in supporting clean waters and beaches on St. Croix where I Grade Records and its head, Laurent 'Tippy I' Alfred are stationed (I actually read that Tippy's own daughter is a part of the group which the initiative runs through via her school) (that goes to show you how special this release is, personally, to them - and what a GREAT idea to bring music directly to such a purpose) (and, just in case I don't find a way to bring his name up, also full credit goes to David 'Jah D' Goldfine and Zion High Productions (who have a new release out that we'll probably be telling you about pretty soon, if we haven't already) (biggup Jalifa). Unsurprisingly, along with being for a very good cause, the environmentally-friendly "Future Oceans Echo" is a scintillating display of Zion I Kings doing what they do best. Let's take a look.
While I've never been the biggest Dub head in the world, I'm always very pleased at just how popular the sub-genre continues to be. Not only have fans across the globe (it seems to have found a very fertile home in Europe) supported Dub, but also fans of all AGES. While it may be looked upon as something likely to be more popular amongst the older crowd, younger fans have also flocked to Dub and it figures to continue to be fruitful going ahead as well. If you doubt that, then feel free to take a listen to the new "Future Oceans Echo" from the Zion I Kings which gets started with one of its best selections, the downright EXQUISITE 'Night Surfer'. After beginning with the crashing waves, we settle into this SWEET vibe which eventually does pick up and develop, however, I would argue that the first half or so of 'Night Surfer' is one of the single finest stretches that you will find anywhere on "Future Oceans Echo". While it never does become what I would necessarily call "aggressive" at all, what does get added into the mix is a lovely infrequent horn and, altogether, the opener here is exceptional and it serves its purpose: You will want to hear more. And if you do stick around, the next track you'll encounter is 'Distant Shore Dub'. On this one I hear a kind of a 'moody' melodica (at least I think that's what it is), which seems to hop in and out as it desires between more typical effects of Dub music. At its peak, 'Distant Shore Dub' is hypnotic. You can put it on repeat and lose far, FAR more than the three minutes and fifty-one seconds that it clocks in at. Things take a step up even higher on the familiar 'Red Gold & Green Dubmarine' (I supposed this could be our cover track. Not 'title track', COVER TRACK). I don't know for certain, but I think I know this one from somewhere, it may be completely new and I'm just losing the rest of my damn mind, but it does sound well familiar. Whether an instrumental of an older piece or a wholly original construction for this album, 'Red Gold 7 Green Dubmarine' is SPECIAL. There is no warmup here, it doesn't give you a chance to stretch and get ready, from the second it drops in, it is so gorgeous. Horns steal the show here for me, but they do not fully dominate and about a minute in, we find our groove in this stunning laidback vibe (it doesn't stay there, but when it lands there, it is not to be missed), soaring as a real highlight here altogether. We're going to do a little bit of traveling for the next song and where we stop is 'Irish Moss Dub'. Unlike its subtly thrilling predecessor, this one has a bit more of a serious and almost somber tone to it and it took a little while to grow on me. I think that's because it is more OPEN. I'm thinking 'Irish Moss Dub' might serve very well as a backing track for a vocalist (if it hasn't been used in that capacity already). As it is, however, it is still stellar - pinnacling with a SWEET flute (I THINK) which becomes more and more present as the tune progresses and hopefully this won't be the last time we encounter 'Irish Moss Dub'. The first half of "Future Oceans Echo" wraps up with the HAPPY 'Dolphin Bay Dub'. Initially, I referred to this one as "jovial", but I think that word is just too big in attempting to describe the vibes and the presence here. 'Dolphin Bay Dub' is just a nice listen. It does strike me as something more for the old school crowd (of course that means that younger fans will eat it up), particularly during the final nintey seconds or so and at its very beginning. One of the best vibes you'll catch on this album, 'Dolphin Bay' begins the strongest stretch of material on the entire album in my opinion.
