Modern Classics Vol. XLIV: Jah Grid by Akae Beka

We've spoken quite a bit in the past about the shift that I experienced in regards to the music of Vaughn Benjamin and Midnite. When I was much younger, the sound wasn't something that I was capable of appreciating. It wasn't very catchy. It often seemed like he did not care much at all for melodies or even if he was in-tune with the riddim behind him. It was not (and often still is not) the type of music that immediately draws you in and that's fine. While I don't think that there is an age requirement for enjoying the music of Akae Beka, I do think there may be a life experience requirement. Benjamin's music, at least in my opinion, is best served as a tool for PROVOKING THOUGHT and the depth of your thoughts surely increases with the amount of life that you've lived... with the amount of things that you have gone through, personally. 

Today I want to take a look at an album which is a personal landmark for me because, if I recall correctly, it was one of the ones which directly opened the door for me to Benjamin's work. I can remember buying "Jah Grid". I was still in university, it was probably a week or two old and I bought it just to buy it (and it wasn't my first Midnite album either. I THINK that distinction belongs to "Ainshant Maps" and I'm still working on that one as well)! A trait that I inherited from my wonderful Mother (and her wonderful Mother, both of whom are healthily and happily still with us) forces me to occasionally buy things just because I like buying stuff (a problem for a habitually broke college student at the time). I'd listened to Midnite's music before and, as I said, I didn't particularly care for it and I bought "Jah Grid" presuming that I wouldn't care for it either and, at least initially, I was correct. "Jah Grid" was... skeletal. The music was just fine but for someone who Dancehall would have been what I was listening to most at the time (and I was definitely listening to Roots music as well but it would have been... Sizzla, Capleton, Anthony B... kind of Dancehallish Roots music) Midnite's music was a bridge I had yet to even attempt to cross. But I paid my money for it, it was mine and, every so often, I'd come back and listen to "Jah Grid" and somewhere along the line, the shift began. Prior to that, however, I had begun to listen to the works of the likes of NiyoRah, Yahadanai, Army & Aincent King whose work came via a label that also would stick with me, I Grade Records, which also helped. I want to say that it didn't take THAT long for an album released in 2006 but I can remember a point when "Jah Grid" ceased to have any semblance of a presupposed (on my part and my part, alone) 'barrier' to it and what stood in its place was the start of a WONDERFUL journey of comprehension that continues to this day and will only end for me at my grave. 

In the latest addition to our Modern Classics series, we take a look at an album which helped to open a very large door for me, personally: "Jah Grid" by Akae Beka.

1. 'Enter'

I've spoken about this one previously. 'Enter' is one of the greatest songs I've ever heard... from like anyone and it so PERFECTLY exemplifies the process that I've gone through with this music. 

"If you plan fi live good, open Jah door and enter"

I don't know if this is the case but I'd like to think that someone specifically decided that it was so powerfully positioned at the beginning of the album because it sets the stage for what is to come not only musically but, specifically, by what Vaughn Benjamin says. ESSENTIALLY, he is saying that if you are willing to continue down this road, something immensely powerful awaits you. I should also mention just how damn THICK this song is, musically. The riddim sounds like something that grew out of the ground (oooooold, fertile ground) - a credit to the extremely gifted players of instruments behind it.

2. 'In Tent'

'In Tent' is a song where Benjamin actually does make an honest attempt at being melodic and I can actually remember a point, before this album fully opened up for me, where it may've actually been my favourite song here. These days while it may not rank as high, comparatively, I'm even more fond of it because I hear things in 2026 that simply did not exist for me in 2006. 'In Tent' is a very FULL experience and it exists for me as a social/life commentary (with a spiritual helm, of course) as Benjamin covers a variety of different topics and that's what stands out so brightly for me in this time. It's almost as if he jumps in and tackles one thing; jumps out, jumps back in and goes on something else. Take them all in a fractured state and you have something very solid (which I would have actually been capable of appreciating twenty years ago. Kind of viewing this tune as an impressive string of one liners), however, if you are capable of finding a common ground for them all and thus, receiving them all at once - well, then you have something special. 'In Tent' was special.

3. 'My Joy'

Grrrr. Despite its title, 'My Joy' came in with a bit of fury and is a more than welcomed deviation in its delivery. 'My Joy' does actually stay true to its name but in an expectedly very spiraling manner (a signature of Vaughn Benjamin's). The song was, essentially, him gardening. He was cleansing away the impurities and strengthening the soil so something would grow and he was mowing the lawn clear of overgrowth.

"Situation of the dream: Well nightmare haunt

ANYWHERE DEM KILL SEED, DIMENSION PLANT"

If you do these things well, what stands will deliver goodness for YEARS and, all of this time later, I am still enjoying the ripe fruits from 'My Joy'. 

4. 'Kin Dread'

One of the undeniable signatures from "Jah Grid", 'Kin Dread', finds the chanter (in a very SMOOTH way, particularly when compared to 'My Joy' just ahead of it)... just.... obliterating and annihilating everything, EVERYWHERE! Seriously, what the hell is this:

"New methodology, dem have it inna dem ghetto, mi seet

Dem new ghetto: Di chatroom

You don't have di password

You can't afford di software

You don't fit in yahso

Dem have it set up so dem deh alone can be pon di cutting-edge of di scientific community

Anything dem waan fi sociology do-

Anything dem waan fi economically do, dem can just do it"

"Whole heap a critic-

Dem just labba, run off dem mouth ah talk seh-

'Wi shoulda dun gone Addis Ababa'

'Wi shoulda dung deh a Shashamane'

Here a small story, mi ah tell you short story about a farmer

Plant up di most itiful garden, but di youths dem only want softdrinks and Babylon flavour

But hear yah now

Dem ya a mi kin dread

Dem a mi kin dread

Dem a mi kin dread

Di harvest is ripe and di labourers are few

Selfishly, dem waan fi depart when dem know seh that dem deh pocketbook can take care of dem deh just dem few"

At its core, 'Kin Dread' is a unity piece. It's about bringing us all together, warts and flaws and all but the journey to get there may take us AGES (and I ain't complaining about it). I would suppose that the majority of this song was a vibe. I've actually seen video of Vaughn Benjamin actually writing lyrics and while I would guess (and do so acknowledging that I could be completely wrong) that it was his preferred method of writing songs, I wouldn't think that he wrote much of 'Kin Dread' at all before he started it. It has a very LOOSE feel to it which isn't a frequent occurrence in his work (his delivery often comes off as unrehearsed but the man seems to know PRECISELY what he wants to say most times) and was one of several reasons that 'Kin Dread' left its mark.

5. 'Under Management'

Along with maybe one or two others, 'Under Management' is a song that has experienced as much of a SHIFT that I can think of. I can recall a point where I listened through "Jah Grid" and came upon 'Under Management' and... literally, had NO CLUE what I was listening to. It might as well have been recorded in Japanese or Latin - not because I couldn't understand what was being said but because I would have had just as much of an opportunity of digging sustenance out of it in those days had I been totally walled-off to what was being said. On top of that, can you find a melody here? Benjamin didn't give a damn about it and what little of it there was was very difficult to get to. 'Under Management' was just a tough song to listen to and remained so, even after much of the album had begun to develop for me.

Today? There is a group of my absolute favourite songs on "Jah Grid"; there're three of them. I just told you about one of them and the other, 'Enter', started us off. Outside of those... I cannot definitively say that there is a better song than 'Under Management' on this album (one might be pretty close). There are a few others that I will, depending on the day (and maybe even the time of day), rank higher, but if you were to come back and ask me what I think a few minutes later, I'd probably change my mind. 'Under Management' is GOLDEN as Vaughn Benjamin puts on a display of the spoken word for the ages. He says SO much on this one and covers SO much ground that you can stop it TRULY anywhere and hear something powerful. For example:

"Multiple psychology experiment on tv look like entertainment"

And it allows you an entry point into such a powerful track of thought. And there is a melody! The riddim also ranks as one of the finest compositions on the whole of "Jah Grid" for, as minimal as it may be (and it is), if you REALLY listen to it closely, there is a certain intensity behind this song that does not leap out at you but is definitely there. 

"I've seen it recently"

6. 'Spin Doctor'

The word that comes to mind today in reference to 'Spin Doctor' is "dilution". The term 'spin doctor' is used to describe a mouthpiece of a person who will often change and DILUTE a thought or a message to make it receivable amongst whoever it is being presented to. It is often used in the political sense.

"Teams of people who've been hired just to do this thing, believe it or not

They get on the news and in the room 

Sit around and decide how the outcome must come down, smooth-

And shape it in the news"

Certain messages require no "mouthpiece", however, and certain 'Candidates' are beyond the "spin". In order to illuminate this point, Benjamin takes a route which  goes through physics, looking at the nature of spin doctors on a molecular level. For its unusual sound (and it is strange, with a kind of a Jazzy vibes to it), 'Spin Doctor' is a HEALTHY point of discussion and one of the finest written songs on "Jah Grid".

7. 'Royal Habits'

I've alluded to 'Royal Habits' here already: When I was talking about 'Under Management', I mentioned that I have a group of three all-conquering favourites on this album but outside of those maybe only one more tune could lay claim to being better than 'Under Management'. That song was 'Royal Habits' and it is a flawless example of what a song that would not have done a damn thing for me when I first came across it but now does the world for me. This song is messy, it's scattered and it's pretty consistently off-key.

