UNCOMFORTABLE BABYLON WILL BE FROM THIS DAY ON!

Thank you for your contribution Peetah Morgan!

The Vault Reviews: The World Shall See

Golden days. As a music fan and as a fan of virtually anything, the longer we occupy ourselves with that particular thing, the greater the opportunity is there for us to begin to acquire favourites. If you're fortunate and you pay a great amount of attention, you might have several favourite artists and producers and riddims and performances (both that you have personally attended and that you have seen recorded) and a variety of other things which have stuck with you and will remain with you for the rest of your life, hopefully. Favourites have a variety of different classes as well and, as you very well know, they can be very significant and emotional things for people, making it all the more crucial when we come across them. So with that being said (and returning to writing this review after about a month or so. I know. I'm sorry. Technically you've been waiting for this review for over twenty years), today I thought I'd go back and celebrate one of my personal favourites which TRULY has no equal in what it was in its day, for me. There was an, unfortunately, now either wholly lost or extremely underpublicized set of circumstances in Reggae where we had these groups of artists under one umbrella-ing label. The vast majority of these, whether they do or do not exist in any way today, are relics of yesteryear which're left for us to think back to in forms like this as 'da good ol' days. I'm thinking about stations like Beenie Man, Tanto Metro & Devonte and Lil' Kirk at Shocking Vibes for Patrick Roberts. There was the Main Street crew and Danny Browne who, with a wholly infectious and very digestible style of the music, brought Dancehall fans years and years of hits courtesy of the likes of General Degree, Red Rat, Mr. Vegas, Mr. G/Goofy and others. Main Street, in retrospect, has aged quite well in terms of the music it made (having produced, for example, both the wildly popular 'Granny' and 'Pianist', respectively, for Degree) and the impact some of its direct and indirect stars went on to make. On the Roots side there were people such as Richard 'Bello' Bell and Star Trail family (biggup the Star Lion Family) who is probably best known these days for having brought the legendary Anthony B to prominence, but the label was also very instrumental in building up names such as Everton Blender, Norris Man, Capleton and even Beres Hammond who they worked extensively with in their day. Continuing on that same line of thought, I can distinctly recall Star Trail being like half of what would turn out to be a sizable explosion of modern Roots Reggae music (in retrospect, probably the most significant it has ever had) in the mid to late 1990's or so. The other half of that equation would be the reason that we're here today -- about to talk about a random, twenty-two year old release -- and simply my favourite Reggae label (label of any kind, really) of all time. 

Of course I'm referring to the immortal Philip "Fattis" Burrell and his Xterminator Records imprint. The easy way to explain it is to say that Fattis and Xterminator developed and brought to prominence some of (and THE in my opinion) greatest artists in Roots Reggae music in its day; they also produced some of the greatest songs and full albums as well and that is a solid legacy in and of itself in my opinion. However, when you begin to look at it as far as what resulted from the work that they did and who influenced whom and what became of that following generation, the label has left a lasting legacy that continues to reverberate to this day and will NEVER stop (have I mentioned that I'm reviewing a twenty-two year old album??? I have? Okay just ignore that part there then). How many artists today grew up listening to that same generation of Xterminator alums and how many MILLIONS of fans did the same and, in turn, passed it on their children? We've gotten to that point already where, looking back to the not too distant past, has grown to this wonderfully nostalgic degree that we find ourselves looking at a random, twen.... oh yeah, nevermind. 

2002

Along with doing releases for artists, occasionally labels would put out compilations, while these were far more prevalent back in da day, you still see them today, generally as riddim albums, but sometimes something a bit more. These release stand/stood as kind of updates as to what the label had been up to at a given time or even as greatest hits type of releases for the label or for a certain artist. Xterminator was no different as, along with albums for their artists (some of them were outstanding) (a handful of them were legendary), they also did greatest hits sets and general compilations from the label. Perhaps one of the best known of the latter was 2002's "Rough Inna Town", a drop featuring hits from both the then-current and past and future stars of Xterminator; and there were others such as an installment of Charm's (I know.... it's Charm (I don't if anyone really knows what was going on with Charm back in the day, if there is someone he/she is not me) but it was solid) "In The Producer's Hot Seat" series (that album contained two of the finest songs I have ever heard, so I had to mention it) and others still, like a Dub album for Jet Star. Within this group and just ahead of most of them was a lovely collection through VP Records at the turn of the century by the name of "The World Shall See". If you are familiar with the actual tune for which the album is named then you probably already know why I dug this one wayyyyyy up for a vault review (if there're perfect songs, it is one of them). I've had this actual disc for maybe five or so years and I always wanted to talk about it because of just how thorough it was for its time. There're three names on "The World Shall See" that do not leap out at even more faithful followers of the genre and the label and one of them, in particular (technically two, actually) I could not name you ANYTHING else they did in their career without research. That, alone, isn't very good (isn't bad either), but what that was attached to just happened to be precisely what you would expect from a general release from Xterminator in the year 2000. It was LOADED with absolute giants of the genres, up and comers and just solid contributors to the Xtm legend. Though there was one unfortunate omission -- Mr. Mikey General -- but every other base at the time would have been covered as far as that era via this one set. On top of that, the material that was present on "The World Shall See" was powerful for the most part. As I said, with a certain tune being at the head of it, this a fine, tiny representation of the label around the time and what something that I really have enjoyed about it is what you find in the 'ancillary' artists (and I mean that in the most respectful way possible, of course, I just really wanted to use that word). There're certain people who have come to link with Xterminator -- about to tell you about a few of them -- but there are certain other BONA FIDE LEGENDS who you may not realize have also done extensive work and recording with Fattis and company. Vocalists of all types end up shining on "The World Shall See" making it, though underknown, a powerful example of one of the greatest outfits Reggae music has ever seen. 

Even if you were to take out the set of circumstances and the label involved on this project (and bias towards it) what most immediately stands out just running down the tracklist of "The World Shall See", at least for me, is the extremely impressive line of vocal talents present here. Regardless of what brings them together, even a casual fan of the genre is likely to be impressed by the run of exactly who is present here. If you need an example of that, you need not go any further than the opening selection on "The World Shall See", a personal classic for me and many others I'm sure, 'Stand Tall' by Capleton. I forget this tune was actually produced by Xterminator and it probably (surely) is better known for appearing on the Prophet's opus, "More Fire", also for VP in 2000. 'Stand Tall' was complete and utter genius.

"I see di wicked man will have to fall!

And all the righteous man will haffi stand tall!

A DI WRONG MAN NAME DEM GUH CALL!

And now dem back against di wall, dem fall 

Longtime mi ah warn dem and dem neva waan listen

Tell dem no diss di man weh get di blessing

Listen to di birds when you hear dem ah sing

Listen di leaves all on di tree limb

Watch all di fishes in di sea when dem swim

EVERY LIVING THING HAFFI COME HAIL DI KING

And all di water from di spring!"

Despite its nature (it was downright SWEET at times), if you really tuned in 'Stand Tall' it could be overwhelming at times. Capleton kind of built it in a way where, though it didn't change in intensity much, it became a matter of just LOADING the listener with knowledge and ideas that, especially in its latter stages, 'Stand Tall' was.... probably one of the finest praising songs we've ever heard. Speaking of songs which may've been unintentionally candy-like, another superstar and one well known for his work with Xterminator, Luciano (oddly credited by his actual name here, J. McClymont, comes in next with 'Free Up The Herbalist'. The year prior, Luciano would release one of the most popular sets of his own on VP Records, "Sweep Over My Soul" (so named after another Xterminator steered shot) and while this tune did not appear on that album, it would have been, EASILY, one of the finest works there (though, I did not love "Sweep Over My Soul"). 'Free Up The Herbalist' was fantastic and it does have its running theme, it's a ganja tune, it's also a very detailed social commentary and a spiritual song. It succeeds on all those fronts as well and I hesitate to call it one of Luciano's best, period, only because I know the weight such a statement carries, but it is EXCELLENT! Label staple, Prince Malachi, would also have an album on VP in 1999, "Love Jah" and "The World Shall See" plucked from it its GOLDEN title track. It's either been far too long since I've heard this one or I've just spent the last twenty years or so really underrating it because I don't quite recall it sounding this good at any time. Malachi's work with Xterminator, in general, may be overlooked these days by many and if you're one of the people for whom nothing he did during that period immediately stands out, I would DEFINITELY direct your attention to 'Love Jah'. Such a stunningly beautiful piece of praise and, after I'm done here, I'm going to dig up some old Prince Malachi (pretty sure I have both "Love Jah" and "Watch Over Me" on disc).