Overall, I hesitate to give "Future Oceans Echo" a sweeping, unconditional recommendation but.... I mean.... IF YOU ENJOY REALLY GOOD ROOTS REGGAE MUSIC, you will find something within it that will do something good for your spirits. That is virtually guaranteed. I understand that Dub isn't for everyone, but this work is so immaculately put together that even if you do not give it full attention and just allow it to play in your own background, it's going to improve the vibes (go ahead and give it a try, next time you have to wash dishes or wash the car or do some other household chore, play 'Wata Dawta' or 'Abyssinian Tides', for example, and see what happens) and I think that's probably the biggest compliment that I can pay to a set like this one. Furthermore, and for more 'seasoned' fans in particular, I can tell you that this release is definitely of the standard (hyper-standard) that you have come to expect from the Zion I Kings. When they are at their best, the group provides vibes which are amongst the most satisfying in the history of the genre. "Future Oceans Echo" is the latest golden example of that.
Uncommon. Somethings just make good sense. Though we, as a species, may often behave in a manner which both suggests and displays that we have some type of an aversion to common sense, we do have our moments, here and there. Along with the nuggets of technological advancements that we have made throughout the years, musically speaking, we haven't done entirely terrible either. I have heard a few good songs in my day. Let's just take, for example, oh I don't know, let's take I Grade Records for a quick example today (what does "quick" mean, can anyone tell me because I HAVE NO CLUE!). What I'm wondering now is, after at least two decades into it (and having seen, literally hundred of once promising labels come and go), what the legacy of an imprint such as I Grade Records' might be someday. Because today, at least for myself, when I see their name attached to anything, it has my interest if, for no other reason, than because they are involved. Releases with their name virtually always carry some relatively high level of quality (even if you do not appreciate the vocal artist, you will appreciate the music) and they hardly, if ever, fail to reach those levels. What I do think their legacy will be and what it is, in many ways, already, is that IGR became the behind the scenes match of so many powerful vocal Reggae talents from out of the Virgin Islands. The label would not only make excellent music and put out big releases, but Laurent 'Tippy I' Alfred and company would, relatively quickly, become capable of providing the biggest stage for the music as well. And I'll expand on this in just a second (which means that I should probably write it all at the same time), but if you want a release to receive the greatest opportunity to shine, from promotion and attention, along with that quality, particularly coming out of the VI, you want that project to be attached to IGR. There is one obvious example for this case, but I'm sure that we'll get to him later on in this review (because he's on the album), but I look at artists such as Ras Batch, Ancient King, Army and others who have had at least respectable careers outside of working with IGR, but received such a larger push in working on projects with the label which would push them to not only a wider audience of fans, in general, but even more dedicated fans of the genre who may not have been very familiar with their work. And there're others still, such as NiyoRah, Ras Abja and Danny I, who's output we almost entirely associate with the label, who have provided us with memorable works throughout the years ["Now I feel your presence again. OH JAH!"].
And when something is so powerful, you do not keep it to yourself. You share it. You spread it around. And over the years, IGR has had no problem doing that at all. Currently (and it has been going on for quite awhile now), they are one third of the most formidable and increasingly esteemed Zion I Kings collective, which I have told you about three hundred times and will probably do so, happily, another three thousand (new release, The Mash Down Riddim, out now), along with the (continental) US based Lustre Kings Productions and Zion High Productions, respectively. And even beyond that, you could look at the case of the.... downright mythical Yahadanai from out of Guyana (one release, "One Atonement" from way back in 2004, has kind of made that man a legend for hardcore Reggae fans). There was Toussaint (and I don't even remember where Toussaint was from, but thankfully I'm detailed as hell so I can do research on my own blog to find out) from Indiana in the States, who linked with IGR on the STUNNING "Black Gold" from 2010. And we also had The Nazarenes, a pair of brothers directly from Ethiopia, who gave us "Meditation" in 2012, courtesy of IGR. Taking it a step further, I should probably mention 2011's "Kings Bell", an OUTSTANDING album produced by Jamaican Andrew 'Bassie' Campbell (for an artist we'll name later), which was distributed by I Grade Records. So, while time will likely remember their efforts being more localized to the Virgin Islands (and that's fine), I Grade Records has never had a problem with spreading the wealth and working with top talents, regardless of where they may originate (and that's only albums that they have released, we could also deal with the likes of Lloyd Brown and Ziggi Recado from Europe, Queen Omega, Marlon Asher and I-Sasha from Trinidad and so many others).