It's also beautiful. It's brilliant and it's poignantly POWERFUL. 'Royal Habits' also stands as one of the few tunes on which Benjamin had a little 'over-fun' with on the vocals. You'll know exactly what I mean if you're familiar with it but for the balance of the tune, it's what you're thinking that it is. We all need to do a bit better because we know a bit better. That's the source behind this song which, though it may take awhile, will reveal its true power only if given the opportunity.

"If you have it, exhibit royal habits"

8. 'The Bringers'

Though its music threatens to steal the show, 'The Bringers' does turn out to be a wonderful tune. First of all we do have to talk about that riddim: Silky, syrupy SMOOOOTH it is. Sounding like something directly halfway between Reggae and Jazz, the composition for 'The Bringers' features the handiwork of the venerable likes of Tippy I, the incomparable Tuff Lion (who DESTROYS on this song) and others. Just as a piece of music, it's winning but now we get to add in the works of Vaughn Benjamin. For his part, the chanter seems intent to match the fluidity of the players of instruments and while we can debate on how well he does on that end, what he does do (as he always does) is excel with his words. Here, he puts on a LOVELY display that I took in tribute and honour to our "bringers" [DUH!], meaning our parents, our forebears and ancestors who have done so much in bringing us to where we now are.

"Enough praise, I cannot give

Enough thanks, I cannot give"

Benjamin levels 'The Bringers' up when he goes EVEN HIGHER at one point when he asks one question:

"Should I not give all these things and more unto Jah?"

And I won't get into it... YES I WILL! 

"His Majesty unified all these minds into one place

Wrote the law on their hearts in one place

Solidified by distance

3,000 miles away"

HE who set bloodlines and lineage into motion is THE BRINGER. THE is The Bringer who brought 'the bringers'. I listen to these songs and I wonder if its my overactive brain that piles on ideas here or if I'm really on to something but songs like this one mean so much me now.

9. 'YHWH'

I'll come back and explain it, in closing, fully, later but 'YHWH' sits as sort of the GLUE of "Jah Grid". It is the source code behind it all as far as my experience with the album has gone. However, until then, there's this. 

"Choose before a place where no choices be

HIM, Haile Selassie spoke to these issues in specificity

Before the escalate happened early, happened early

Humbling to livity

Now it's not for triviality

Rastaman elevate the wisdom tree-

For souls to live in joy

Resonating, marinating in beauty

Let the positive rhetoric and economics interlock and purify I & I wholly

Haile. Holy"

"This" is one of the single finest written tracks on this album and I say that, again (kind of), without giving its true strength here but 'YHWH', along with 'Enter' has positioned my line of thinking in regards to this sound so perfectly and here we are There isn't a chorus to this song; such a thing would have only held it back and yet it is still quite pleasing to listen  to. More on this one in a second. 

10. 'Before I Lose My Strength'

I say "TEARS" when I want to let the reader know that whatever song I'm talking about makes me kind of emotional; it gets me "in my feels", as the kids like to say. I'm not going to say that about 'Before I Lose My Strength'; instead, I'll say this: THIS SONG MAKES ME CRY. It does and has been doing that for the last.... seventeen or eighteen years probably, but especially nowadays. The third of the trio of mountainous songs on "Jah Grid", 'Before I Lose My Strength' hits me heavily and I'll tell you why. For me, this song is about making the absolute most out of life that you possibly can - WHATEVER that may mean for you. It's about contributing and doing your part to improve life on this planet during the time you have on it. 

"Before I lose my strength

ALL OF THE DAYS OF SINGING

All my days of strength

ALL OF I DAYS HAVE VIBES"

Now, let's specify a little bit about whom we are discussing. Vaughn Benjamin left us, physically, in late 2019. 

"Before I lose my strength

ALL.

OF.

THE.

DAYS.

OF.

MY SINGING."

"ALL OF I DAYS HAVE VIBES"

Now I don't want to exaggerate or embellish or over-dramatize the moment but this man stated a mission... I don't even know if I want to use that word, "mission"... he stated a natural urge, an "instinct" (something implanted him by The Most High) - something he had to do [!] before the end of his days. Why???

"To maintain internal heights"

It made him feel good. It was something his biology required of him and he did it BEAUTIFULLY. Also, I wouldn't be doing a good job if I didn't talk about the music here. 'Before I Lose My Strength' is another kind of crawling sounding tune and it is gorgeous (THAT THING IS CRISP!). It'll take you a bit to arrive at that point (I'm an example of that) but this song, in particular, is the type of music that changes people's lives in my opinion. It is of THAT ilk. This man never lost his strength. He wrote HUNDREDS of wills and left it to the world.

11. 'Third Eye' by Jah Rubal

Let's talk a little about Jah Rubal. I'd like to think that -- both indirectly and directly -- Akae Beka did a great deal of work in terms of bringing along others and introducing them to the masses. I would think that we're already enjoying a generation of Rootsmen and women who have, in one way or another, been inspired by Vaughn Benjamin's work (I've always thought that about someone like Reemah) (and you see what she's gone on to do. That woman is a genius) but he's also brought some of them along for the ride. He's produced full albums for some of his peers (like Ancient King) and then there's Jah Rubal. I think most people first became acquainted with Rubal's work via his appearing on several Midnite projects and now he's a fully decorated and esteemed veteran with at least three full albums of his own off the top of my head (I should probably review one of them one of these days... think I might start researching that after this). EASILY, one of his most memorable features was on 'Third Eye' from "Jah Grid" - it also ranks, at least in my opinion, as one of his single strongest tunes to date. 

Rubal's style is a little messy but simple (and I mean both of those in good ways) and he's aided here by Benjamin, himself, who provides 'Third Eye' with a bit of background singing and harmonies. At times, such as this one, he also doesn't give a damn about melodies or song arrangement and things like such. He has something on his mind to get off and that's what Jah Rubal does, for the most part (he has a very unusual way of... doing unexpected choruses. They just kind of pop up when you are not expecting them). Although 'Third Eye' definitely does summit in its first verse, the entire thing -- after a nice long period of working on it -- does not head back down to the nadir and, again, at least for me 'Third Eye' sits as one of the finest pieces of output that Rubal has done to date as he suggests that we all take a closer, and perhaps more unconventional, look at the world around us. 

12. 'High Place'

"I have seen the high place"

TEARS! 'High Place', at least for me, has become this kind of lumbering... hard working giant of a song. It has something to do and somewhere to go but it isn't in the slightest hurry to get it done or to get there. It's going to take its slow ass time and you're going to sit there and let it. As it does progress, however, what you end up with is a tune which is wholly STUNNING at times.

"I have seen the high place

Inna likkle youth with the strangest question:

'How come they don't have lions?

How come they don't have mane?'

I say, 'hey, well ask ya daddy'

But it's the high place CURIOSITY"

The song is about non underestimating people and being able to appreciate BEAUTY and POWER everywhere you find it - even in the simplest, most innocuous of things. There is a joy here that I was incapable of appreciating AT ALL, initially and, even today, I can hear why I was lost. Now? Vaughn Benjamin says that he has seen the "high place".

I've seen it as well: On an album that I once left for dead.

13. 'On'

Courtesy of 'On', "Jah Grid" literally CRAWLS over the finish line. There was a point where I would have actually said that I disliked 'On' and if you're there as of now, I probably shouldn't fault you for it... but I am. 'On' is one the best songs on this album to my ears nowadays. Take its rather odd pacing and 'delicacy' out of play for a minute (we'll come back to it in a second) and just HEAR it for what it is.

"Let the vibes of reciprocation flow on and on

Those who have been the recepient of good and have done wrong

Remember, in your day, in your time when you can make a difference with your mind

With your deeds

Remembering the day, the people who have made your way"

The song is one about progression and progressing! Benjamin takes a good look at the good and the bad (and he almost had to in a song like this but it circles around so PERFECTLY and SUCCINCTLY. 

"Let the vibes of Jah flow on and on"

That is a signature of the man's work. I'm not going to say no one else CAN do it, but no one else DOES do it (at least not in the consistent sense). It is one of a kind. It belongs to him. Now, about the way that 'On' sounds - it GROWS! First of all is that riddim which is a five minute chunk of divinity within its simpleness. And the delivery on it, this kind of singing/chanting which sits around a more straightforward talk, works so well for it. He has something to get off his mind and he's acknowledging the moment:

"A caring thought

A considerate remembrance"

And, as it turns out, 'On' goes on to be one of the more sonically pleasing selections on the whole of this grid. 

Synopsis

"IT'S GONNA TAKE OVERSTANDING AND MATURITY"

I mentioned that I consider 'YHWH' to be the "glue" of Jah Grid. It's what holds my experience with the album all together and it's because Benjamin says things like this. I hear blips of so much of what I've gone through on this journey (and am still going through, DELIGHTFULLY) in this record.

