Let's talk about Ziggi Recado for a little while today. I used to consider myself a pretty big fan of the Statian born dynamo. I reviewed a number of his albums and even deemed one, "In Transit", to be a modern classic. I go back in my head now and I'm thinking of crazy records that Ziggi did that are still stuck in my head to this day like 'Need To Tell You This' ["GIRL I NEED TO REALLY TELL YOU THIS!"], 'Cry Murdah' ["SOMEBODY GET GUNNED DOWN IN THE STREET LAST NIGHT!"], 'Mary' ["ME AND HER CONNECT INNA PASSIONATE WAY!"], 'New Day', 'Masquerade', 'I'm Blaak', 'Guide Ova', 'All Obstacles', 'So Much Reasons'... I'm literally going through his albums and recalling just how much fun these songs were and how they went so far in making a fan out of me and this is going back... maybe fifteen, TWENTY years at this point. He started out making more Dancehall/Hip-Hop geared material and, as he matured, Ziggi would become a damn powerhouse of modern Roots to the point where he grabbed the attention of the mighty Zion I Kings, who produced a fantastic album with him by the name of "Therapeutic", a dozen years ago now.
Somewhere along the line, however, I kind of lost touch with Ziggi's music. He'd made a few singles that I didn't particularly enjoy (which is nothing. You won't like EVERYTHING anyone is making; that's normal) and... I don't know what happened really. Maybe he was a little inactive (maybe not) or maybe I just wasn't doing a good enough of a job in paying attention but Ziggi was making music and I wasn't completely noticing and that's a problem.
Here's a problem solver. On the third day of the second half of 2026, one of my favourite labels in the entire world, the brilliant Oneness Records from out of Germany has just released a brand new, seven-track EP from Ziggi Recado by the name of "Elevation". Ziggi had been dropping singles for the label earier this year and you figured a full project of some type was forthcoming and here it be! You already know what's going on here but let's take a look at it anyway, mini-review style.
I'm sitting here thinking what my response would have been, years ago, had you told me that Ziggi was working with Oneness. That would have made my day.... my year, even. That is HUGE news around here even on a single but I get seven of them? THANK YOU! The first is the sublime 'Wheels Keep Turning', featuring the highly interesting Rik Jam with whom I have a bit of indirect history. Rik Jam had an album come out last year by the name of "The Genesis" that I kept meaning to get around to digging into and possibly reviewing but I never did. I've still not written the review for it (thinking about doing it now though, actually) but I have heard quite a bit of "The Genesis" andddddddddd.... it's kinda spectacular. So I was curious as to how Jam might beautify "Elevation" and he does so with an appearance on one its strongest efforts. 'Wheels Keep Turning' is a damn DIAMOND of a tune saying that judgment, whatever it may be, is coming and there's nothing that can be done stop it. Excellent start! Next we have a well recognizable 'Boom Meditation'. I've THOROUGHLY enjoyed this song from the first time that I heard it... but it may be even finer than I was giving it credit for. First of all, the riddim is GORGEOUS; that is next level infectiousness and musical intoxication. Furthermore, am I going too far in declaring it to be, PERHAPS, one of the finest vocal performances of Ziggi's career?? Forgive me for being blasphemous but some of what he does here almost sounds.... Cure-ish?? I'm hesitant to compare anyone to what is probably the single greatest voice ever given to a human being, EVER, but respect goes to where it is due and it is DUE all over 'Boom Meditation'. Oh, and the song is really good too if I haven't said that exactly just yet.
Remember when I talked about losing touch with Ziggi's music earlier. Well, one of the tunes I fucked up and missed out on was called 'Don't Stay Far'. I'm 99.9% sure I've never heard this song from a couple of years ago at all. Like never! I'm going to call 'better late than never' and give credit to Oneness for bringing it to my attentions here because this thing is CANDY for your ears. What a sweet love-ish kind of tune this is. 'When She Loves' is somewhat similarly themed as 'Don't Stay Far' and not trailing too far behind. This is an older tune that I actually had come across at some point and I remember, largely, on the strength of that RIDICULOUS riddim. That thing is... in the stars somewhere, seriously. The song also has a nice and fairly unique message to it as well and is just solid, all the way around.