In 2000, it was well within the timeframe when the great Sizzla Kalonji (you knew He was coming) would release at three albums a year for the three biggest Reggae labels of the day, VP, Greensleeves Records and Jet Star. His VP album from that year was the very interesting Xterminator produced "Words Of Truth", best known for being a double disc, with both a studio and a live album in the packaging. His set for Greensleeves also came via Xterminator, "Bobo Ashanti". To my opinion, "Bobo Ashanti" was one of the.... best ten or so albums Kalonji has ever done and it was crowned by one the greatest tunes he (or anyone else) has ever done in my opinion, 'The World Shall See' (it was just called 'The World' on that album). TEARS! ABSOLUTE FUCKING TEARS! I've said in the past that Sizzla's music changed my life, it changed my way of thinking and it was songs like this ["Then, dem neva know: Seh A KING SELASSIE RULE THE HEART AND THE SOUL"] that did much of that work and opened my eyes to something I had been surrounded by for all of my life. This is the best song on this album (they knew it was, that's why it is named after it) and it's probably never appeared on any album where that wasn't the case and it almost surely never will. BOOM! In 2000 Fattis would fully bring his next charge, Turbulence, to the masses with his debut self-titled release on Xterminator. The following year he would deliver his second album for VP, "Rising", deemed a modern classic on these pages and still the greatest album of his career in my opinion. There's a pretty good chance that the very first time Turbulence would have appeared on any VP project was on "The World Shall See" as he contributed the sublime 'Think Of Peace'. This song wasn't on either of the first two albums and I don't know why, it was pretty good. It wasn't the strongest lyrically (he was still very, very young at the time. It's dated 1999, he was probably eighteen when he wrote it), but it did have a nice vibes to it and, good luck finding it anywhere else. And speaking of the youths, rounding out our first third of selections on "The World Shall See" were the young Morgans, L.M.S., with 'Follow Jah'. LMS is another one [three] whose time with Xterminator has probably gone forgotten, but it says a great deal that two of their four albums were produced on the label, so there was some clear chemistry in the work and it shows on this tune. 'Follow Jah' isn't amazing, but it's very solid and the more you hear it, the more it grows on you. It has a delightful vibe to it which wasn't rare to find in L.M.S.' music, even if I wasn't the biggest of fans.

'Bubble In The Struggle' featured the elder Morgans, Morgan Heritage. Though not as extensively as their younger siblings, MH also did quite a bit of songs with Xterminator as well and this is one of their best in my opinion. Coming in with a nice old school sound, the Morgans used the vibes to check in with a message about people not only surviving and maintaining in troubling situations, but THRIVING within them as well. The immortal Beres Hammond is another one still whom you may not know for appearing on the label but even he made several songs with Fattis and co. One of them, the outstanding 'Hold On', is carried on "The World Shall See". Hammond is someone who, with his delivery and his general CLASS, can get something out of just about anything he does (you have to TRULY be rubbish as a producer to push out a bad song by Beres Hammond) and 'Hold On' was of his typically high level and with a powerful idea of showing just a bit more patience, perseverance and not being afraid to stand up for yourself and show some backbone when necessary. This tune was actually a pretty nice sized hit for Hammond and, in 2003 when VP released his greatest hits anthology, "Can't Stop A Man", it appeared there along with several other Xterminator songs; the most popular probably being 'Full Attention' (it was also the title track of an Xtm produced Hammond album in 1993). You'll also find in this grouping 'The Story Of My Life' by US singer, Anthony Mills. Mills is one of the three that I alluded to whose name surely will not be very familiar to Reggae heads if you don't remember what he would do with Xterminator (and even if you do recall it, there wasn't a tremendous amount of it). His effort here is fine. It's kind of a Gospel themed tune, but what stands out for me, is the music. There is an infectious electric quality to this riddim which seems ULTRA simple at times but really is not when you tune it in. The singer would do more work with Xterminator and is obviously still active these days so feel free to look him up if you like this song, there is a TON more from him. Malachi returns with his second and final effort on "The World Shall See" with 'Life Cycle', taking on the same track behind the title track. Just as was the case on his first piece, 'Life Cycle'  is also EXCELLENT. This song I'll call a spiritual celebration of NATURE. Malachi deals with Mother Nature in the greatest sense but also in the most terrestrial and, 'stemming out', how important it is that we maintain the world because we are TRULY lost without it ["Combined together with Jah forces, She's our home and She is our hostess. Oh Mother Earth, oh Empress. Yes I know. We continually need Your service and no many coulda neva deny this"]. 

Sizzla returns with his own second (of three) selections on "The World Shall See", the well underrated humility anthem 'Why Boast'.

"Why boast when it get you nowhere?

And your riches will soon disappear

Trying to be like those and prove you so unfair

Come to protect the poor

I love them ever-dear

Why boast when it get you nowhere?

And dem riches will soon disappear

Trying to be like those and prove you so unfair

Come to protect the poor and Jah is ever there

Dem neva want us reach nowhere

Yet I know - I & I are everywhere

From Holy Mount Zion to the Earth's plane

The Conquering Lion bringeth no shame

NO RESPECT FOR THE POOR AND YET THE TABLE PREPARE

Continue to ignore, they insult our care

WE COOK THE FOOD THEY EAT AND MAKE THE CLOTHES THEY WEAR

What a tribulation poor people deh bear

Inna every situation, still wi neva fair

They make it all so dem start move queer

And a dem thief out di poor man share"

This isn't quite what I would call vintage Kalonji from that era, but it is damn close. At his zenith during the early 2000's, Sizzla would weave these nearly perfect lyrical GEMS which could reach a listener on pretty much every level. 'Why Boast' was maybe half a step lower, but even such quality rises it near the best on a more than solid release like this one. The other vocalist who appears here more than twice, Capleton, returns with first of subsequently a pair of combinations, 'Jah Kingdom', alongside Luciano. BOOM! These two have linked up several times throughout the years -- with probably the biggest being 'Hail King Selassie' for Black Scorpio -- but I have to tell, as far as any combination between the two, 'Jah Kingdom' is AT LEAST as good as anything they've ever done. I'd have to do some more research to see if I'm forgetting something, but if it was THE best Capleton/Luciano song ever, I would not be shocked at all. 

"Jah kingdom come down upon earth

Rastafari voice must be heard

Jah kingdom come down upon earth

King Selassie I a wi shepherd

Jah kingdom come down upon earth

Rastafari voice must be heard

Jah kingdom come down upon earth

Revolutionary soldier is at work

Babylon haffi go stay mute, dem haffi accept di truth

Cah man a revolutionary, every soldier, longtime recruit

Dem haffi stay mute, dem haffi accept-

Well dem caan stop mi from dig out mi truth

Babylon, yah gun dem soon nah have no use

No more ghetto youth dem you caan come shoot

Di youth dem seet and dem find di truth

Dem caan sow wi like no seed nor pick wi like no fruit

I AM DI BRANCH, I AM DI LIMB, DI STEM AND DI ROOT

Luciano! Kick dem wid di gideon boot!

Behold The Lion Of Judah has conquered again and again

Set all the captives free again"

It's direction was precisely what you expected it to be (the same as 'Hail King Selassie') and its quality is as well with these two PILLARS of artists coming together in honour of His Imperial Majesty and to slap down corruption any and everywhere it exists. 