"THINGS ARE COMING CLEAR, TRUE

IT TAKE A PAINFUL, A LOT OF ERA

A LOT OF MISCUE"

That final word there, "miscue", means so much to me here. I'm sure he didn't have it in mind when he wrote it but it was going to help open up my ears (and maybe, HOPEFULLY, many other pairs as well. It's okay to make mistakes in here and it's also okay if you don't comprehend what you're hearing. I remember seeing an interview of Tippy I and he, himself, who's produced so much of Vaughn Benjamin's work said that he'd constantly ask questions when he couldn't follow along. If he heard something and couldn't figure out the intention, he'd ask Benjamin what he meant and he'd tell him. I'm almost jealous of such an opportunity on one hand, but on the other I am SO DAMN grateful for the opportunity to work my own way through this work and to draw my own conclusions. 

"Destiny is subject to the decisions I & I make"

But I had to grow up mature and live life in order to earn the opportunity to draw my own conclusions and make my own decisions. However, with that being said, all of the time that I spent thinking that this music just wasn't for me also wasn't exactly bereft of value. I've had so many conversations with readers about how it just doesn't work for them and because of all the work I've done, I'm able to point them in a certain direction and make suggestions and... who knows, maybe it still doesn't resonate but PERHAPS they hear their own 'YHWH'. Maybe it comes via more 'accessible' material like "Beauty For Ashes" or "Kings Bell" or "Better World Rasta" or maybe they find it in small pieces through HEAVIER work like "Be Strong" but the fact that I've done it, myself, makes it such a satisfying experience any time I can maybe pass along a vibe or steer someone in this direction because what comes after is... unspeakable. It's a lifelong journey. For me that trek began to make an actual progress through work such as that which is found on "Jah Grid", a bona fide Modern Reggae Classic!

{Note: Also credit goes to the presentation of this album. Artiste Marcus Wilson did the cover which has thirteen stones (including the center), mirroring the number of songs on the album and then the actual CD has the songs title also circling around on the perimeter of the disc}

Modern Classics Vol. XLIII: Taking Over by Sizzla

"Taking Over" by Sizzla [VP Records - 2001]

It's just been too damn long. It's been nearly ELEVEN YEARS since the last time we did a Modern Classics feature (it is the morning of the 25th of August as I start to write this, HOPEFULLY I can finish this in the next two and half months, otherwise I'll have to remove the word "nearly"). Originally (and still) designed to celebrate albums, specifically, of the modern era (I defined the modern era as everything after the year 2000) which I felt were just of a supreme quality; the series ran all the way to #42 in in nearly six years and, FINALLY, we're bringing it back to take a look at a release which, shockingly, has gone somewhat forgotten in recent times. 

In 2002, Sizzla Kalonji released "Da Real Thing". That album (also a Modern Classic) was and remains universally revered. It would be hailed as a return to the vintage form he had displayed on undeniable greats such as "Praise Ye Jah" and "Black Woman & Child" (the latter produced by the great Bobby Digital, just like "Da Real Thing"). Perhaps it is due to that epic set that we forget that, just the year prior, Sizzla would also produce a magical display in the form of the Xterminator helmed "Taking Over". Marked by a very cool explosiveness, "Taking Over" carried a pair of Sizzla's most well known songs to date but it was also CONSISTENTLY EXCELLENT, a quality which maybe we haven't done the best job of observing in the near quarter-century since its launch....

Let's do something about that. Today we give our greatest honour to yet another album from an artist who, when at his absolute best, may've been without an equal: "Taking Over" by Sizzla Kalonji. 

1. 'Thought For Today'

One perfect love. Though the case could successfully be made that it was done in a very broad way, 'Thought For Today' was kinda brilliant, if you really think about it (let's think about it!). Blessed with a most curious BOUNCE behind him, Kalonji turned in a social commentary of an unusual type (and class), aimed at the youths, specifically.

"Before you trod di badness, hail The King first" 

'Thought For Today' was an adventure. It was an action movie. It was two hours long and it was as exhausting as exciting. What stand out these days is how we take the punchline/title of the tune, address it is LOVE and then spread it around in a way.... damn near vicious! You will act appropriately. You will love yourself and others. You will do several things to improve yourself tangibly and spiritually and it will be "perfect". It was. 

2. 'Brand New'

Trample everything. Hip-Hop has never and will never be 'my thing' but I had less of a problem with 'Brand New' than I typically do with such tunes ("problem" is probably too strong of a term, I usually just don't pay them much attention) because of what it eventually turns into. While the vibe is there, it doesn't go anywhere, and it is respected; 'Brand New' goes on to, like many of the songs on "Taking Over" to enter a place where Kalonji locks in and what we get is this kind of heavily stylized track not entirely bereft of typical genre ideology. Yes it's fractured (which is one reason Hip-Hop doesn't appeal to me much) but 'Brand New' was all sorts of interesting as well.

3. 'Somewhere Oh Oh'

Most delighted. Despite its rather odd title, 'Somewhere Oh Oh' is and has always been an undeniably FANTASTIC song (and you could even go as far as to call it this album's third best altogether, in my opinion). It's also a very fun one to analyze. What I take from it these days is that 'SOMEWHERE Oh Oh' is about finding your 'happy place'. It is about find places and things and PEOPLE who make you happy and surrounding yourself with them as much as you possibly can. Something that REALLY stand out, lyrically, is how there doesn't really appear to be any strife or opposition in 'Somewhere Oh Oh'. Where in Sizzla's music (or in Roots, in general) there is this oppressor somewhere out there - IT DOES NOT EXIST HERE. You'll find it back on the next track but 'Somewhere Oh Oh' not only made a plea for us to find things that brought us joy, completely absent of conflict, it also presented itself as such an item. You find somewhere you want to be, find something you want to do when you get there, someone who you want to do it with and play this song while you're doing it.

4. 'Taking Over'

NOTHING TO FEAR! 'Taking Over' belongs to a very select group of songs that Sizzla has done in my opinion. It takes a seat at the table of any conversation regarding his absolute single best work and... if you wanted to call it his best, that case could be made. Why, exactly? I noted the "cool explosiveness" of the album named after it and that is a quality best demonstrated here. While 'Taking Over' never settles down fully, it does display increasing and decreasing levels of intensity where, at its heights, it reaches downright euphoric levels (he's agitated, clearly, but Sizzla was in a great mood when he voiced this song, I'm convinced).

On top of that, the riddim behind it was gorgeous, made perfect for it and 'Taking Over' does not a put a lyrical foot wrong, it is absolute genius and one of the single greatest musical revolutions that a genre, known for revolution, has ever produced. 

5. 'Fare'

Wear a crown. 

"Never belittle her strength

Or else you'll be missing her strength"

I've never been the biggest fan of Sizzla's love songs but "Taking Over" featured a few of them which would rank very highly in the category in my opinion. The first of them was somewhat unusual and I actually hesitate to call 'Fare' a "love song" (even though it clearly is) (I have issues) because it gets more into areas such as empowering love and women, in particular (using the reference to MAKEDA), and relationships, in general.

"Remember: Your friends and foe may talk 

No evil force can tear us apart"

The song also has an infectious and interesting almost Jazzy sound to it and Sizzla made the most of it with an offering fitting snugly into this album.

6. 'Higher Heights'

Be able and be willing. For WHERE it is situated on this album, you can look at 'Higher Heights' as warming the vibes up for what is to come after what it follows but it is SO MUCH more than an 'undercard'. 

"How about caring and giving?

People working hard these days just to make a little living

Prophecy fulfilling

Righteousness, just be able and be willing

Getting nowhere with this ruthless killing

Hot like a fire when some a dem chilling

BABYLON A DESTROY, CONGOMAN KEEP BUILDING"

'Higher Heights' is HUGE! Like several of the efforts on 'Taking Over', it heads in many different directions but as its core was a wide-reaching spiritually braced statement that brought the HEAT that would fully ignite on the next track. 

7. 'To The Point'

START A FIRE! Along with the title track here, 'To The Point' is what I was referring to when I said that this album contained a pair of Sizzla's most popular songs. Where 'Taking Over' is this soaringly brilliant and brooding trip, 'To The Point' is The Matrix. Shit explodes, there is controversy and there are casualties and no one is safe. In the midst of the madness, 'To The Point' was a dazzling statement of several ideas, so there was SUBSTANCE to be found here and such material would be best highlighted in-person as, if you've ever been so fortunate to actually see Kalonji perform 'To The Point' then you may share my opinion that it may be his single best song EVER in that format. CJ handed him his Tixx Riddim and Sizzla returned a shredded... mess. 

{Note: Apparently this tune is no longer included on the digital version of "Taking Over", however, the disc remains readily available.... and it's all over YouTube as well}

8. 'Reach'

Must reign. Despite the fact that it takes several different routes to show it, what is at the heart of 'Reach' is quite clear. This tune is an inspirational one. It's about giving people that bit of POP they need to push further to go after the things that're important to them and, in that alone (and everything else it tries to do), it is well successful. With that being said, however, 'Reach' is also a praise. It's a social commentary. It's a celebration of music. It is solidly all of these things and you can pick either one out (and probably a few others) and it thrives, again, on that specific front.

There's also the issue of the music on this one which is somewhat complex and damn near melancholy but, ultimately, LOVELY! Fully, it makes for one of the single greatest experiences on "Taking Over", whether we realize it or not. 

9. 'Whirlwind'

Keep the fire burning. Sizzla channels the great Marcus Garvey via 'Whirlwind' and pays him tremendous homage in the process. This tune has always had an almost primal vibes to it to my opinion. What I mean is that, as you progess through it, 'Whirlwind' becomes CLEARLY less situated and rehearsed and what we hear are flames from the core of Kalonji. The pattern is disrupted (though never quite grounded in the first place) and what we get is straight-forward, grimey, toiling Sizzla Kalonji and with a purpose and intent. One of the best songs on this album whether we realized it or not. 