So, with that being said (all of that was so much fun to write), had you come to me about a half decade ago and asked me who I would most want I Grade to make a full album with, after saying that I would love for someone to go and find Yahadanai, chances are pretty good that my FIRST choice would have been Lutan Fyah. Along with being a personal favourite of mine, the scorching chanter from out of Spanish Town had been a top choice for both IGR and the ZIK over the years. I'll give you this stat because its fresh in my mind: The ZIK have a running Riddim Series compilation and only two artists, Cruzan superstar Pressure Busspipe (who has had a pair of his own full sets for IGR, "The Sound" and another one which I might tell you about in a little while) and Lutan Fyah, have appeared on all nine of them. He's also appeared on several of their albums from other artists (including "The Sound") and general compilations (do you remember "Joyful Noise"???) as well. He's even performed alongside Tippy and others. So the chemistry was clearly there, the only piece of business remaining was to make it 'official'. If I recall accurately, it just prior to the beginning of our hiatus that word reached that forthcoming would be an official album release from Lutan Fyah via I Grade Records and the Zion I Kings and I was all kinds of excited about it (I THINK there was a Sabbattical Ahdah release planned as well) (biggup Sabbattical Ahdah, if you want to see the type of influence IGR can have, Ahdah holds a similar position to Yahadanai, in having dropped one incredible set, but you won't find it, "Heart Ah Joy", physically or digitally, anywhere). "Music Never Dies" would reach fruition in early 2017 and it would do absolutely nothing but show that the musical relationship had been anchored ina most powerful brand of harmony which would be on full display throughout its HEALTHY fifty-five minutes. Directly, if you get into why, exactly, the Lutan Fyah & IGR/ZIK link has proven to be so strong, I think it has to do with styles. For his part, Lutan Fyah is an absolute powerhouse of a lyricist. I've said it in the past - the man has a very interesting, gritty but brilliant way of structuring his words which has really resonated with me and, clearly, so many others. For their part, IGR/ZIK excel in a similar manner. Their compositions can be STUNNING, but they aren't typically what I would call complex (they probably are, but I lack the vocabulary and musical knowledge to explain it), they are powerful vibes for anyone with any type of an ear for Roots Reggae music. So, at least to me, the link is a natural and most organic one. But is it REALLY?
Oh hell yeah it is. Lutan Fyah has had a variety of different albums (which I just don't feel like counting right now and he's even had one since this one, actually) for a variety of different producers and labels. He's had projects released by the likes of Greensleeves Records, VP, Rastar, Cousins (do you remember Cousins Records???) and for producers such as Xterminator, In The Streetz and Breadback. Interestingly, his sophomore set, "Time & Place" (more on that one later) came via the 'Kings' of ZIK, Lustre Kings Productions and was one of his finest. Returning to the folds, he once again came up with magic on his outstanding 2017 release, "Music Never Dies", from I Grade Records and the Zion I Kings. Things get up and going with the tune it was named after, one which I was really looking forward to hearing. It brought a smile to my face. It is a full JOY to listen to. The direction of things here isn't done in a stereotypical way, instead, it is emblematic of what I mean when I say that the Fyah has this beautifully rough way of building his ideas. This is a piece about not only the impact of music ["When the multitudes hear the music, dem jump and rejoice. Hey come, lets make a joyful noise"], but also every single aspect of life where it can be found ["Sweet sound of music up inna mi head. Di birds dem ah whistle dung inna di riverbed. Even di leaves of the trees is a musical instrument. Sweet sound and melodies of the insects"]. It actually got me to a point where I began to think of this: Can you imagine if we didn't have any music. If there was just SOUND but we had no ability to appreciate melody? It would be AWFUL and a song like this, hopefully, will have you appreciating just how good we have it. If not (you have a bunch of fucked up problems and you need to seek some help for yourself), try 'Kick It Inna Africa'. The first of three (technically) five-minute long tracks on "Music Never Dies", 'Kick It Inna Africa' is a GIANT of a tune. It is MAMMOTH!