I heard a bit of 'One Step Forward' and didn't get very far into it at all before I knew that I was hearing something special and it hasn't moved at all. This is THE best song altogether on 'Elevation' and I'll leave it at that. It is absolutely fantastic. 'Nice Ting' is the obligatory ganja tune here and it, fittingly, is a slow-burner. You may enjoy this song the first time you hear it -- you probably will -- but the.... fifth or sixth time you go through it should be even better. What changes (at least what changed for me) is the fact that this very subtle but damn lovely melody begins to develop more and more as you listen to it. The chorus, in particular, the first time I heard it, I thought it to be impressive but now.... it'd damn near special and very catchy. Finally, wrapping up "Elevation" is another tune from a few years back that I missed for some reason, 'X Amount' and it is all kinds of fun.
"X amount ah try keep up but dem can't catch mi speed
X amount nah waan listen when mi proceed
X amount a lyrics, dem ah flow like stream
X amount ah try stop mi but dem neva succeed
X amount a gal ah run mi dung like stampede
X amount of loving coulda never exceeed
X amount a hungry vampire waan feed
X amount of bloodsuckers, none a dem heart no clean
X amount nah like wi, that's why dem face lean
X amount a power, mi seh x amount a steam
Natural to di music a so wi keep it real
A so wi keep it real"
"Tell dem call fi assistance
Cah wi nuh bow down, wi putting up resistance
And if fem fire, then wi fire back in response
Ready fi spark it, ready fi blaze it inna instance
And wi no matta bout di distance
Mi fire travel wid the Almighty guidance
And this a musical fire, mi nah violent
Yes this a musical fire mi nuh....
That's why mi keep badmind in the backa mi
Burn all\ di wicked, no pardon or apology
Nah tune in to none a dem psychology
Til I'm laid to to rest, i know they'll never get the best of mi
Well nuff a dem no rate mi and mi no rate dem
Through mi deliver nuff musical statement
But nuff love ina mi heart so mi nah hate dem
BUT MUSICALLY NOW MI AHGO TERMINATE DEM"
While 'X Amount' does have substance to it (clearly), it's REALLY just a good time. It's a celebration of music and of an extremely high level of ability.
Overall, I think it's time I got back in the rotation and starting keeping track of what Ziggi's working on. While not the full Ziggi:Oneness Records link that I would have hoped for, "Elevation" is definitely the next best thing and it's just VERY GOOD. Yes, I took a break in recent years but looooooooooongtime I have been singing the praises of both artist and label in this case and, together, they are everything you expect them to be. Musically, "Elevation" lives up to its name; it's in the stars somewhere up there and add to it someone as capable as Ziggi Recado and I really can't see how anyone who is a fan of Reggae music in its current state won't find something here to enjoy immensely. 2026 has been very impressive so far and here's another big winner. BOOM!
Next review is done and I already have another song to tell you about, but they made a clip for the recently released 'No More Trouble' by Sara Lugo & Yaksta from Oneness Records and I thought you'd like to see it. As you were....
Oneness Records supplies their BIG new High Peak Riddim to loooooooooooooooooooongtime favourite, Sara Lugo and the well gifted Yaksta who respond by.... absolutely ripping it to shreds with 'No More Trouble'. The High Peak (great name) has a very nice and LARGE vibes to it during the chorus, before settling into this comfortably infectious bounce. For their part, our vocalists deliver a sweet message putting down all your baggage, letting go all of the bullshit and moving forward.
"NO MORE TROUBLES ON MY DOORSTEP!"
It's Sara Lugo and it's Oneness Records, so you know where my mind is going but we'll leave that there and instead, join me and enjoying a brand new tune, out this morning, 'No More Trouble', from Sara Lugo and Yaksta, courtesy of our old friends at Oneness Records.... I'm going to get something to eat.
You can ALWAYS go back home! Coming up on FIFTEEN YEARS since we made our very first post on her, the incomparable Sara Lugo is not only back at work, but she's back at work with a very familiar source, the wonderful people at Oneness Records, as artist and label link up for the big new tune, 'Hidden Treasure', an expectedly GORGEOUS track that Lugo wrote while in Jamaica.
"WHEN YOU LOOK INTO THE FACES OF YOUR SISTERS
YOU WILL SEE THE SUN SHINE RIGHT THROUGH THEM"
The tune has an obvious direction of not immediately 'judging the book by its cover' and the way it is presented... I already used the gorgeous, but that's what it is! Just a beautiful tune and, all these years later, that woman's voice STILL does everything for me. You already know what I'm thinking ("Flowaz" is three and a half years old....), but I'll keep that to myself and just enjoy Sara Lugo & Oneness Records once again working their magic in late 2024. If you don't like this tune, leave this blog and never come back. Your kind is not welcomed here. BOOM!