10. 'Profile'

Immaculate. Unlike 'Fare', the next track and that monster four songs on, 'Profile' isn't a love song at all, really. This is the woman-buttressing piece which exists only to uplift women of African descent. What really strikes me about 'Profile' is that it doesn't play things entirely safe. Things get a little edgy at times but such things happen in everyday conversation and approaches. You talk to people like they're people; so, to that extent, the song comes well rooted in reality. Furthermore, the song also takes the next step of speaking to men (and other women, and whoever is listening) about the importance of treating women right and showing respect where it is due.

"Yow she want one of Jah Rastaman fi keep her up

No teach her no fuckery and later on, you beat her up"

11. 'Kebra Negas'

Alpha & Omega. Extending on 'Profile' from right before it, 'Kebra Negas' also sets a course and drops anchor on uplifting women and the relationships we ("we" being WHOEVER and "relationships"  being of all types) have with them. The change here, however, is that 'Kebra Negas' is FAR more broad than what comes just ahead of it. This one has a much more general take and, delightfully, attempts to construct a NATURAL bridge that in supporting women is also supporting positivity and good works - as His Majesty intends. 

12. 'Naw Shield Corruption'

Open up your eyes! Somewhat reminiscent of 'Higher Heights' in terms of its pacing (and only in its pacing) and WHOLLY emblematic of Sizzla's more Dancehall centered style around the turn of the century, for me at least, 'Naw Shield Corruption' may just be the most overlooked and underrated song on the whole of "Taking Over". It wouldn't do much outside of its presence here but.... DAMN! If you were living a positive and productive life and doing what you were supposed to do - you were just fine. If not - 'Naw Shield Corruption' was damn near lethal as Sizzla turned up every stone in every corner of the planet to look for corruption and those who aided in it going forward. BOOM! 

13. 'King Taco'

Incient king.

"Yuh seh you a di nail

Seh you a di sledge

Seh you a di hammer

Seh you a di wedge

Seh you tough like seal when you did melt like lead"

'King Taco' was lyrically PERFECT. I hadn't heard this tune in quite some time but when I started putting this together, I remembered the melody in my head and started singing a b i of what I remembered of the words and it started to come back to me. When you dig into the body of the actual song... I don't want to overrate it but, strictly as a praise, 'King Taco' has to sit amongst the best put together of them all. It also comes off SO DAMN EFFORTLESSLY (more on that in closing) and, as the joint second longest tune on "Taking Over", 'King Taco' is nearly as EXHAUSTIVE (and I mean that in a great way) as it is brilliant as Kalonji puts forth an effort fit for The King. 

14. 'Hold Her In My Arms'

Precious jewel. Don't take this literally but 'Hold Her In My Arms' is kinda filthy. There is something almost guiltily intoxicating about this song and there always has been. It is the definitive love-ish song on "Taking Over" and, without question, one of the finest of Sizzla's entire career. It is surprisingly DARK and HEAVY as well - vibes you just do not encounter on or associate with love songs ever. Melodic, lyrically top tier (if you REALLY pay attention) and just a stunning track, 'Hold Her In My Arms' was and remains IMMACULATE.... in a grungy kind of way. 

15. 'Streetside Knowledge'

GROW! On one hand is the knowledge you gain out of studying and going to school, being educated and then there's what you gain from a more general life-experience. Though I'm certain Kalonji is a supporter of the greater importance of both, it is the latter that is focused upon on the scathing 'Streetside Knowledge'. One of the most interesting aspects of this tune is the fact that it sits as one of the most tangible on the album and, perhaps, one of the most tangible that he's done to date. There isn't a ton of spirituality involved with the building of 'Streetside Knowledge' which is what you would hope and expect to be the case. Such a background makes it entirely more transferable and relatable to by the masses as Professor Collins delivers a lesson on everyday for You, Me, Him and Her. 

Synopsis

I want to take a quick look at the 'state of the times' around "Taking Over", at least in the form of some of its immediate 'siblings'. If you go a year or two in either direction, you'll run into other similarly vibed Xterminator produced sets such as 'Words Of Truth", "Royal Son Of Ethiopia", "Bobo Ashanti" and a personal favourite of mine, "Rastafari Teach I Everything" (which was also released in 2001). While you could well make the case that none of them rise to the level of "Praise Ye Jah" (and they don't. That's fair) -- generally regarded as THE best album produced by the duo and no worst than Sizzla's second best album overall --given the sheer amount of work done and its quality, you could also point to that stretch being the PRIME of Sizzla's work alongside Fatis and Xterminator. It was heavier on the Dancehall side, it was decidedly modern and, for the most part, it was absolutely gorgeous. The level of writing and the delivery of the material was SO high and I'm not going to name any names, but if you listen to what SOME of Sizzla's peers were doing at the same time in terms of combining Roots messaging with Dancehall sound.... there is no comparison. At that point, Sizzla was miles ahead of them.

In terms of "Taking Over" specifically, while you could rank it in any place you like in terms of the aforementioned other albums of its day, for me "Taking Over" was spectacular and has aged incredibly well. From its packaged presentation (courtesy of Chris Chin and VP Records. In my opinion it is very subtly one of the best album displays they've ever created (various spellings of Fatis notwithstanding)) being this ultra-cool and understated cover, ahead of the explosions that the listener was in store for - "Taking Over" hit all of the notes that it needed to in order to cross the bridge from being just a GOOD album, to being a GREAT one. Again, I'd like to pay respect to the general quality of Sizzla's work at the time and just how damn fortunate we are that he was as [overly] prolific as he was because we have such powerful examples of, in my opinion, THE single most talented voice Reggae music has ever produced when at his best. "Taking Over" was both a thundering and downright FROSTY example of this. It was also a BONA FIDE, MODERN REGGAE CLASSIC! 

Modern Classics Vol. XLII: "Kings Bell" by Midnite

"Kings Bell" by Midnite [I Grade Records - 2011]

It is a most curious fact that it has taken us so many installments of this series to arrive at this point but as almost all things are when it comes to the music of Vaughn Benjamin and Midnite - it is best to take your time. Be it just a single tune, an entire album or even a performance, the quality of their output takes time to be appreciated and it is only with that time that things become more and more evident.

For example, three years ago now (almost to the exact date) Midnite with I Grade Records would go about releasing an album which has gone on to become one of the most high profile and visible albums of either's catalogue (and between the two, we're talking about well over seventy albums at this point). And while it is quite hard to release albums like this when you do three or four a year, they did it. One of the most fascinating aspects about the project was that it was billed as the very first time that Midnite had done an entire album with a Jamaican producer as the scalding Andrew Bassie Campbell would handle productions for the album bringing together, once again, the ever developing Virgin Islands scene with Jamaica and doing so in a way which, very much, continued Midnite's ever persistent methodology (by my count, there were FIVE Midnite albums released in 2011) as well as Benjamin's incomparable style. Also, while it wasn't an IGR production, historically, my favourite Midnite albums have come from that label and it extended to even outward collaborations. This album would prove to be not only one of the most noticeable with the name Midnite but also one of the most vibrant and FULFILLING as well. And, again, this was a fact which has become easier and easier to see with the passage of time. 

So maybe we will all sit here and do this again someday. Until then, we once again give our greatest distinction, this time to a very familiar source for the very first time, to one of the best albums I've ever heard, "Kings Bell" by Midnite.

The Music

#1. 'Exalt The Crown'

The opener of "Kings Bell", 'Exalt The Crown', now looking back, is one which is relatively wide-open and broad by Vaughn Benjamin's standards (and ONLY his standards). To my opinion, it is about living your life in a manner which is pleasing to His Imperial Majesty but he goes through so many different variations and possibilities to illustrate this point that, ultimately, what you get is a song saying that pleasing The Almighty, like what you do with your time (whatever that might be and whoever you may be), is a necessity. It's a BEAUTIFUL song and one which should be regarded as one of the greatest sonic displays on this albums. 

Lyrics: "Natural link up - the youth Jamaica from Cruz. Musical consumption of complete old food. From music weh pleasant and music weh rude. Some even go seh dem music is unpleasantly rude, from that's how dem select it when dem select dem mood. But I exalt the crown. I exalt the crown"

#2. 'Try That Way'

Like its predecessor, 'Try That Way' is another which is joyous to listen to and, also like 'Exalt The Crown', it is absolutely brilliant. What I now take from this song is that Benjamin is saying that everyone needs to step things up in terms of effort giving to what you do in life. And I don't think that this is a song in which you can just say 'work harder', I think his goal here was to say DO harder. Be nicer to other people, be more caring and comprehending and sympathetic to someone else and what they're going through. I also hear that he goes a step further in that, essentially, if you do follow this course, you may find something special in yourself as well as in someone else [“a lot of barrier out yah. A lot of warrior out yah"]. 