"MI TELL YUH STRAIGHT ABOUT THE LAST GOOD PLACE
The continent of love, real joy and grace
The land with the jewels weh di whole world praise
Jah know mi haffi reach out safe
Yes I've been asking this question, no one can relate:
Why some African deny di faith?
And when it come to Africa, dem fail to create?
Realizing dem doubt, so dem infiltrate
Choose di wrong way, now dem start calculate
Dollar signs stick dem up, DEM LOOK WORRIED INNA FACE
Money dem ah run dung, it dem ah crave
So dem try and mussi block off di gate"
A pillar on this album (so is the title track and probably eight others) (you see where this is going), 'Kick It Inna Africa' is about repatriation, it's about strengthening and appreciating African for who She is as a functioning being. The way the artist weaves this one, it sounds SO nice. Also, you listen to just how wonderful it is and how it makes you feel. It's one of the nicest listens you'll hear on this album and any other one Lutan Fyah has done to my opinion. Is it possible to go higher? 'Beat Dem', his cut of Zion High's wicked Jah Warriah Riddim makes a very good attempt at it. Here we find the Fyah pushing up massive praises and doing so in a fairly aggressive tone. The results were impressive the first time I heard them and have only grown in stature throughout the years. Delightfully, this isn't our only encounter with 'Beat Dem' during "Music Never Dies", as it returns attached at the end in remixed version (Duppy Walk Remix). The two aren't drastically different (at all) to my ears, save for the ending portions. Take as a pair, individually or in any other way you can come up with (you can play them both at the same damn time if you want!), but what you have here is an outstanding opening and things continue right along.
As I said, Lutan Fyah has been very active across various ZIK produced sets and, as you might expect, "Music Never Dies" features quite a few of those works (although, wonderfully, not all of them). One of the most prominent (and, arguably most beautiful) was 'Put A Fyah In Deh' which is, at least on paper, the signature moment of "Music Never Dies" for me. Just looking through the tracklist, it leaps out at me, I sing it immediately and it makes me smile. Gifted with and backed by the GORGEOUS Lifetime Riddim (the horns on that thing are so damn subtle but completely perfect!), 'Put A Fyah In Deh' is a call for change. Things have to go in a different way, you have to light a fire under the right asses to get things moving in a better direction for us all. There is also and obvious, but clever, play on words with the title - maybe if we all put more FYAH in deh and started listening to this man just a bit more, things would be nicer (if nothing else, we'd all feel better). 'Perfect Storm' was the title track of the then forthcoming seventh installment of the ZIK's Riddim Series. TEARS!