The final lot of tunes on "The World Shall See" gets downright colourful in regards to the artists, making for some genuinely memorable moments in the process, including one or two that you might not have remembered/known were products of Xterminator. The legendary Leroy Sibbles also blessed Xtm with some fine work in his day and a great example of that would be his tune here 'Fight' (if you need another taste, look up a song of his by the name of 'Oh Jah') (even if you don't NEEEEEED it, you may want to look it up anyway). This one was a call to action and a call that maybe it's time to begin taking some personal responsibility for yourself and your well being ["If you're a man, you've got to stand on your own two feet. That's the only way you're gonna eat"]. It was just very well-written and I'm sure there're many fans of the music, even some diehards, who may not even know that it exists. The same surely can't be said of Cocoa Tea's 'Mr. Neck Tie Man', as it was pretty well known and Cocoa Tea is someone who voiced extensively with Xterminator, having delivered several albums for the label in the 1990's and 2000's (five by my count). 'Mr. Neck Tie Man', which used the same riddim as Luciano's classic 'Sweep Over My Soul' was featured on 1998's "One Way" for VP (big tune on that album called 'No Faith') and probably a few other greatest hits styled compilations as well. It deserved the run that it received, in my opinion as Cocoa Tea, as is his signature, gave us the wonderful SIMPLE message about those seemingly living two different lives at the same time ["Sometimes you hold the Bible in your hand. The other times you hold the alcohol pan. Wanna know - what is your true religion? Are you praising Jah Jah or it is Satan???"]. You'll also find a pair of combinations near the end "The World Shall See" which grab attention for a couple of different reasons. The first of them is 'The Vibes', linking together the only two artists here appearing thrice, Sizzla Kalonji & Capleton. Though I've never loved this song (it almost seemed like they knew it would be a good idea to make a song together and just.... vibed it together and 'The Vibes' is what they came up with), it's probably a little better than I've given it credit for being, though nowhere near as strong as one might imagine such a combination being. The other combination here on the other hand, 'One Gun', is better than you're thinking. Placing Turbulence alongside rapper Fucious. This tune appeared on Turbulence's aforementioned debut album. I do not hate this anti-violence tune and it does have its moments ["War a nuh nice thing, remember that. A nuh mosquito bite when you get gunshot"] (Turbulence's entire first verse is pretty impressive), but I've never been the biggest fan of Hip Hop and Fucious... yeah, I'll just leave it there. He clearly does his best. The unfortunately all too interesting Jah Cure also popped up on "The World Shall See" with one of his greatest earlier tracks, 'Trod In The Valley'.

Here's another selection many may've forgotten was produced by Burrell. When this one truly came to prominence, the Cure would have still been incarcerated (.....the more things change, the more they stay the same) but 'enjoying' a situation where he was becoming this kind of underground artist that had an ever-swelling fanbase. Many of those were coming to figure out what exactly was going on with him and who he was, but they would stick around for genuine classics such as 'Trod In The Valley'. Lastly was a very, but not really, underknown Mr. Biggs who does a respectable remake of an R&B song by US artist, Tyrese, 'Lately'. The story here, besides the song (and maybe even more so, twenty years later) is that, as far as I know, Mr. Biggs is actually Donald Dennis, one of the most esteemed players of instrument of the modern era and ever, really. He plays bass on every single song on this album and he also does some keyboards and guitar as well and, like all talented active musicians - you've probably heard his work dozens of times without realizing it, particularly on Xterminator material.

Overall, while I didn't want to paint the picture that "The World Shall See" was this all time great classic of a compilation and that it had been woefully forgotten by the masses (although that second part there is true). What I did want to show, however, is just how completely SOLID of a set it was and what a fine job it did in encapsulating a high point in the history of my favourite label/producer ever. Mikey General is missing, as I said, and so is Chezidek (though, in his case, this album arrived before he rose to notoriety. His own debut, "Harvest Time", would come for VP Records two years on from this one), so it could never be called 'DEFINITIVE' even in regards to the work done in a decade's span, but just judging it for what was here, "The World Shall See" was not only very good, but it does retain a very nice sense of nostalgia and, from time to time, is a JOY to go back to listen to. You'll find some of the material here on classic albums which you're likely to draw for far more consistently than it, but if you, like me, just occasionally want to drift back, pretend that you're not an old ass man or woman and enjoy some of the strongest work from the immortal Philip "Fattis" Burrell and Xterminator Records, you can do no wrong in digging up "The World Shall See".

Rated: 4.40/5

VP Records

CD + Vinyl [good luck with that] + Digital

2002

Rescinded???: A review of Elev8 by Bling Dawg

Hills. The vast majority of the reviews that I write tend to fall in one of two categories. The first and most obvious and most prevalent are albums of artists/labels/riddims that I either have a history of enjoying or, at the very least, have some quality at that particular moment that makes me confident that I will like it in some way. Be it something as cemented as the last review that I wrote, for a Pressure Busspipe drop called "Rebel With A Cause" - which was a situation involving a favourite artist of mine on a favourite label of mine (I Grade Records) in a collaboration which had already been proven to be fruitful (there was  no way in hell I was not going to LOVE that album); or even just a track that I heard that seems to portend that I might have ears for the fuller experience - there's something positive that is going to draw my attention in the first place. Even within that scope, however (and fortunately because it is fun to review albums that I do not like sometimes), I do run into material that doesn't turn out very well for me, so there absolutely are no and can be no guarantees. Today I thought we'd do things a little differently as we're going to take a look at someone whose music I have found myself not 'not enjoying' at times and flatout 'disliking' at other throughout the years. Even if you love music, even of a specific genre, if you listen  to enough of it, HOPEFULLY you'll run into it done in a way or by someone that just doesn't resonate with you for one reason or another (if you're someone who likes each and every tune of whatever genre, you are a ridiculous person) and I have encountered a few people who are like that for me over time. Maybe one of the most apparent instances of this would be Alborosie. I couldn't even begin to explain it and I have no problem with the man achieving the damn high levels that he has reached and even going higher (though I do give Alborosie his respect for a track called 'I Wanna Go Home' - probably one of the finest I've ever heard in my entire life). There's also someone like Gyptian who has enjoyed spells as being one of THE most recognizable names in all of Reggae music (and he's not even forty years of age, I would think he may even have another run left in him actually) during his career but, outside of the occasional tune here and there, I just don't get it. The Morgans would be a similar situation as I've never found the greatest of comfort in listening to what is probably Reggae's 'second family'; and from its first, neither Ziggy nor Julian Marley have consistently made music which has done much for me (...neither has Ky-mani, really, though he has what I consider to be a borderline modern classic album in his vault by the name of "Many More Roads"). There're a few more that I've ran into who have established at least respectable careers, but who have done so on the strength of vibes which don't seem to travel in my direction. 

Like who??? A healthy dosage of these artists can be found in the Dancehall by some chance. Apparently, I don't have the stomach for mediocre Dancehall artists and I have come by an unfortunate amount of them in my (many, MANY) days (on the other hand, I can easily digest mediocre Roots artists, but when the genres are performed at their absolute best, there is nothing like the THRILL of an extremely gifted Dancehall star) (it is a one of a kind feeling for me even still as an old ass man). So I've never been the biggest fans of names such as Buccaneer, Predator, Danny English, ALOZADE and a whole heap of others who have, again, achieved some level of stardom and respect and, for their fans have provided years of excitement (and there's nothing wrong with that, at all). Interestingly, another name who would find himself firmly planted near the head of such a list would be a veteran by the name of Bling Dawg. So what was it about Bling Dawg??? Quick to point out his alias, Ricky Rudie, I hate to say it but I think Bling Dawg just annoyed me (and I didn't even like his name. At the time he came to prominence, the word "bling" had been fully worn out and flat out bullet-riddled. I was tired of hearing it). So much so was it the case that I'd hit a point where I didn't really even pay attention to his music. He was extremely popular at points and you'd see Bling Dawg's name attached to some of the biggest riddims from some of the genre's greatest maestros. Don Corleon, Lenky, Daseca, Scatta, Burch, Steely & Clevie and a whole heap of others voiced Bling Dawg and he did register with quite a few hits in his day and was probably one of the most consistent artists the Dancehall had altogether at one point, but to be completely honest, without looking it up I couldn't name you a single Bling Dawg tune that has stuck with me to any degree, for better or worse (meaning, I cannot tell you one that I love or one that I hate) (Shit: Even after looking it up, I still can't say that I'm familiar with any of these songs, though so many of the compilation album covers are old favourites). [note: For some reason, I distinctly remember the first time heard of him, people saying that Bling Dawg was making a comeback of sorts. This would have been in the early 2000's, I do NOT recall hearing of him prior to that at all]