Lyrics: "The arch is with The Architect, Haile Selassie I, The Maker, in HIS hands it haffi keep. Feeling powerless - the earthly beings. The aftermath of empathy inna catastrophes. Sending a penance to bring comfort and to bring relief. SYMPATHY AWAKEN I HUMANITIES, INNA RECOGNITION OF THE MIDST OF HUMAN FRAILTY. The live thread is ever inna a delicacy. Within the elements of infinity, EVERY MOMENT IS A THANKSGIVING CHANCE YOU SEE. WAKING UP HEALTHY IS A BLESSED SPEECH"

#3. 'Mongst I & I'

BOOM! Although I still do hear a single better song on "Kings Bell", to the surprise of no one 'Mongst I & I' has well become the album's signature moment and with fantastic reason. 'Mongst I & I' was golden! It was a musical bar of gold and it was a song aimed at those who never think that Midnite songs are the greatest to listen to (and, admittedly, Vaughn Benjamin has never had the best command of melody and he often seems as if he doesn't care about such things) (which, in certain cases, is a quality I've grown to appreciate of his as I've gotten older). This was different and it would, if I recall correctly, birth the very first official Midnite video ever. The composition was one about making the world a smaller and more comfortable place amongst good people. I think a particular point that he was trying to make here was how complicatedly simple and easy it has gotten to 'keep in touch', so you really have no excuse not to be able to do it. Failure to do so can lead to bona fide tragedies, not one of which was a song like this, however. 

Lyrics: "SO JUST KEEP GOOD RELATIONS!"

#4. 'Earth Is The Lords'

If you want an example of that melodically-oblivious, yet all kinds of GENIUS, Vaughn Benjamin, look directly upon the nearly Spoken Word-esque 'Earth Is The Lords'. A praising piece in its heart, 'Earth Is The Lords' is DAZZLING! For me it stood as a song about humility. Benjamin was saying that no matter what rank you rose to and no matter how much you achieved in life, you did so "in life" and thus, with a limit. But there exists Someone whose rank is infinite and whose accomplishments cannot possibly be counted. 

Lyrics: "Critical delineation, I can hear dem now: Fine tuning dialectics, discussing the 'how'. But the 'how' without 'know' is a stray out loud. There's a stray out loud, high, official mouth. RESOURCE IS THE TRUTH IN THE ROOT OF WHAT IT'S ALL ABOUT. IN THE FIRST PLACE THEY WOULDN'T BE ABLE TO SUPPRESS AND SHOUT IF YOU HADN'T SUPPLIED THEM THE ARMS TO ASSERT, DICTATE AND CLOUT"

#5. 'Kings Bell'

The title track for the "Kings Bell" is one which is so interesting and, these days (like always), I have a very healthy respect for what was definitely one of the strongest efforts on the album named after it. The actual 'bell' of The King, of course, is music which speak to the virtues of His Majesty. What is probably most interesting about this song is Vaughn Benjamin's CONFIDENCE in this subject. He, correctly, calls it a "contagion", he says that the entire world can feel it and that there're so many others who are also ringing the King's bell. ["Music is the thing weh ahgo glue up everything. And then dem yah talent offering unto to The King of Kings. These are the warriors, the priests and the king of the King of Kings"]. 

Lyrics: "What dem woulda do without any kind of a sound bashment anywhere you went? Unique vibration of a offering Rasta testament. LIVING SOUND INHERITANCE, YEAH MAN FI TREASURE THAT WITH COMPETENCE. VIBRANCE, YES MAN, FI PROTECT THAT WITH VIGILANCE"

#6. 'System Peak Out'

'System Peak Out' was a tune with a very unusual sound for this album but it was more of the same incomparable level of writing from its creator. This one was particularly high, however, as Benjamin hit's a 'peak' later on in the piece where he simply begins to shell the listener with lyrics. If you slow it down and listen to what he says, the gift you receive is one which is a total social commentary that says that the world has lost sight of what is truly important ["your immediate frame of reference is short-sighted"] and is… living really nasty these days. It isn't a wholly bleak picture that he paints, however ["the principle of The King is steadily advancing"], but you do get the feel of the most appropriate urgency of his words. 

Lyrics: "Disruption and blockage, email and text. YOU DUN PAID ALL YOUR MONEY AND YOU STILL GET DISCONNECT. Have people deh fi figure out your hablar dialect. Ah pressure di middle class outta tax fi collect. LIKE DEM KNOCKOUT DI WIND OUTTA DI MIDDLE SOLAR-PLEX. How so much people ahgo tek before people get vexed? Dem si di volatility climate and buttons still ah press. Not to mention di press - how dem beat down di press. Rasta order unuh fi humble and quickly issue address. Like how everyday inna war a random dead. And anarchists ah love it how di chaos ah spread"

#7. 'Jewel Inna Africa Horn'

'Jewel Inna Africa Horn' is a song I best remember as being one of those stereotypically DEEP Midnite songs but, simultaneously, being this set which didn't require you to beat it down to the powder to find some appreciation in it (it's better if you do, it always is, but you didn't absolutely need to). I may be alone in that because the sound of the song isn't so incredibly infectious ostensibly and flashy but, for me, just listening to this one makes me feel good and the more I heard it, the more that became the case. The song was another about praising His Majesty but the route taken to arrive at that conclusion was a beautiful one and though it may not have stood out for many, 'Jewel Inna Africa Horn' was CLEARLY amongst the class of "Kings Bell" in my opinion. 

Lyrics: "Have you heard Rasta at all? Our people standing tall. Defend dem home a yard. And defend dem pride abroad. An industrious, righteous heart. Preparing di youth fi all"

#8. 'Bittersweet'

'Bittersweet' is WORK. You're going to really have to pay attention and after listening to this selection for so long and trying to find a meaning in it, I think that the actual 'road' is what this song was about. It's a piece about PAYING ATTENTION and not taking the first direction available because no matter how good it may seem, it also may be just as bad. And throughout the song Benjamin is careful to never go in one direction, good or bad, too far without acknowledging the other because nothing in the world, with one Majestic exception, is all good all of the time. A very ripe song and one which one was one of a kind coming from Vaughn Benjamin. 

Lyrics: "So now go visit HIS speech and then visit reality. The accuracy to Hitler and to Mussolini. Because of serene demeanour, level, balance of speech - gwan go think man fi soft and think man fi weak. And end up inna clashaclism end up inna defeat. Ethiopia victory did bittersweet" 

#9. 'Pon A Watchlist'

BOOM! I hadn't heard 'Pon A Watchlist' for a minute until recently (when this album became impossible for me to put down for a few weeks) (still haven't quite figured out how to do that) but when I came back to it what most stood out, as it did originally, was that masterful riddim backing it. DAMN! I'd love to hear an instrumental of this song but even playing behind vocals it was full sublime and it still is. For his part, Vaughn Benjamin shines just a bright as the track. Bringing the notion that, the further you move away from The Almighty, the more suspicious your actions become. 

Lyrics: "Looking into effectiveness focus fi live. When di prices are skyrocketing meteoric. Dem have calculus ah tally inna cost and risk and have poor people rights inna di world diminish. And have di whole world ah suspect yuh pon a watch list" 

#10. 'On The Broadcast'

You don't need to turn on your television to see certain things play out because they exist in "everyday life" if you pay attention closely.  The chanter goes through several drastic situations which you, typically, only expect to see in movies and in general fiction but they are, instead, actual real-life events. And I don't think that it is necessarily his intent to do away with 'the broadcast', but he's definitely hoping that the masses will collectively begin to give it less and less attention, when the real fascination is right in front of you. 

Lyrics: "Hear what Rasta Drum saying: Disturbance over food. These times are harsh and rude. YOU HAVE FIVE YEAR OLD NATIONAL CATASTROPHE WHERE HELP STILL CAN'T REACH YET… AS IF THE WHOLE WORLD FORGET. They wander and relocate, recollect. Border to border refugee neglect"

#11. 'Peak Tension Time'

The wholly brilliant tune that was 'Peak Tension Time' was a song about a tunnel. It was about finding something, hopefully something positive, which gets you through the rigours of life and allows you to "simplify" the complicated things that you may experience. That message was wrapped up in one of the most beautiful packages to be found on "Kings Bell" and the song was very calming to just sit and listen to and has probably gone on to become not as appreciated as its quality would have seemingly demanded. So definitely go back and take a new listen to 'Peak Tension Time'. 

Lyrics: "A supernova in a stardust time [!]. May have to contain yourself to survive"

#12. 'Black Mamba'

'Black Mamba' is, EASILY, one my top five favourite Midnite songs ever (what else would be on that list??? Songs like 'Before I Lose My Strength' and 'Hemp Scroll'… 'Mongst I & I' may be there as well) and it has become THE song from "Kings Bell". It was the prime moment when education met entertainment on a Midnite song and they had a baby… which was an eleven foot, six hundred pound tiger. 

Lyrics: "Inna di whole world, mi mean look at the bigga picture: AN ELEVEN FOOT, SIX HUNDRED POUND TIGER. Him get fed up all of a sudden, what dem ah pet him mouth fuh? Inna an instant he remember his true nature. Not to mention Black Mamba and King Cobra" 

#13. 'What About Sudan'

When you place material things and money ahead of money, it goes without saying that you probably have problems with getting your priorities in order. There is no reason to overlook mankind and yet that is the message behind 'What About Sudan' ["business first, I-manity second"] which was a MAMMOTH song in retrospect. The riddim here was a serious one but you lose virtually everything this song is worth if you don't tune in to what Benjamin is saying, especially in its middle portions where Sudan and the entire continent begin to glow in this man's words. 