"Signs of the time, some man stay beyond time
Some born to live, some live to die-
Just like 'hello', 'goodbye'
We come, we go
We go, we come
Earth, sea and sky
We come, we go
We go, we come
Give thanks for each breath of life
HEY WHILE WI HIP AND WI SLIP AND WI SQUANDER POSSIBILIITIES
SCATTERED ALL WI CHANCES, LOST DI CONNECTIVITY
PROCRASTINATING ALL THE WHILE-
THEN YOU SIT AND YOU FEED ON THE FEELING OF INSUFFICIENCY
WITH A SPLIFF ON YAH LIP
A BOOM DRAW OF SENSI
HARVEST IS FEW BUT THE REAPERS ARE PLENTY
SIT AROUND AND IGNORE THE OPPORTUNITIES
IN A STATE OF ILLUSION VOLUNTARILY
UNFORTUNATELY
LIVE ON IT'S A QUANTUM REALITY
Perfect storm, Rasta bring a perfect storm
Perfect storm, I & I ah bring a perfect storm"
The final verse here is amongst the very best I have EVER heard from Lutan Fyah (which is saying SO MUCH in my case). It is DAZZLING! And he uses it, in full, to produce an incredible message, packaged alongside that equally impressive riddim for what is the crowning moment on "Music Never Dies" in my opinion. You could very well say the same thing about (damn near every song here) about 'Too Much Ramshackle' which was an official single for "Music Never Dies". The Fyah uses IGR's golden Lion Of Judah Riddim as a backdrop for a scintillating social commentary - saying that too many things have broken down in the current system, figuratively and literally, and they need to be replaced (literally, we need to replace some people who aren't doing their jobs well enough). 'Too Much Ramshackle' is another instance where lyrics and delivery blend so well with the vibes of the song. There were thirteen other vocal tracks on the Lion Of Judah (including the downright obliterating 'Conquering Lion') ["The Conquering Lion of the Tribe!"], several of them were fantastic (biggup Danny I), but you're going to have an impossible time convincing me that when it was completed (while it was being built!) Tippy didn't fully have it in mind that Lutan Fyah would fully have to have an effort on this composition with the way it so snuggly fits 'Too Much Ramshackle'. I haven't chosen a favourite of the Riddim Series just yet, but if I were going to, ZHP's blissful old school licked H.I.M. Teachings would definitely be amongst the top contenders. Across this one, the Fyah breaks out his calculator, turns accountant and begins to run figures on the misappropriated finances of the system with 'Test A Money'. The underpinning point here is that the money exists that is needed to improve so many things in the world, but those who are in charge of distributing that wealth are putting into so many different, largely negative, things ["Spending many millions fi artillery. Numerous casualties, the war bring"]. This song, from a sonic point of view, is a fascinating one, because its second half isn't very lyrical. It almost seems like Lutan Fyah had something to say, said it, and then spent a nice bit of time reflecting on what he'd said. It can be read as being a very personal moment here, but in whatever way you take it, at least for me, it was a very nice addition to an already excellent piece.
It was during several of the tunes on "Music Never Dies" that were new to my eyes and ears that I REALLY took in its quality. When you get into the 'flesh' of the album and it remains SPECTACULAR, you know that you're dealing with a special release. The most obvious big moment would surely be 'So Di World Ah Run' which features Lutan Fyah alongside an absolutely FLAMING Leaf of Life and someone I've alluded to a few times in this review already, the incomparable Vaughn Benjamin. Off the top of my head, this is at least the fourth combination of the Fyah and Benjamin. They have well demonstrated themselves capable of producing magic together (probably my favourite would still be 'When JAH Arise' from the "Beauty For Ashes" album ["Moisturize your circuitry!"] and adding a fire-breathing LoL who incinerates everything in sight on the opening verse.
"Mi go check I Wayne pon di lava ground
Nah eat no flesh, but wi nah maaga down
From wi a likkle youth, wi a likke youth-
Dem ah buy wata gun, dem ah buy wata gun
But, no daddy, no gun
No daddy, no gun
When my son and daughta come"
The Fyah then comes in and scorches anything which may remain:
"These are the last days fi mek di Fyah gwan blaze
The system is fulfilling, babylon dem ah come a fate
Di world is in trouble!
Everything fake
Dem waan fi bomb up di earth and run go space
Afta dem destroy di family
Feed dem wid insanity
Mislead di youths dem inna drugs and pornography
Worshipping technology
New name is scientology
Run inna dem strategy
Ghetto youth no sell your soul!