But things don't always have to stay the same, do they? Nope. They don't. A number of the Dancehall acts from the early 2000's never got around to doing full albums. Individuals that I've mentioned already like Alozade and Predator (even though he signed a deal with Greensleeves Records) at the pinnacle of his 'Head Nuh Good' popularity, the project never actually materialized) and several others (Zumjay, Hollow Point, Danny English and the likes) (Desperado, Calico, Jagwa) (I actually ended up liking some of Desperado's music) did not either and Bling Dawg was one of them. Given his particularly persistent level of acclaim (and the company he kept) (more on that later) it is somewhat surprising in retrospect, but the Bling Dawg album --which I do recall being discussed and seems like a natural step for the once mighty Greensleeves -- did not come around (biggup Collie Buddz).... but it has now. Almost ridiculously, bright and early in 2022 the debut album of loooongtime Dancehall star, Bling Dawg, "Elev8", has now reached and it is not at all what I would have imagined. The release comes via of the artist's own Dawg House Productions (and he takes executive producer credits), as well Creative Titans Music, who has been doing a lot of biig dealings as of late and figure to do more later this year (HOPEFULLY we get our paws on "King Of Kingston" in 2022). Unbeknownst to me, Bling Dawg had spent the majority of the past few years inactive in terms of making new music, but ultra-active as far as his personal life. So he enters this latest portion of his life and career having discovered Rastafari and lost a great deal of weight (biggup Bliing Dawg!) as well. So as I read up on him, thinking it would be fun to write for this album, I was very pleased by what I found out and figured that this was as good of an opportunity as any if I were ever to really dig into the work of Bling Dawg.... and I was right (for once). We have seen career path changes previously in Reggae music with probably the most noted instance being that of Buju Banton a really long time ago. Had Buju continued along the path he was going, his skill and appeal may've seen him as one of the Dancehall's greatest champions of all time (and you could make the case that it still has), but he has followed a more spiritual path and, despite what may have been for him, you can well say that he made an excellent choice in following his heart. Capleton also underwent a similar transition and you can well see that it has also worked out for him, to say the least (we've also seen shifts from the likes of Spragga Benz, Frisco Kid and I think Chuck Fenda very early on in his career as well). Bling Dawg is older than Buju and Capleton were at the time and while I do not foresee a similar future for him in terms of his stardom, the early buzz surrounding "Elev8" has been damn impressive to the point where I, personally, had gone from thinking about how interesting it may be to analyze to thinking that it just might turn out to be a pretty good album! Though I didn't have a great opinion of him, it is quite clear that his peers and, as I said, the producers, all had a very high level of respect for the DJ and his abilities. So were there ever a chance for me to finally catch on, "Elev8" seems to be it.

So was it??? Kinda. Though by the time I got around to listening to it, my thoughts of what "Elev8" might be in terms of its quality was much better than it would have been at any point prior, I still wasn't sure exactly what to expect in its sound and its course. What does end up happening on the very DENSE set (seventeen tunes with an intro and outro and over an hour in length) is a fairly straight-forward Roots release which provides even this most cautious of observers with more than a few exciting moments. Following an intro (which, literally, sounds like music you'd expect to hear playing behind the opening credits of a drama/fantasy type of film) (biggup my Wife. Those were her thoughts and I agree) we get to the opening selection of Bling Dawg's debut album, "Elev8", the star-studded 'Yo!'. The tune not only features singer Christopher Martin, but is also helmed by Reggae super star Damian Marley and, if I recall correctly, was the very first official single off the project. 'Yo!' was kind of magical and it has no equal on the album that I can find. While it comes through as very general, with so many different topics being touched both directly and indirectly, everything it does touch, it does impacts deeply. I can remember hearing this one for the very first time and thinking that it sounded absolutely nothing at all like the Bling Dawg that I can remember hearing - I didn't know he could do something like this and I was tremendously impressed one song in. Bob's youngest son also steers a later selection in 'Married To Music'. This one samples the handiwork of the legendary Barrington Levy and (probably to me and me alone) sounds somewhat Gappy Ranks-ish - and I don't mean that in a bad way (biggup Gappy). Next we go spiritual on the wings of 'God Is Amazing', another impressive effort. This one is very strong and I actually read an interview where Bling Dawg named it as his own personal favourite on "Elev8". It doesn't quite soar above the opener for me, but it isn't totally surprising that he chose it. The star, for me, is the sonic appeal on this one. It sounds SO nice and when you add the nice and uplifting message, you have some powerful material on hand. The similarly guided and delightful 'Father God Guide Me' follows 'God Is Amazing' and it may be an even stronger track. I've actually found evidence that this song may be as old as a dozen years old, but I don't care at all. The RIDDIM on this song is SO BEAUTIFUL! IT IS SO NICE! Production credits is given to Dog House and Starplayer Music and a big credit it is, because this thing GLOWS behind Bling Dawg who uses the opportunity to give another big shout to The Almighty. Sticking with that  theme, later there is a song called 'Prayer We Use', to which the always interesting Popcaan lends his talents. Though this one doesn't hit me in the same way as 'God Is Amazing' or 'Father God Guide Me', I wouldn't at all be surprised if I'm in the minority in that (especially since virtually everything Popcaan touches seems to do major damage these days) and the Bling Dawg produced drop may have a similar future in store for it as well.  Also winning near the head of "Elev8" is the golden oldschool licked 'Step Son'.

"Dem caan push mi dung a step and call mi no step son

Breathless fi mi goals, a so mi mek run

Every idle leader bout yuh fi step dung

CAUSE AIR-CONDITION NAH KNOW SWEAT RUN 

Fifty-two card inna di deck player poker

Four king, so mi fresh, mi walk pass di joker

Night-stand no inna nuttin wid sofa

IF LIFE DRIVE MI CRAZY THEN WHY NEED A CHAUFFEUR???"

I was almost sure that I'd heard 'Step Son' somewhere previously but, as far as I can tell, it's an original for "Elev8' and it is EASILY one of the album's best offerings.

As I said, in his time in the industry, while he may not have made a fan out of me (though we may have to talk about that later), he's earned a whole heap of respect and made a ton of friends and several of them, along with the aforementioned Popcaan and Christopher Martin join him throughout "Elev8". On paper the biggest one makes his presence known on the Bulby produced 'Buss A Road' as it features the "King Of Kingston", himself, Bounty Killer. There is a wonderful documentary that goes along with this album (which you will certainly find in here somewhere) (biggup Bredz every single time) where Bounty features prominently and, at one point, they show a photograph of the two together from "like nearly thirty years ago". Bling Dawg is double his size and Bounty looks like a kid. That just goes to show how long these two have been friends and CLEARLY the Killer had to be involved here. Such a background would also seem to forecast a big tune as both would recognize the moment and put forth a big effort and that is what happens with 'Buss A Road' as Bling Dawg and the Killer deliver a collaboration befitting of both their musical and personal chemistry. The outstanding Romain Virgo tags in on 'Pride'. This one was another single I believe and it was an obvious choice given just how easy of a listen that it is. Originally I had referred to 'Pride' as a "love song", but I don't think that it is quite that. Instead, I would say that it is more about having a high self-esteem and confident ["When mi miss yuh presence, baby girl a yuh mi call. Mi waan wi stick together like concrete to wall; like basket to ball, like winter to fall. Mi nah tek you no shopping, girl mi waan purchase di mall"]. And though it features no one besides Bling Dawg alone, I do feel compelled to mention 'There She Goes' right here because it is quite similar to 'Pride' and it immediately follows it as well. Though more of a stereotypical lover's selection than 'Pride', 'There She Goes' is almost the other side of that song as, there, we heard about someone carrying themselves in a proper, upstanding manner; while here we look at what happens when you do that. 'There She Goes' is largely about how others respond to that person as if you treat yourself well, others will pick up on it and it will make a very positive impression. Earlier, I had mentioned how I wasn't the biggest fan of Morgan Heritage either and the Morgans, coincidentally, join Bling Dawg on 'Feelings' here. This is just a NICE song. It's very enjoyable to listen to and it has the more typically BRIGHT sound that I generally attribute to the Morgan's music. I have no problem with it at all. On the opposite end of 'Feelings' would be 'Tables Turn', a track I was damn interested in hearing because it has the work of someone who most certainly is one of my favourites, Busy Signal. It took a bit of time for me to warm up to, surprisingly, probably due to its kind of overly-simple computer riddim (it sounds like something from an old Nintendo game) (which isn't a bad thing really, but it is..... damn odd). I've said it in the past that Busy Signal is truly one of a kind and when he's long gone, I'm thinking people will celebrate him for the inventive artist that he is (I'm not waiting (because I likely won't be here either), I'm throwing the praises at him right now) and he thrills on 'Tables Turn'.