Lyrics: "It was defenceless inna di jungle, it was survival. IT WAS LIKE SOMETHING ONE WOULDA SEE PON A NATURE CHANNEL. It was sweatshop, child labour, rodent infestation. Inna collision with Native American called puritan. And dem state seh dem was running weh from persecution. AND DO WORSER THAN WHO DEM SEH DEM JUST RUN WEH FROM" 

#14. 'Jerusalem School Room'

'Jerusalem School Room' is another song which was very nice to listen to and brought a very significant message along with a sterling sound. In this particular case, that message was one of educating yourself and becoming familiar with certain aspects of life. What is predominately focused on in here is the economy and financial matters and that's a very nice way to go because so many people aren't completely aware of how those things work, even when they apply to you personally (as my wonderful Aunt-In-Law says, "if you don't know your money, someone else will"). 

Lyrics: "Inna Jerusalem school room, careful up inna di current zone. Decisionous place, where you walk alone. Lonely placed wid di whole big crowd around. Next step you ahgo tek fi secure yuh own. The currency watch the bills and ah beg and ah groan. Say don't go give I to dem, keep I for your own. The government demself caan pay back the loan. And have di people inna terror, repo man around"

#15. 'The Quickening'

Listening to 'The Quickening', I can almost feel Vaughn Benjamin's joy with what he was working with. He seems very pleased by the track. That track, courtesy of Bassie Campbell, was also a favourite of mine, the Drum Melody Riddim. He does make the most of the moment with a tune which remains a highlight from this album to my ears as it sends a giant praise to His Majesty and also, given where it is placed on "Kings Bell", provides the album with another moment from its latter stages which is virtually impossible not to pay attention to. 

Lyrics: "If I & I humble to order instilled, it's because The King of Kings say so. It's the right thing say HIM. Give Rasta His counsel, make the world drink! Come make the whole world mind drink! Regimented rise and fall out of labour working. The fields work in riddim. Work in riddim" 

#16. 'Torpedo'

Because of its sound, you can listen through 'Torpedo' and really have a good time and (bounce in your chair like I am right now) enjoy it with no problem at all but it doesn't fully shine until and unless you really tune it in and begin the journey to comprehension of what it is actually about. Fortunately, I am very much still in the middle of that journey, so I can give you an update from the inside of it. Where I am now is the thinking that 'Torpedo' is a song about motivation. It isn't a piece telling you to get up and… it is about "motivation" in the pure form. Seeking a proper motivation in the midst of so many reasons to do so many wrong and FOUL things 

Lyrics: "They barter, exchanging salt fi gold. Is a different value system you know. And they say how they ignorant so. And dem approach dem wid torpedo! As a quicker way fi get di gold. Wid a guilty generation whoa, about what dem inherit yah so, dung yah so"

Synopsis

So where do we go from here??? Along with the inherent fact that analyzing Vaughn Benjamin's music provides someone with… A LOT of work to do, every time you do it, looking here is an even more fascinating proposition because of the latest Midnite/IGR effort. In that set, "Beauty For Ashes", there was definitely a running theme, where Vaughn Benjamin took the concept of unity and sliced and spliced it apart and back together again as he produced that piece of mastery which we may be looking at in this capacity someday. As for "Kings Bell" and, in my opinion most other Midnite albums, I don't think that there was as prevailing of a central element in writing the album but I do think that there were a few which you see explored over and over again and I just wouldn't be me if I didn't want to look into at least a couple of them now - one of them, in particular, which very loosely ties into the title.  

"Two or three gather in His name, ah promise Jah is in it

When its soul thieving duppy weh dem ah stand fi resist

NEED JAH INSTRUCTION, NEED JAH DIRECTION FI PACE DI RIDDIM

Rasta share to humble ones inna di joy of live

AS ONE FEEL DI IN-BIRTH CONCEPT AS AN IN-BIRTH PALACE"

As I said before (or at least I hope that I did), I believe the concept of the "Kings Bell" is MUSIC. And several points on the album Benjamin, including this stanza from 'Pon A Watchlist', makes that point vivid. The idea here, as well as on songs like 'System Peak Out', 'On The Broadcast' and others, is that negativity activity diminishes with the closer you move towards His Majesty. When you move further away [?] you'll "have di whole world suspect yuh pon a watch list". And the evolving point here would be that one of the things that does bring you closer is the music [WHAT!] which celebrates HIM. "Rasta share to humble ones inna di joy of live", he says. In that particular case, I think that the "joy" is a musical one. To go even further with that you go directly to the source which is the title track. 

"MUSIC IS THE THING WEH AHGO GLUE UP EVERYTHING 

And then dem yah talent offering unto to The King of Kings

These are the warriors, the priests and the king of the King of Kings" 

There, he goes much deeper in downright BLEEDING the point. He calls it a "contagion" like I said (you're catching it!) and that sentiment is also echoed directly on 'Exalt The Crown' and I think indirectly on 'The Quickening'. In general, it can be damn difficult to get into Midnite's lyrics but I think that in this case its rather crystal clear with music being a TOOL used to accomplish so many of the objectives Benjamin tasks the listener with throughout "Kings Bell". 

The other concept I really wanted to look at from this album, definitely, is the afore-alluded to idea of unity. While it certainly is not explored on "Kings Bell" to the depths that it is on its IGR successor, it is well represented here. Of course we look at 'Mongst I & I' which is a lovely statement about looking after one another and that song stands out so widely but a tune like 'What About Sudan' follows it perfectly on a similar note by a sharp contrast. 

"It's a noble aspiration -

Protecting a defenceless population

They seh dem reach fi settle di ease inna war

By bringing dem more and all-out war"

THAT is the type of attention I DO NOT want. If that's what you're bringing then bring it somewhere else and I think that this song stands up so mightily because it even further illustrates how important unity can be. All attention is not equal, there is good and bad and, on a simpler range, it's important to look out for one another to be aware if someone finds themselves in a struggle like this where they are wholly being taken advantage of by someone supposedly carrying "a noble aspiration”. And even that ties back to my first concept because music is a way to make the people aware of such things as well. And finally, I do have to take advantage of this moment, myself. I LOVE examining and scrutinizing Midnite's music. It is, by far, the most challenging brand of this era and, though they have some of the most fervent followers out of anyone in Reggae music today, I don't think that there is a grand amount of people really breaking down the words and, in retrospect, 'they' may have never had an album which has received that level of inspection at one time. You can look at older pieces which have grown in popularity but for what it was, when this bell rang, fans of the entire genre, Midnite fans or not, heard it.

Vaughn Benjamin

Three years later, they're still hearing and thirty years on from now, they'll still be hearing "Kings Bell", a bona fide, Modern Classic! 

Modern Classics Vol. XLI: "Know Thyself" by Ras Batch

"Know Thyself" by Ras Batch [I Grade Records]

There are certain albums that come down and do so with quite a bit in the way of both interests and questions regarding their quality. These are the type of sets which you so much look forward to but do not really know what to expect and how you are going to receive them… today we are not going to talk about an album like this. Instead, today we have a record whose exceedingly high quality was guaranteed even before it was created. 

The very idea of Ras Batch doing a project with I Grade Records is a sterling one. I don't actually need to hear that album to know that it is going to be a great one nor do I need to hear it to be able to give it a thorough recommendation, but thankfully I did get to experience this one. As I've gotten older one of the greatest gifts that a tiny bit of maturity has given me has been the ability to fully appreciate the music of the VI Roots Reggae wizard. Though I always had an appreciation of his talent (particularly as a producer), during the second half of my twenties and the first two years of my thirties, he's become a bonafide favourite of mine and you will not find too many other artists whose output I anticipate more so than Batch's. Prior to 2012, in my opinion, he had already produced a genuine classic in 2005's MASSIVE "Jah Guidance" (an album which STILL gets more impressive and every time that I hear it), but now I may even make the case that in the link with IGR and the Zion I Kings, Batch not only added another classic to his catalogue, but he added the absolute best album he has done to date.

"Jah Guidance" [2005]

Today we give the biggest honour we have on these pages, for the second time, to the brilliant Ras Batch for pushing one of the most obvious additions to this line and, easily, one of the smartest and just BEST albums that I have ever heard: "Know Thyself"

Ras Batch

1. 'Jah Children'

In 'Jah Children', "Know Thyself" had fully ROYAL beginnings as Ras Batch delivered a single classic and one of the best songs of his entire career in my opinion. The vibe surrounding this tune was of the caliber that it immediately grabbed your attention - it sounds like something crucial is about to happen and it subsequently proves to be even more. I look back at this piece now as Batch taking an appreciation of that same vibe and moment. The idea was to highlight and stress just how important YOU are. So while it is a spiritual tune to its core, it also had a substantially tangible context as being of such a powerful spiritual heritage, it is our responsibility not to waste what we have been given by The Almighty. And this song glowed from beginning to end. It was magical. 