So whosoever tek dis pon dem head
Yes, di system will bring yuh down
Yah nah go no weh
Lef yuh dead
Then no care what friends and family ah said
Widout di mark inna yuh head, you caan buy or sell
Di innocent work for a paycheck to pay the monthly bills, the monthly bills
Yet, still they find themselves in debts
And di prison dem full up and di graveyard filled"
Before leaving the final blow to be struck by Benjamin:
"Daniel inna Susa
Black the Almight say -
"Seal up di vision til a time weh in di future behold"
Eyes like a fire
Diverse historical chronologies were told
Travel outta Susa, Iran
End up inna China
Put Jah wrath inna India
Hail Haile Selassie I, reclaim dem honour
INNA SPIRITUALITY IS OVER RELIGION, QUEEN AND DOGMA
Dogma seh all god, seh dem god complex rememba
HE was unknown to dem by the name of Jahovia
Left di Remnant of Judah up inna Ithiopia
Dung to di four winds, St. Croix, Antigua, Jamaica
Ting nah go settle til di justice step in yah
ALL DI RIGHTEOUS INCLINATIONS COME INNA ONE ORDER
Inna one order"
'So Di World Ah Run' is MIGHTY! It is chaotic at times, it is troubled, but it is a GEM of an offering. Fiercely lyrical, it's true beauty is appreciated by those willing to take the time to fully take it and for such listeners, you will not forget this, even if you try to (and why would you ever do such a thing). The delightful 'Real Woman' is another one which you'll have a hard time shaking from your memory bank, but in this case, this song is kind of 'tricky', in my opinion. Sure, you can just have a very light listen to it and thoroughly enjoy it. It has a very nice vibes, very easy and laidback and if you choose a more cursory approach to it, that is fine and enjoy yourself. HOWEVER, if at any point you really tune in to what the Fyah is saying, 'Real Woman' becomes something stronger and reaches higher heights.
"You've got all kinda girls that come in, I can tell
For style, some for material fame as well
Housewife and gold diggers and guess and spell
BUT A NO EVERYONE A JEZEBELLE
I mean the real grassroot, weh everyone have to look up to
She's the mother of all, I mean a woman of virtue
She no flirt, she no bicker, she no spin inna circle
She no linger around, she no move uncertain
AND SHE'S LIKE NONE I KNOW! [She's amazing]
HER WAYS IS NONE LIKE THEM AND THOSE
SHE'S LIKE NONE I KNOW! [She's amazing]
She's a different kinda -
Jah bless the day I find her
Made specially fi I
She's mine and no other guy
This love I can't deny
She's a real woman
Strong, strong woman
Hey she's a pillar to mi castle and mi don't find no fault
She neva collapse and she no plunder mi heart
And di best mi ever come across
And I gotta assure you, she's a vigilant
Mi tell yuh bout conscious woman, she no act up smart
She no front, she no pose up fi get no applause
And when it come to beauty - no question mark
Mi tell yuh dis yah woman mek mi laugh"
For me (and I may be the only one) (because the rest of you are wrong), 'Real Woman' is every bit as strong (and somewhat reminiscent of) as 'She's Royal', Tarrus Riley's megashot from a disturbingly long decade and a half ago (Tarrus Riley, at his best, may just make the most digestible form of Roots Reggae.... like ever) (even if you not enjoy Reggae music (you poor thing you) you can find something in that man's music that you'll gravitate towards and probably do so without much effort). They're both pieces which just display the necessity and POWER of strong women and how important it is to actuall SAY that. 'Nah Go Down' is HEAVY! It just is. This one, in particular, really reminds me of an older form of Lutan Fyah who, in one way, can be connected to Vaughn Benjamin in the fact that they both have these moments where it seems as if they woke up that day and walked into the studio to make a point. That was the only thing on their mind - was to get that message out. The results are always something to behold and if you need an example, definitely check 'Nah Go Down'. In this instance, the point being made is one that we all need to make more of an effort to live better and more productive lives. No one is perfect and because of that we ALL have some aspect in our lives which we can do better. The filth and the nastiness comes in when we recognize that what we're doing is fucked up and