"Rough inna di start, none a dem no tek wi serious

Now look at how those kids they wanna be us

Ready fi di fight because a Massa God ah lead us

HEAR THIS: MI SHELL DOWN DI WORLD LIKE A PEANUTS

Mi press delete pon dem negative speech

Some get complacent inna di place weh dem reach

Neva get weak and when di journey get steep-

Dog mi hold mi owna set and caan get impeached

Far man ah come from and no bridges neva burn

Look how di tables turn

Look how di tables turn

Look how di tables turn

Haters dem ah talk, but dat no stop wi, still ah earn

Look how di tables turn

Look how di tables turn

Look how di tables turn"

Now, with all of that being said, when I saw the lineup for "Elev8" one of the selections, above all others, caught my attention and it is the final combination, 'Seh Dem A Love Yuh' which pulls in the downright brilliant Tanya Stephens. The 'back and forth' between the two on this track is damn impressive as.... pretty much everything is for Stephens when you catch her in form. I'm hoping this shot is a signal that she may bless us with a musically productive 2022 because Reggae is a much better place when Tanya Stephens is around and a HUGE accolade goes to Bling Dawg for tapping the veteran for this release ["You show dem love, yet dem still hate you same way. Caan blame dem: Mi code it inna dem DNA"] on a vibe telling everyone to be careful who we spend our time with.

Bling Dawg does have a few big cards left to play on "Elev8" and probably none of them are bigger than the GOLDEN 'Walk This Way'. Another production collaboration between Dog House and Starplayer, this tune is such a beautiful and powerful vibes and the artists uses them to make a very interesting composition. 'Walk This Way' is seems to be really streamlined in terms of its ideology and what I ultimately took from it (besides how nice it is, if I haven't mentioned that already) is the idea that everyone has a choice to make and he's right. You may not have a choice in terms of where you are and who/what is around you at all times, but we're all responsible for our own actions and what we choose to make of our lot in life. 'Walk This Way' is a definite highlight here and one of the best tunes Bling Dawg has ever made in my opinion. 'Gaze' isn't quite on those levels for me but it is very strong and it actually kinda/sorta expands on the thoughts expressed on 'Walk This Way'. 

"You've gots to give

You can't live and expect fi get

Dreams do come true

Apply yourself, move ahead of regret

No bodda live wid di notion bout Jah know di tings set a way 

When ah gaze you did ah gaze and expect benefits

Gaze you did ah gaze so you caan win"

Here, we have a kind of a kick in the ass courtesy of Bling Dawg. This anti-procrastination anthem is directed towards any and everyone who sits around waiting for something to happen -- for better or for worse -- instead of getting up and at least trying to better them. The social commentary 'Facts Of Life' is another at least solid offering with a sweet, sweet riddim backing it ["If you poor then you will face affliction. A no every man can sing a song like Gyptian"]. This one is a bit harder than some of the others as, here, we look at certain things in life simply being the way that they are. They may be changeable in the short term, but we will still have to deal with them in one way or another as people. I don't know what're the future plans in regards to "Elev8", but I could easily envision 'Facts Of Life' receiving some type of push because I think it would be well-received by the masses. The same maybe could be said about 'My Struggles'. Riding a cut of Buju's sublime Steppaz Riddim, Bling Dawg serves up one of the album's real highlights in discussing how difficult (impossible) it is to walk in another person's shoes. I am actually predicting 'My Struggles' to get some type of a bigger look and be that the case, it will do well ["Mi tell miself mi nah go shred like lettuce. Mi pray fi mi blessings and say thanks when mi get it"]. And finally (although there is an outro which is literally five seconds long) is 'Nah Follow Trend'. This one got me to thinking of a prevailing idea in regards to "Elev8" which I will elabourate on in just a second, but it is a nice selection particularly on the lyrical side ["Yard sale, everybody, dem, sell out"] where the artist deals with the wonderful amazingness of originality and individuality. I would have maybe even preferred if this one were on the lighter side actually to have some type of contrast in the sound (more on that too momentarily), but for what it is, 'Nah Follow Trend' is nearly a big tune. 

Overall, yes, "Elev8" is very much a matter of a well known and accomplished Dancehall artist making his debut album with what is a Roots release. HOWEVER, this is a very MODERN Roots set. Even the material the will give you vibes of yesteryear (like 'Step Son' and 'Married To Music') do so through a very new school filter. There is nothing wrong with that at all, but you shouldn't head into listening to "Elev8" expecting to hear Roots in its most traditional form, at least not in my opinion. Also, there're seventeen different songs here which is, obviously, kind of overstuffed (although, in his defense, people have probably been waiting for this album for twenty-something years so Bling Dawg clearly wanted to make the most of it). Because there're so many of them, I would have liked to see more deviation in the sound. There is a certain 'base' in terms of vibes on "Elev8" and nothing really seems to stray too far from it. It is an album desperately in need of a changeup (I cannot think of one as I sit here) (maybe 'Father God A Guide Me') (.....no that isn't it, I just REALLY love that riddim). Aside from that, and just in judging it based on the material that is here, "Elev8" is just fine. It is a much better than average release from someone who, maybe as recently as four or five years or so ago, I wouldn't have thought of delivering such results FOR ME. While "Elev8" probably doesn't suddenly make me want to go back to the Dancehall years of Bling Dawg to see what I maybe missed, it is easily enough -- going forward -- to point my attentions in a direction which I have spent so long intentionally overlooking. 

Rated: 4.15/5

Dawg House Productions/Creative Titans Music

Digital

2022

MAAD SICK!

The Maad Sick Reggaeville Riddim [Oneness Records]

1. 'Modern Man' by Morgan Heritage

2. 'Siren' by Exco Levi

3. 'Maad Sick' by Gappy Ranks

4. 'Let Jah Be Praised' by Anthony B

5. 'Ites, Green & Gold' by Kelissa

6. 'Rudeboys' by Clay

7. 'Roots With Quality' by Richie Stephens

8. 'How Mi Sound' by Runkus & Royal Blu

9. 'Champion' by Marla Brown

10. 'Raggamuffin School' by Skarra Mucci & Yaniss Odua

11. 'Jamaica' by Macka B

12. 'Reggae Village' by Perfect Giddimani

13. 'Work' by Cali P

14. 'Always Remember' by Caleb Heart

15. 'Modern Man' by Morgan Heritage [Umberto Echo Dubmix]

16. Maad Sick Reggaeville Riddim [Instrumental]

Okay so, surely you remember a sweet little riddim from a few years back by the name of the ReggaeVille Riddim [biggup Da Ville]. That absolutely sprawling project featured stellar efforts from the likes of Etana, Tarrus Riley, Mark Wonder, Sizzla Kalonji and others (in retrospect, do we now consider the biggest hit on the Reggaeville Riddim to be... 'High & Windy'??? I think so) (biggup Teacha Dee) and was easily one of the best sets, of any kind, back in 2012 (truly ridiculous that thing is four years old already!). Well, fast-forward four years on and apparentlly we have something of a sequel at hand. 

The ReggaeVille Riddim [2012]

You're also likely to recall that the orchestrator of the Reggaeville Riddim was the all kinds of reliable Oneness Records from out of Germany. Even prior to that, Oneness had made a mighty claim to being one of the most dependable imprints in the entire genre through various releases (like the General Key Riddim, which I haven't heard in a minute. That thing was so SWEET!) and the case could well be made that the Reggaeville Riddim, at the time, was their most expansive venture  to date - so why not double up. In stores now is the latest creation from the wizards at Oneness Records, the Maad Sick Reggaeville Riddim. Like its predecessor, the Maad Sick is a clearly well-crafted set, brimming with top and diverse vocal talents and while my eyes tell me that one obvious name is missing (who may've been having too much fun with her friends), just looking through this tracklist leaves me with no complaints.

The early leader may just be UK firebreather Gappy Ranks ["Mi mad, mi sick, mi Reggae ville. Neva been a cub scout, I'm a general. Nah go rise no machine, but mi bredda will. Mek attorneys at law haffi send a will. Memba mi mad, mi sick, no penicill. Mi a real Buffalo like mi bredda Bill"] who checks in with the eponymous selection for the riddim, but The Carpenter is joined by the likes of recent Grammy winners, Morgan Heritage, Anthony B, the wonderfully inescapable Macka B (whose 'Jamaica' may just be my favourite Macka B tune in recent memory), Exco Levi, the always blazing Perfect Giddimani whose contribution, 'Reggae Village', is downright utopic and will probably have you wanting to move! And more flames come courtesy of Achis Reggae and earth favourite, Cali P ('Work' is MASSIVE), sweet singing Marla Brown, as well as a pair of combinations, one of which, 'Raggamuffin School' is a most interesting pairing of UK veteran Skarra Mucci and Yaniss Odua from out of Madinina. Want more??? [GREEDY!] Caleb Hart SCORCHES on 'Always Remember' and Oneness is wise to turn the track over to the well-capable hands of Umberto Echo and dubbifies the Maad Sick Reggaeville Riddim masterfully with the Morgans. 