Lyrics: "Rum dem ah drink, when herb Rastaman dem itinually planting. Deep inna di teachings of His Majesty, I & I stay standing"

2. 'Give Jah Thanks For Life'

I still hear echoes of Toussaint's tune, 'Jah Golden Throne' (biggup Toussaint) whenever I hear the riddim behind 'Give Jah Thanks For Life', but that does not (nor has it ever) take away from the high class of a song like this. As it fits on the album, the song kind of serves as an extension of ideology of the tune which precedes it here. On 'Jah Children' Batch spoke of appreciating the standards from which we originate, but on 'Give Jah Thanks For Life', Batch deals with actual standard, itself, and its foundations. From a lyrical point-of-view I've come to place the first two songs on this album in a pair which kind of go to tell a small story at the beginning of this album - one which is constantly revisited and expanded upon throughout. 

Lyrics: "Some trust in house and land. THE TEMPLE OF THE MOST HIGH BEGINS WITH THE STRUCTURE OF MAN. From Mount Zion, feel the touch from Jah hand. In humbleness receive Jah instruction"

3. 'Stay Fit'

The most fascinating aspect of 'Stay Fit', lyrically, is definitely Ras Batch's concept and usage of the word "fit". I've come around a bit on the acceptance of the physical nature of the tune. Yes, definitely Batch's idea of fitness in this case is one which is very much akin to staying aware, but for the many directions that one could well take this one in, I think even Batch would agree that all are more capable when physical fitness is first achieved. And when you place it in the context of "stay fit"(which normally does mean physical fitness), it creates a metaphor where both sides are applicable. Batch says to stay fit in every aspect of life. 

Lyrics: "Rastafari genealogy - unbroken. Four corners of the earth, Rastafari name is spoken. HAILE SELASSIE FIRST, I HAIL HIM IN THE OPEN"

4. 'Dem Against Jah Rules'

'Dem Against Jah Rules' is a tune on which I'm convinced that Ras Batch is fully ANNOYED by oppressive society and the oppressors, themselves. It, subtly, has a bit more of an edge than some of the similarly vibed songs on the album, including one particular stretch which is somewhat Damian Marley-esque in terms of how it is presented. It is one of the most memorable stretches on the entire album (and surely I chose it as the lyrics just below) and stands out on a tune which is a social commentary about something which has obviously rotted away at Batch's patience. Despite the aforementioned "edge", this isn't on which Batch is angry. He's disgusted. 

Lyrics: "REBEL! Bun babylon and send dem straight to hell. REBEL! For too long Jah children under your spell. REBEL! Controlling what we buy and what sell. REBEL! Dem ah suck you out and leave an empty shell"

5. 'Love Always'

'Love Always' is a song which has always done something to my senses. I can listen to it as a song, straight-forward, but it is MUCH more of a fun experience to take in the sonic FEEL behind one of the finest pieces on "Know Thyself". As for the song, what it is for me is the idea of keeping a smile on your face, no matter what people try to do against you and keeping your 'head up' when others try to drop it. When you combine that with its presentation, you have an exceptional composition and one which, fittingly, makes you feel good in the face some dire situations ["Cause if a love, wi want yuh rally and come take a stand. So long wi ah suffer and ah bleed inna dem foreign land"]. 

Lyrics: "Cheat and try to win, cah they don't have no joy within. HATRED'S GONNA DIE. LOVE'S GONNA WIN"

6. 'Guns on the Street'

Batch captures the moment on a song which has grown on me tremendously in the past couple of years, the anti-violence themed 'Guns on the Street'. What I focus on these days from this tune is its very easy and organic sound. I think there is something to be read into there, particularly when you notice it alongside the lyrics. For Batch this is a very simple thought with an equally uncomplicated course of action ["things woulda been nice if dem abolish di gun"] and throughout the song he is fairly level-headed and presents himself as someone who just so tired of the violence and is trying to inject some COMMON SENSE into the world. A BEAUTIFUL song which even I, personally, may've overlooked - but never again. 

Lyrics: "Things woulda been nice if dem abolish di gun. Wi know inna dem colony, nuff Afrikan blood run. So many Afrikan daughter, Afrikan sons - get killed by an Afrikan shooting an American gun" 

7. 'Together'

'Together' was, very much, a 'goal-oriented' type of song and it wasn't about the ultimate goal it was more about the journey towards achieving it. The thought is that you're more likely to appreciate something you had to work for over something that was given to you. And, as you would hope, he also presents to you the idea of the goal, he shows you what unity will bring ultimately:

"BABYLON BUN WHEN RASTA COME TOGETHER"

Something which I hear now is that this song, really, is a call to action. It is a piece which is asking for a most basic level of unity to begin something in a major way. If this had already happened, if it was a piece about enjoying the fruits of labour, the tune wouldn't be necessary, but it exists because Batch is saying that it is an ultimately (and, perhaps, immediately) reachable set of circumstances. It isn't unattainable! Also I should mention the vibes of this song. The very catchy piece isn't one which you typically hear from Batch, but it contains enough of his more distinctive characteristics that, when combined with that big sound, makes for a song which is a very easy choice for a single. BOOM! 

Lyrics: "Must haffi make it somehow! Must haffi mek it someway! Inna Sound Vizion Rastaman sight how babylon ah fade away!"

8. 'Live Pray'

It isn't only for the riddim and how nice it is every time I get to hear it but, looking back, 'Live Pray' was an amazing song and one of the strongest on this album in my opinion and a mighty way to lead into the second half. What I now take from this song is the notion that, again, things walk both spiritually and tangibly. Batch acknowledges that we much, MUCH work to do, but that work can only begin when we can seek the aid of The Almighty. In its latter stages, the artist hits a stretch where he even presents PRAYER as a utopia, immune to the ills of society and a direct line to His Majesty. I also look at the arrangement of the song (particularly at the chorus) and there is just so much to enjoy about this song and I'm STILL working on it. 

Lyrics: “Catch if you can! I & I ah run to the Mountains of Zion. To The Conquering Lion, HE is a Lion. TO THE POWER OF PRAYER, ONE OF THE GREATEST WEAPONS. Meditation of prayer, origin Ethiopian! AFRIKAN DEH DEH FROM TIME BEGUN - FI COME WITNESS DEM DESTRUCTION"

GRRRR! BOOM! DAMN!

9. 'Roots Tradition'

Professor Batch held class as the mighty 'Roots Tradition' rolled in and he made it crystal clear at the head of the track, "These are the things you nah learn inna babylon school". I'll surely come back to this one in synopsis, but to get it started: For me, this song has a direct line to the title track. They are 'siblings' if ever two songs were biologically related (and they were) and it is the first part of a double dosage of taking in the full meaning behind this album to my opinion. 

For itself, the tune was sublime and one which can be carried in several different directions. The one which I follow most now is the importance of setting a proper example to the youths, in general, but specifically in educating them on their heritage. I think Batch makes songs like this to instill pride and you may not be aware of everything he mentions (and you may be), but the thought is to show just how GRAND your bloodlines are and were hundreds of years before you - so you have a benchmark to live up to and living disgusting and nasty lives is just unacceptable. 

Lyrics: "If a nuh root, the tree won't stand. I & I a Olmec, I & I a Nubian. All melanin in skin come from the Afrikan land, Man and Woman"

10. 'Trees' featuring NiyoRah

Oft Batch collaborator and another favourite of IGR (and me) (and you) (… and everyone else), NiyoRah ["And if you feel a way about the herb"] made an appearance on another single from "Know Thyself", 'Trees'. I listen to this tune now and I hear such an unusual composition behind it (the riddim, which is perfect for this song is just something really different) and that well adds to the fuel of this song. Touching on one of Batch's favourite topics of discussion (Niyo isn't a stranger to it either), 'Trees' was a piece about the splendours of marijuana and it was one so passionately produced on the subject that, in a line of many songs coming from Batch about the same thing (including another on this same album), it still manages to hold a special place for me ["Wi burn a spliff and burn babylon dung"]. 

Lyrics: "Coming from the root, the stem and the leaves - green ganja trees. Cannabis smoke bring so much relief. Sacramental burning! Higher heights of learning. AFRIKAN MEMORIES RETURNING!"

11. 'Dem Wrong'

BOOM! 'Dem Wrong' may have grown to becoming the second best tune on this album (and it didn't have much growing to do on that) and that is based on the fact that it is COMPLETELY BRILLIANT from beginning to end. You may be able to call this one a 'social commentary' and you'd have an easy case to make on that point, but I call it more of a spiritual commentary. Batch is dealing with a long line of rotten behaviour and actions which make up the line of observations on this tune. What I hear most glaringly now is HOW appalled he has become with the ways of oppressive society. Not only is it, as a structure, disgusting (and it always has been) but, anyone who would say anything other than that is also living a foul life:

"Tell you dem wrong -

A WHO TEACH YOU FI TRUST BABYLON

Tell you dem wrong 

An dem push di wrong things all along"

Oh and the guitar on this song is in the stars. It is fantastic as is the entire riddim. 

Lyrics: "Slow poison from the doctor's pill. Radiation and the oil ah spill. Babylon ah live in a world of sin - caan win"

12. 'Mama Daisy'

I can't make a song like this but, hopefully, someday I'll come up with something to show my appreciation for my Mother the way Ras Batch did for his, who had recently transitioned, with 'Mama Daisy'. There is an entire 'institution' of Reggae music specifically devoted to singing the praises of mothers -- there have probably been THOUSANDS of songs on the subject -- but this is one of the best I've heard in recent memory and maybe ever. 