we still do it to the point where we become a product of the combination of all of our flaws, losing our way fully ["...some forgot how to be clean, so dem go dirty instead"]. This is pure message music from the Fyah, but feel free to enjoy that LOVELY riddim behind him. It's amongst the best "Music Never Dies" has to offer. And the final two tunes I have to tell you about, 'Bredrin Still' and 'Take That Back' are two which I have come to place in a pairing. It isn't that they sound so similar (they do not) or that even the message is the same (it is not). What they are, on the message side, are two halves of one prevailing, GIANT, thought. Taken together, you REALLY become capable of seeing a bigger point being made here, which is brilliance (and I'm wondering if it were by a design that they are placed consecutively on the album or by coincidence) to my ears. For its part, 'Bredrin Still' is a build about Lutan Fyah's life, to a degree. He goes from speaking about his humble beginnings to dealing with the successes that he's enjoyed in his life and his career and the status that he has attained (and he has). He then uses those to say, no matter how far he's come - he's just like You and I, because he's experienced both the ups and downs, so the idea that he may be better than anyone is absurd. Now you take that and you link it up with 'Take That Back' and you'll find exactly why that is his attitude:
"Some say dem big in business, gotta a lotta money
No time to pray or give thanks
Feeling like they are so blessed, always inna hurry
Just secure di dutty wealth inna di bank
Yes, they've got properties and beautiful cars
Children go to good schools
NOW YOU TREAT DI POOR AS YUH FOOTSTOOLS
YOU LEFT DEM TO WASTE AND NOW YUH GWAN LIKE YUH RULE"
If this is the way you say you love Jah-
You can keep that back
Now you wanna say you really love Jah
You can take that back
It's you who show no love from yuh heart
Life seem so funny, dem ah grin and ah laugh
Is this the way you say you love Jah?
You can take that back"
Clearly Lutan Fyah has seen people (maybe even some of his peers) enjoy successes in their lives and begin treating others like shit. This is about being humble and, again, you take it back and relate it to the vibes of what immediately precedes it and the final product becomes one of TREATING PEOPLE (YOURSELF INCLUDED) BETTER because, no matter how much you achieve in this world, there is Someone who has reached infinitely higher than you and there always will be and HE treats people with respect and class.
Overall, for about a decade for me, there was a fairly simple hierarchy when it came to the quality of Lutan Fyah's projects. At the head was "Phantom War". It is the best album he has ever done. It is one of the best that anyone has ever done (tells you how I feel about that album when you know that we used to (and may once again) do a feature called 'Modern Classics', the very first entry was "Phantom War"). After that, firmly, was "Time & Place" (another Modern Classic) and the compilation "Africa" (another one). Well, since "Music Never Dies" reached, I've at least had to reconsider the order near the top. It will be a mighty long minute before I get around to (if I ever do) writing it up, but this one ranks just as highly as albums declared classics on these pages (it would be interesting to think of what would come next after those four now. He had a woefully overlooked one by the name of "Truly" which might come fifth) (there was also "Justice") (biggup Philadub) (I'm also thinking of albums like "You Brings Blessings" and "Never Surrender My Faith". It was absolutely fantastic from beginning to end. I tried to make the case vividly, but where this album truly shines is in its consistency. You have big, BIG tunes, which may catch your eye and that you are familiar with, then you have tracks which stand out for no reason at all.... until you listen to them. Then, they GLOW! Every single song on "Music Never Dies" is a winner. They are all excellent to my opinion and it came to no surprise at all. On paper, in reality or via any other set of circumstances you can come up with Lutan Fyah Meets I Grade Records and the Zion I Kings is a HUGE deal. If you need proof of that, you only need to listen to this album. AMAZING!