And I probably just mentioned every song on the riddim in one way or another, but who cares what I say?! Make up your own damn mind when you exercise the TINIEST bit of common sense and pick up what is certainly one of the finest productions Reggae has to offer in 2016, the Maad Sick Reggaeville Riddim from Oneness Records, which is in digital stores right now.

'The Awakening': A review of "Here Come The Kings" by Morgan Heritage

Make it work. It is the same for everyone, but when you do listen to a great deal of music, in particular, you are guaranteed to come across someone who although they make a type of music you typically enjoy, do not make a brand of it which resonates for you. Normally when such a thing happens, you probably don't even pay too much attention to it - as someone pops up with a popular song, you hear it and don't like it and then you hear it again and completely dismiss it, but it becomes an entirely different dynamic when that person (or that group) fits so perfectly into your normal listening routine that you encounter their work, in one way or another, very consistently. Over the years I have definitely run into this situation a few times and, if you read my work to any consistent degree, you know that the largest example of it comes in the form of the wonderful music of the unstoppable Midnite. Midnite is a perfect case to look at for me because in the midst of becoming a big fan of the likes of Pressure Busspipe, NiyoRah, Tuff Lion and so many others from the Virgin Islands scene, I was virtually forced to acknowledge their music and, simultaneously, the fully devastating abilities of the group's frontman, Vaughn Benjamin. But it wasn't until rather recently, until the past couple of years or so, where I really began to comprehend exactly why that music had the impact that it did for so many people (I had to grow up, basically) and am still comprehending it. There have been others also for whom my appreciation really was just a matter of time (biggup Nasio) and others still that I have yet to 'come around' on (biggup both Ziggi & Julian Marley), but the particular instance with which we deal today is even more unique than any of those as, though entirely and EVER present, I've never really been that big of a fan of Morgan Heritage! This is so despite them being around from since I was a young teenager or so (I'm now a 'young' thirty something) (if it is possible to be such a thing) and also grabbing some of my attentions and affections along the way. The Morgans have been excellent producers and along with steering excellent work from some of the biggest names in the genre and some of my lesser known personal favourites, such as Prince Theo, their credits extend all the way to producing at least one of the most widely accepted greatest songs of the modern era, 'Jah Jah City' by Capleton and even more. Yet, despite making (literally) great music (which includes some good songs of their own I should say) ["Uncomfortable babylon shall be from this day on!"], keeping great company, having a live show that you could be very blind and very deaf and still appreciate and becoming genuine stars of the genre (the 'second family of Reggae music, without question)… I just always thought that something was missing… or something like that when it actually came to MORGAN HERITAGE MUSIC. 

"2 Sides of My Heart" [2009] & "Reggae Music Lives" [2012] by Gramps Morgan

So have I found it? It is a very interesting stage of this situation that I finally begin to pay most attention to what they do when the news reaches a few years back that the Morgans, essentially, are going on hiatus for a few years. The first time I recall hearing about it - it was a matter of them not only pursuing solo opportunities, but also preparing for an album which they said would just take a really long time to complete as well. That was in 2007 or 2008 and now it's 2013 and the generally album-heavy Morgans haven't done a full new project together in half a decade. In that time, as I've said, I've probably paid more attention to them than ever before and a big credit for that goes to Mr. Gramps Morgan. If I recall correctly it was their initial plan that everyone would release albums, but only Gramps ultimately did and he did so wonderfully (twice) with first the outstanding "2 Sides of My Heart" in 2009 and then again early last year with the excellent "Reggae Music Lives". I'd never heard Gramps like that and he was damn impressive both times. Oft-Morgan Heritage frontman, Peetah, also had great successes as a soloist, working consistently with some of the biggest names in production in Reggae music and, really, becoming an active fixture in recording over the past few years. All of that (and some other stuff I'm going to tell you about in a minute) really made me have to reconsider my stance on Morgan Heritage's music over all those years and, it just happens that in the middle of doing that - look who's back.  

"The Return" EP [2012]

The hotly anticipated "Here Comes The Kings" becomes the first new full Morgan Heritage album from 2008's "Mission In Progress" (although they did push "Journey Thus Far", a  greatest hits album, in '09). Once again the project finds them working alongside VP Records (who, oddly enough, did not do Gramps' solo albums) and it almost seems as if they never took that break. Though this album (unsurprisingly) has probably had more of a buzz surrounding its release than most of their others, and already has far more educated fans of the Morgans calling it at least one of their best, musically it isn’t a deviation at all from what they do. To my ear, Morgan Heritage has always made this kind of 'flashy' and very modern Roots Reggae music. There're constant elements of R&B and Hip-Hop in their work and it makes for a mix which, while may not have made a fan out of me originally, isn't something which I have totally ignored. Furthermore and personally, I look forward to moments like this. Falling in love with Midnite's music has given me additions to my own personal collection which I now have the ears to hear and if I can do the same with Morgan Heritage (and they have a lot more than I don't have), it would be fantastic! AND the album also already received a sterling recommendation from one of our absolute favourite readers, Steven (biggup yourself as always and THANK YOU for the wonderful perspective Steven). I also definitely enjoyed the first single (or what I think is the first single) (more on that later). The album features top notch names on the production side such as Don Corleon and, of course, Shane Brown andddddddd, as they do occasionally, last year VP put out what subsequently became a beautiful EP for the album called "The Return", which would feature a trio of nice songs from the forthcoming album. Alllllll of that has happened and now all that remains is to see whether or not the five years actually worked their magic made a fan out of me of Morgan Heritage. 

Well it surely is due to more than just the passage of time, but this album is sublime from beginning to end. Another interesting aspect of the album is that the Morgans kind of take advantage of the moment - of their break. So at times throughout the project you run into these moments where they almost seem to coyly and collectively announce their re-arrival. Such a moment would definitely be the dually riding opener for "Here Come The Kings", 'Man Has Forgotten' where not only is it the Morgans, themselves, who may've been forgotten, but also righteous thinking and righteous ways alike. 

"A weh dem think it did over 

Through wi take a little break fi put some time inna di youth dem who wi call di young soldiers

Now its time wi rally up and tek wi rightful place -

Kings wid di crown 

Show dem who ah really run di place 

Jah Jah rule yah

Yu fi know seh a no mi, a no you 

Jah Jah rule yah

Millions in yah crew yuh still lose 

Cah Jah Jah rule yah

Men has forgotten bout God -

Flying hard on di wings of evilous kings"

This tune is a big winner and it blends a wonderful bit of spike and edge to the vibes with a riddim which may actually have been constructed on another planet because that thing is sensational! The equally impressing title track comes through next and it is another song which kind of plays itself on their 'return' (more on that in a second), but here it is a matter largely concerned with the music, especially. It is another tune like the opener, however, where the vibes are high and are wrapped in this very intelligent and cleverly arranged package where the return is not only because Morgan Heritage is back, but because… someone is speaking sensibly again - a concept which is revisited on this record. 'Holla' wraps up the first quarter of the album and it kind of caught me by a surprise, but if you think it about it, it is very fitting. The main subject on the tune is actually about the rising of the first Black US President, Barack Obama and you think that it was years ago and it kind of seems odd to, kind of all of a sudden, begin doing it now (biggup Cocoa Tea) (biggup The Mighty Sparrow) (biggup Franz Job and about nine-hundred-thousand others). However, like I said, it's been half a decade from their last album, so it isn't a top which they've gotten the opportunity to address directly. It is a nice tune, lyrically one of the album's best - and I also love how they let that beautiful track continue on after the song's final vocals. A very nice start.