Lyrics: "In your honour, I'll do my best. For the love and time and money invest. You've passed the test. FULL-JOY YOUR REST"

13. 'Know Thyself'

Professor Ras Batch returns to the class on the MAMMOTH title track which, just like its elder brother, 'Roots Tradition', 'Know Thyself' is a lecture you do not want to be absent for (or talking on your damn phone). I'll have to save some of what I'm thinking for synopsis, but 'Know Thyself' was a pillar! Specifically standing out now are two things: First of all would be the sound. While what you have here isn't very dynamic in the way of 'Together' or a song like that, but I hear a song that Batch had fun singing. I hear a JOY in his voice and it isn't a misguided one, it is one well utilized in dealing with a very powerful subject. Second of all is just how crucial this song is. There is not a fraction of it which you can overlook. Every second of it is used to do something very important and more on that in second. 

Lyrics: "ANCIENT MYSTERIES REPRESENT ETHIOPIA AND KEMET, WITH AN AFRIKAN SPIRITUALITY GIVING US GUIDANCE TO REFLECT. AND I SEE HOW HAILE SELASSIE FIRST RECONNECT WITH THE AFRIKAN INNA DI WEST TO I ORIGINAL SELF"

BOOM! 

14. 'Most High' featuring Ima

Humility and humbleness are the central themes surrounding the final combination on the "Know Thyself" album, 'Most High', where Batch and his Empress, Ima, are giving thanks for the giving of thanks (biggup Marlon Asher). Songs like this always resonate for me because they strike at the absolute core of someone's mindset. If you are extremely humble or if you are as arrogant as you can possibly be, there is something for you in 'Most High', where the thought is that whatever you have, no matter how big or small, you give thanks for it! There are no exceptions. Later in the song Ima takes the lead and her crystal clear vocals light up not only this song, but a piece of the entire record (and you can check out Ima's own album which she released after "Know Thyself", "Ah We Deh Ya"). 

Lyrics: "I thank you for this gift of life, Most High!. And for the love that You provide, Most High! In your creation we abide. Jah guide I & I"

15. 'Never Forget'

TEARS! Your ears and your mind really have to be open to appreciate what Batch does with 'Never Forget' a very thorough look at one of my own favourite topics, the Afrikan Diaspora. It certainly does not come a surprise -- his passion on the subject -- but I'm well thankful that someone with such a skill took this type of look at it, from a musical perspective. It is another tune which builds towards the prevailing premise of this album to my opinion and what it adds, specifically, is an even greater importance. Yes, you come from a very proud and upstanding lineage of people, but you also come from a people who have endured monstrous treatment and have managed to overcome and continue this journey. And I also have to mention the chorus on this song which is downright haunting and such a joy to hear.

Lyrics: "Cah di city woulda neva without the Afrikans. Slavery, come steal I from out wi land. Inna shackle and chain inna foreign land. To America and Europe and the Caribbean. And dem system neva gave a damn. Hard work and the days are long. So they try fi kill our will, still Jah bless di powers of the Nubian. Rising above oblivion, still trying to overcome. Water down the struggle in the pages of I history curriculum. Where we going, where coming from. Afrika a where wi from! don't you forget your roots and culture if you are an Afrikan. I & I WILL NEVER FORGET"

16. 'Sacramental Herb'

If you take some of 'Trees' and some of 'Most High', you may end up with something which doesn't sound too disparate to the golden 'Sacramental Herb'. The tune finds Batch both giving thanks for the plant as well as singing its virtues but, in the case of the latter, he takes things to an even more detailed level than usual. This song won't register in the same way as the one preceding it, the title track and 'Roots Tradition', but it is, arguably, every bit the musical address that both are in terms of packing SO much knowledge behind one's point. It is also a lyrical achievement and one of the best songs of its kind that Batch has ever done 

Lyrics: "When the THC get up inna di pineal gland. Nuff youth inna di ghetto start write and start to sing song"

17. 'Repatriation'

"Know Thyself" reached both its peak and its completion in the same song in my opinion. 'Repatriation' was one of the best songs that I've ever heard and while it may not have gotten the level of attention as some of the other songs on this album (and that's fine), but it was THE signature moment for me. The song served as the PERFECT closing tune as, seemingly after you've followed the instructions given on the album's first sixteen tunes, the only step remaining for you is to return home. On top of that, Batch also speaks of the decline of society and how important it is to begin the journey and how NECESSARY it is as well. A triumphant piece and, again, one of the single best songs I have EVER heard… from anyone. 

Lyrics: "Tell di carpenter and di mechanic and di farmer - mi ah tell dem unuh come! Tell di plumber and di mason fi stop waiting - mi ah tell dem unuh come! Wi in too long inna babylon now yeah. Cycle repeating from Sunday to Sunday! Mama Afrika ah waiting and aching - mi ah tell dem unuh come. Inna di marketplace of colonial-ship, well dem ah bargain - tell dem unuh come. Must haffi return to di land where we're from yeah. BUST WEH DI SHACKLE AND DI CHAIN THAT HOLD US DOWN YEAH"

Synopsis

My idea of the core sentiments behind "Know Thyself" is a pretty easy conclusion to reach but I also think that it is the most likely one. This is an album about instilling pride, specifically, within people of Afrikan descent. And throughout the album it seems to be the goal of Ras Batch to show what the standard is, then to set it and reinforce it and then give his ideas to how that standard (in the sense of having a base level of behaviour and life) can fully be met. That is what this album is about. 

In my opinion, it is evident on each and every tune here, but I narrow it down, especially, to three songs. The first, as I alluded to, is 'Roots Tradition'. 

"These are the things you nah learn inna babylon school

Of Mama Ethiopia, when Afrikans rule

From the lands of Maroon, knowledge of Timbuktu

The fighting Ashanti, warrior Zulu

Afrika a di root, dem nah tell di truth

We ah bring this to the nation, teach this to the youth

Afrikan attribute to civilization fruit: 

Solid and absolute"

Besides everything said in the song (and you really need to pay a special amount of attention to the lyrics in that song), I fully love the usage of the word "tradition". As I said previously, I look at this song as one which is saying, amongst other things, to set a good example for young people. And when you think of a tradition, in general, it is something which is taught and shared and passed between generations. So what I take from this one, in particular, is to LEARN your own heritage and then to become capable of presenting it to your children as well. Next is 'Know Thyself' which is, I think, the first half of 'Roots Tradition'. You cannot possibly teach something to someone if you do not know it yourself and I think the title track for "Know Thyself” is Batch's way of telling everyone to LEARN about your culture and your tradition and heritage, for your sake. 

"Could it be today

Could it be tomorrow

Inna dis time and space, to balance I joys and sorrows

So I & I can be free

Live long and prosper

Fulfill thy destiny with I mind over matter

Know thyself

Know thyself" 

You could make the case that in this particular stanza Batch equates knowing thyself with a genuine freedom… he equates an education of self with freedom which, immediately, strikes you with a grand importance! Very few things are more attractive than freedom and if one of those things are prosperity, then he's also offering you that as well. The title also presents a question in a way of what are you to know of yourself and I think that you can break that down as finely as you like but, here, I think that given the direction much of the album goes in, Batch is talking about knowing thyself from the source. Knowing where your people have come from. But I also think that is a general statement to say that the more you know about yourself, in any capacity, the better it is for you. And I also go to 'Never Forget' to further my point. The line of ancestors isn't only filled with royalty in Kings and Queens, it is full of some of the most tragic stories in human history and that is a point illustrated on this piece.

"I'll always remember how they beat I ancestors down

And taken to the bottom of the belly of the beast, down, down

With a lifetime of work with chain and shackle pon feet 

With no release, rob right of dignity

From the day they were born until this earth they leave! 

Afrikan sacrifice - they don't want you remember this

I & I will never forget

The middle passage

I & I will never forget

Weh dem talk bout three of fifth of a man

Bun all di Ku Klux Klan

Racist segregation, discrimination, Apartheid

I & I will never forget

I'll always remember

All the lynching and raping run, run

Didn't want to set us free so plantation haffi born, born

Messing with our thoughts, I ways, I dreams, I memories

Complexion of biology who distribute great brutality

They are the workers of great inequality

PSYCHOPATH OF INSANITY

RAW AGGRESSION AND PURE VANITY"

For me this highlights that standard even more. If your people have come through this then suddenly you complaining about having a bad day or something not being right in your life doesn't seem as justifiable. And I also want to bring in songs which may not look as if they go towards this point ostensibly, but both 'Trees' and 'Sacramental Herb' do fit into this premise as well. Both of these songs speak of very tangible gifts from The Almighty, and I think that Batch's point would be - how can you "know thyself" and be unaware of your Creator and what He has done for you. This places a concrete object in hand in a similar way to how 'Give Jah Thanks For Life', 'Most High' and others places intangibles in mind (and a tune like 'Guns in the Street' would take things out of hand and out of mind, but replace them with something of a far greater value). 

And hopefully, I'm placing something in your mind about just how mighty of an album this was. These days I look at an album with this length (or even a little shorter actually) and immediately begin to think that it is probably a little too long. Even if it's good you're likely to run into three or four songs which should have been cut out, but if you take any of these songs away, this is still a very good album and I may even still be writing about it in this context (and I'd be done by now), but it loses something. ALL of them are outstanding and substantial and make for an album in "Know Thyself" which was absolutely sensational and a bona fide modern Reggae classic!