'Perfect Love Song'

I was somewhat surprised to see just how familiar I was, already, with quite a bit of "Here Come The Kings" (and, unless I'm really overlooking something, that is a definite leader for Album TITLE of The Year). The first three track are knew to my ears, but recently, of course, we've all become quite familiar with a tune which I'm sure the Morgans and VP are hoping we pay a special amount of attention to - the aforementioned single, 'Perfect Love Song'. This GORGEOUS selection comes damn close to living up to its loftiest of titles, but I don't necessarily think that it is the best of its kind on this album. Still, it is a fine choice of a tune to receive a push here and it is excellent. There's also 'The Return', which was the title track from the previously mentioned EP (DUH!) and is another highlight from this album. Like we talked about earlier, this is another piece where Morgan Heritage ties its own return to the comeback of a rational and clear-thinking style of music. They're right also. Certainly them making music is a boost in the arm of the entire genre of Roots Reggae music - especially when it sounds this good. 'Dem Ah Run Come' is, I'm almost sure, a remake of an older song by the same name that MH did (if it is the same exact composition then I owe someone an apology because I never recalled that tune sounding THIS good). It is a kind of a complex praising number with a HUGE vibes and a historical sentiment as well. The result is, easily, one of the best songs here. The piece which directly follows, 'Dem Ah Run Come', however, is my choice as the single best moment on the "Here Come The Kings" album. The MASSIVE social commentary, 'Ends Nah Meet', over what has to be considered one of Don Corleon's finest creations AT LEAST in recent times, the sterling Scriptures Riddim. 

"Tell me if you going through this:

Working hard, day and night, and still can't live a good life 

Tell me if you going through this:

Di money weh yuk mek dun before it reach yah hand, mi friend

Tell me if you going through this:

Nah no money fi gas star, so you caan to drive yah car

Tell me if you going through this:

Everyday ah wonder if no better life no deh deh fi you!

Dem seh things a better, but we caan seet

Caan seet!

Wi caan

Dem seh money ah run right ya know, but pockets still ah feel it

Still ah feel it!

Caan sleep unda it because wi stress out

Every month landlord ahgo kick out

Because ends nah meet

People ah end up pon street 

Change is what wi need

Tell me if you going through this:

Working nuff overtime and still caan pay yuh bills pon time

Tell me if you going through this:

You work, you work so hard - still caan feed di youth dem a yah yard

Tell me if you going through this:

Tears run from yuh eye when you look ova yah life at night

Are you going through this?

Everyday ah wonder if no better life no deh deh fi you!

Dem seh things a better, but we caan seet

Caan seet!

Wi caan

Dem seh money ah run right ya know, but pockets still ah feel it

Still ah feel it!

Caan sleep unda it because wi stress out

Every month landlord ahgo kick out

Because ends nah meet

People ah end up pon street 

Change is what wi need

So many times you are on your last dime

People see your smile - don't know what you're going through inside

Working so hard, but still ends nah meet

Sometimes you ah believe, no better no deh deh fi real yeah!"

BOOM! I don't know that I ever paid as much attention to this tune that I did as it is presented on this album and it is beautiful and a stirringly moving commentary on the state of things. Charged (and succeeding at) with following that song is another one you might know, 'Stand Up', which also appeared on the "The Return" EP. I LOVE this song and, again, had it not appeared on this album, I might not have ever known it. The piece is one about instilling and exhibiting pride in your culture and your way of life and it really does that and makes you smile and feel good. As well. The final song here that I already knew of was the remake of 'Girl Is Mine' which, I think, was originally a Michael Jackson song. This isn't my favourite song on this album, it isn't even really close, but it is decent, nonetheless and you'll probably enjoy it a lot more than I do. 

As for the remaining new[er] songs on "Here Come The Kings", they also feature some really strong moments, including the only official combination on the album, the fine 'Love Stoned', which features superstar Shaggy (someone else who I've grown in appreciation of as I've gotten older) (and if Shaggy released an album tomorrow (and not a digital EP, which gets nominated for a Grammy anyway) (I digress), I would write for it). This is another nice love song, it may not be "perfect" but, for what it is, it's also fairly close and a sure standout on this album. Still, to my opinion, taking the honours as the biggest lover's piece on this album (and my Wife's absolute favourite moment on this album) is the running intoxicant that is 'Call To Me', which is also produced by Don Corleon. This tune simply will not find its way out of your head and you probably won't want it to either. And lastly, check 'Looking For The Roots' which, again, goes back to the theme of the Morgan's return ["if you're looking for the Roots, dem know where to find wi!"]. I immediately went towards this song on the album and it did not disappoint even slightly! Though it does has a similar direction to the other tunes, what separates this one, first of all, is its sound which is full addictive, but it also has this kind of 'intense-calm' about it (if that makes any sense at all and I'm sure it doesn't). What I mean is that you always get the feeling in listening to this song that it is building to something and whatever that something is, it is reached later in the song as its final minute or so is dazzling and it impresses on a level backed by substance as well. A big, big tune! 

Morgan Heritage

Overall, what we have is another album which was definitely worth all of the hype that was built ahead of it. A big credit goes to Peetah, Gramps and then Lukes, Mr. Mojo (who also enjoyed quite a bit of success as a soloist) and Una as well for pushing a project which, at least from the quality of it, doesn't seem like they took a hiatus at all. If they didn't mention the break so much, you'd probably think this was the first Morgan Heritage album in about five weeks and not five years. However, as I alluded to, the fact that they do acknowledge it and discuss it openly is a very compelling face of "Here Come The Kings". And they build that in a very clear and clever way, while avoiding these kind of lame and clichéd spots of overdoing it in my opinion. Also very nice is the total SOUND of this album. It is definitely one of the most sonically pleasing albums of the year thus far and though I've never been their biggest of followers, I can confidently say that making music of that type, which literally leaps out at the listener and is, seemingly, perfectly assembled for the live performance is one of the trademarks of the Morgans' sound. While it has taken me far, far too long and I will probably never be amongst their greatest of fans, everything that has happened in regard to Morgan Heritage over the past few years has definitely made me take note and they just put a crown on all of it with this wonderful new album. Not to be missed. 

Rated: 4.50/5

VP Records

2013

CD + Digital

Review #445

Making A Believer Out Of Me: A Review of 2 Sides of My Heart Vol. 1 by Gramps Morgan

With the wonderful array and range of emotions Reggae music tends to take its listeners through, perhaps the most rare in my particular case would be that of genuine surprise. Be it on record, be it in a particular artist’s actions or even on stage, listening to as much of the music and just generally involving myself in it, true shock is something which I unfortunately don’t get to experience much these days. In fact, even though I’m COMPLETELY easier to please when it comes to Soca (and thus, perhaps, the source of this statement) I would say that genre tends to provide me with the lion’s share of my musical astonishment at this point in time. However, that’s not to say that it’s totally out of the question for something in Reggae to shock me as there have been a few things here and there as of late which have gotten a wide-eyed Achis response. The first that comes to mind would DEFINITELY be the rather abrupt transformation of previously DEMONIC, turned (not quite) angelic, singer Mavado who in the matter of mere months went from (more like ‘taken from’) the strangest and most hardcore singer the Dancehall has ever seen, someone who would stand up at Jam World and battle to the death against preeminent Dancehall bad boy, Vybz Kartel (and do quite well actually), and not too long afterwards declare himself ‘So Special’. Mavado’s international rise to promise definitely was shocking as, probably this time last year even, I would have thought him to be one of the LEAST ‘crossoverable’ stars in the Dancehall (and probably even less so than Kartel himself actually). What else surprises me these days? Well, undoubtedly due to my pride and probably some arrogance but I’m almost continuously shocked at the fact that despite a VERY and CONSISTENTLY high level of talent of our artists, Reggae music is still somewhat regarded as a ‘niche’ type of genre. I’m definitely not ‘asking’ for it to the point of advancing to the levels of something like Pop music or maybe not even Hip-Hop but with the type of vibes I’m hearing, I think its getting very close to the point where the excuse of ‘But I can’t understand what they’re saying’ is simply not going to work anymore. I’m also shocked by smaller but perhaps just as odd phenomenon as well: Like after all of these years, how in the hell are Beenie Man and Bounty Killer still quietly waging war against each other, seemingly oblivious to the fact that it looks dumb and is no longer fun. And I think EVERYONE had to be shocked at Luciano’s (of all people) recent legal troubles (that weren’t marijuana related). However, if you look at all of that stuff, not much of it at all is DIRECTLY involved with the music itself, either those who make it doing something else or it not being promoted as well as it should be. What really shocks me completely musically?

One thing in particular has developed just within the last year or so that has left me quite speechless at times (apparently not too speechless though, as I’m about to write this big ass review) as to how exactly or what exactly had things changed. Enter Morgan Heritage. As I find myself saying more and more these days, the group, which is arguably the most popular Reggae group in the entire world at this point has never made a type of music which I have particularly found enjoyable. That’s not at all to say that I disliked their music but I have, for the most part, maintained a rather neutral (I.e. Canada) like outlook in regard to their music. For example, if the Morgans were to drop ten songs or so, I would probably only like three or so and probably really only like one, if any at all but things have changed apparently. In anticipation of bringing what is reportedly to be their OPUS album which will take them quite awhile to complete, the Morgans have taken the opportunity to work on their solo projects while away from day-to-day activities with the group. And here’s the thing: The stuff that they’re doing - I LIKE IT! Of the three who have made the greatest strides as solo artists, Peter (Peetah), Mojo and, of course, Gramps, they all have some nice material that I have enjoyed and that’s kind of strange. Strangest, definitely, would be Mojo who, in defining his own style has apparently gone to the Rock/Alternative style and, although that, in and of itself, isn’t very strange considering the type of varied crowds which tend to appreciate the Morgans’ music, the fact that I could find ANY of it to be even halfway decent is very strange and astonishing (big tune named Til The End alongside Mischu Laikah & Lazah from LMS). Peter (thankfully) is a lot more ‘usual’ having inked up with Shane Brown’s Juke Boxx Productions and he voices quite regularly for not only Brown but some of his well known peers also. And then there’s the big and burly Gramps Morgan who has outdone his siblings in terms of being the first to actually get a completed FULL album out there to the masses (Mojo has had two different EP’s, Mr. Mojo Rising and Got Mojo?, respectively) as he now brings forth his quietly well anticipated debut solo project, 2 Sides Of My Heart Vol. 1. The album comes on another first for Gramps as he has had established his own record company, Dada Son Entertainment, for quite awhile now (the label, I THINK, is ran in association with Gedion Music, which is the family‘s label). Last year, the label even released a project for a next artist, Hawaiian Reggae songbird Irie Love, her official debut EP, Ehiku (which was EXCELLENT) and now they turn their attentions to the big man, Gramps Morgan. The album is established largely on the strength of one MASSIVE first single (more on that in a minute), an overall upliftment of Gramps’ profile as he appeared on US R&B superstar Irie Love’s last set, and on one of the singles no less AND, for the hardcore Reggae heads, rumours surrounding a potentially even more scintillating combination. Well, it fulfills on all of those things, not only tangibly but as far as the anticipation as well as, from beginning to end Gramps Morgan’s 2 Sides Of My Heart makes non Morgan Heritage fans wonder why they do this ‘solo thing’ a long ass time ago!

You, like me, might have been struck by the ‘Vol. 1’ portion of the title of the album in particular. Apparently Gramps Morgan has not only planned but has already recorded the majority of a HUGE two disc project. Wonderfully (unlike some people, not to name any names) Gramps has chosen to stagger the release of the second disc and give the first a proper chance to flourish. Well, given the first chance to flourish on said flourishing first disc of Gramps Morgan’s 2 Sides Of My Heart is the previously mentioned “MASSIVE first single” , the SPRAWLING Wash The Tears. The tune has been one of my favourites and probably for everyone else lucky enough to hear it within the last few months since its release. It is absolutely BEAUTIFUL! Introduced by none other than the man himself, Peter Tosh, Gramps Morgan comes in with such a lovely and INSPIRATIONAL vibes that you, the listener, simply cannot ignore and neither can I or anyone else. The tune is definitely the class of the entire album in my opinion and although we know Who is washing away Gramps’ tears, who’ll wash away yours when the tune grabs you all about the spirit is another discussion altogether. MASSIVE tune. Having the unenviable task of trying to follow the vibes of Wash The Tears is the still LOVELY unity track All Together. This tune really goes to show a different side that isn’t necessarily so visible on the Morgan Heritage tunes, Gramps’ versatility when it comes the lyrical side of things. Often buried in the background and used to reinforce things more so than to introduce topics, Gramps really shines on All Together and the only thing that it reinforces is the fact that Gramps has crazy skills which is clear straight away from the opener. Another strong piece. Sending out the opening of Gramps Morgan’s 2 Sides Of My Heart Vol. 1 is the rather corny sounding and corny titled Don’t Cry For Jamaica which, despite its rather clichéd foundation, will take all of about half a spin through to grow on you. TRUST ME! The tune is BIG! The song kind of personifies Jamaica as a special woman in Gramps’ life and although it builds nicely throughout its playing time, that rather simple sound and approach never waivers too much if any at all (despite a later infusing of a backup singer) as Gramps gives an EPIC testimonial of the greatest place on earth (and Happy belated Independence Day).

Keeping the surprises going on 2 Sides is the fact that it is sans any definitive collaborations with any other Morgans. However, filling in for the fam are VERY capable artists indeed. The first is none other than Reggae Superstar Buju Banton who joins his good friend Gramps Morgan on the much talked about Power Of Prayer (aka Sweet Hour of Prayer). I was actually surprised (again) that they decided to go on such a tune but the results are SPECTACULAR and if Wash The Tears didn’t wear your ass out, Power Of Prayer will definitely finish the job! Big tune. Also present (unsurprisingly) is the Reggae remix for Therapy, the tune Gramps did alongside the aforementioned India Arie. I’ve always had kind of neutral feeling to the tune but this lick definitely got a rise out of me as more than average and pretty close to a big tune and if I keep listening to it, I’m sure it’ll reach that point as well. I didn’t get very far on 2 Sides before noticing that there were very few, if any at all, merely average tunes on the album and a very nice level of quality control was being exercised on the project. Check the cool Hold On. The tune is very inspirational (and has one of the best choruses on the album altogether) as it exerts people to maintain their strength in the eyes of (very tangible) bad situations and occurrences. Time is another corny sounding tune which will grow on you quite quickly and, again, you better have the tissue somewhere close because the vibes are HEAVY on the tune which, in subject matter at least, has a very urgent message but the vibes are so damn SWEET. I HOPE that that message gets through but it’ll be a might attentive listener who can get through the niceness to holdfast to or even get to the message AT ALL. The jilted lover piece Lonely is an immediate winner, armed with the WICKED punch line, “Lonely is the only friend I know since the day she left”. Building on a stretch of relationship tunes in the middle of the 2 Sides Of My Heart is the LOVELY vibes of Hush. I don’t even rate the tune as one of the album’s finest but that riddim backing this thing is GORGEOUS and, to his credit, Gramps pushes a rather nice and CLASSY vibes for it also. And For One Night definitely keeps that vibe going but it tops Hush and not by a small amount. For One Night is one of the better tunes on the album and really if it keeps growing on me as it has been for the better part of a week, it may someday be the second best tune altogether in my opinion. If it does get that high it will have to leap over both the POUNDING Roll Call and Where Has Mama Gone. ESPECIALLY Roll Call which is a damn near MAMMOTH tune from Gramps. It also has a sound which isn’t too much unlike what Morgan Heritage is known for and (surprisingly again) I rather like it when its just him alone and I definitely like it on Roll Call. The final stretch of tunes on the album keeps the niceness going ESPECIALLY with Always & Forever, a tune livicated to slain South Afrikan Reggae superstar Lucky Dube. Gramps movingly asks the question at the beginning of the tune, “What could he have done?”. Boy! I tell you if that doesn’t get your eyes watering then go find another type of music to listen to and another blog to read! Surprisingly (duh) included is the ‘sweet’ One In A Million, Gramps’ recent drop on Kemar McGregor’s DIVINE Sweet Riddim . That sets the stage for the closer, the rather unusual sounding Higher In Love, on which Gramps does his best impression of Barry White (or is it Lloyd Brown???). Regardless of the source of the inspiration of the style of the tune (which is probably neither of those artists), I’m sure both would like it, as do I, as will you. Kind of like the album in general.

Overall, definitely I’m recommending Gramps Morgan’s 2 Sides Of My Heart Vol. 1 to pretty much ANY fan of modern Reggae at any stage. I definitely can see the album ‘taking off’ amongst the same core of fans who have so loyally (and successfully) supported Morgan Heritage for the better part of the last decade and a half. I was actually kind of disappointed that VP Records didn’t pick up the distribution for the album (although I suspect that given the fact that his manager, Shane Brown, is signed to the label, they might be interested in Peter’s inevitable album) in one way or another but Dada Son has apparently done quite a good job in promoting it thus far. Again, I would also stress the quality of 2 Sides to fans maybe like myself who aren’t exactly in love with Morgan Heritage’s music. There is something VERY strange going on here and if this continues, when the Morgans link back to release this supposedly MAMMOTH SUPER ALBUM, they’ll have even more fans than before. Like me. Big album, well done.

Rated 4.50/5 stars

Dada Son Entertainment

2009