Biggup and LOVE to one of.... simply one of the finest labels and producers that we have EVER had the privilege of covering in the history of these pages, Oneness Records, who is back with their latest creation, the Latin spined (I like that. "Spined") Unidad Riddim. Simply for what it is, the Unidad may just be one of the finest compositions that Oneness has ever brought forth (and if you've followed them to any degree, you can appreciate how big of a statement that is) (and if you haven't - they're excellent) and, fittingly (for the most part) and what they've done with it, in placing it in the hands of Spanish speaking vocalists, was an excellent touch. Somewhere in there is an infectious BOUNCE. The things surrounding it definitely add to the vibes and add originality and uniqueness to it, but you Reggae head, will definitely be able to tune it in and you will adore what you find.
Listening through this one, I was introduced to a few talented names who I'd never come across previously and should probably keep an ear on going forward such as Raggabund (whose name I'd come across before but I'd never heard anything from them), the cool named Dactah Chando from out of Spain, Brazil's scalding Jhayam & Srta. Paola [FLAMES!], perhaps most notably Spaniard, Afaz Natural (whose 'Verdadero Amor' ['True Heart'), is excellent) and others still. It's also a major credit to Oneness for linking oft-collaborator Umberto Echo, who is ABSOLUTELY MASTERFUL on his dub version of the Unidad Riddim. About three minutes into it (2:51 to be exact), Echo LEVELS UP with a... whatever that is, lasting for about twenty seconds during one of the most scintillating moments you'll find on the Unidad (Umberto Echo also takes a production credit for every offering here, so he may've actually built the Unidad Riddim).
Still, the lion's share of my attention was well focused on the opening selection, 'Un Mejor Mañana' which links Morodo from out of Spain with a young [Grammy Nominated], up and coming singer from Germany by the name of SARA LUGO. The duo provides the riddim with an undeniable signature moment (with respect to Echo) with their very difficult to shake effort.
It's 2024. It's the Unidad Riddim. It's Oneness Records & Sara Lugo -- just like old times -- and every thing can feel right in the world, DOES.
Okay so, it's been a mcnute since we've last checked in on a former favourite of ours, the very interesting Ziggi Recado and could you possibly think of a way to become reacquainted than seeing the artist teaming up with a STILL favourite, Oneness Records, on a big new tune, 'Eiffel Tower'. With such a title, I had no idea where this one was headed, but I was pleasantly surprised to see that 'Eiffel Tower' is actually a DELIGHTFUL ganja tune, which features that signature crisp production from Oneness, combined with Ziggi who is in a fine form. The last time I heard from him, I can't say that he was in such a good shape, musically, but it appears that, at least for the moment, he's righted the ship, at least in my opinion. Of course you know where my mind is headed, but we won't go there just yet and, instead, just enjoy this sublime track. BOOM!
Okay so, when I saw what was going on with the brand new creation of longtime Achis Reggae favourites, Oneness Records, the Ganjaville Riddim, I distinctly made the decision to ignore it completely (basically) until the full set was released and I could sink my paws into it fully! Well, today (or a few days ago by the time you read this), that is exactly what happened as Oneness Records has brought forth their latest creation and, just as you would have expected based on their history, it is EXCELLENT. The Ganjaville Riddim once again finds the Germany based imprint teaming up with the residents of Reggaeville (biggup Da Ville) for the third time following the Reggaeville (a truly ridiculous decade old at this point) (time FLIES!) and Maad Sick Reggaeville Riddims, respectively. If you're new to their work, the easiest thing for me to tell you is that Oneness Records does fine work, particularly when it comes to (....well, pretty much everything they do, actually) riddims and I go into each and every release expecting big results and if I have ever been disappointed I cannot remember it and this is not an exception. So, if you're not doing anything else, let's take a quick, track-by-track look at the latest from one of the greatest to do it, the Ganjaville Riddim from Oneness Records... with its DELICIOUS selection of artists.
{Note: Probably didn't write these in order so the writing should be really ba.... even more terrible than it usually is}
'Chase Babylon Away' by Alborosie
As I've said in the past, I have never been the biggest fan of Italian superstar, Alborosie's - but I know that I am well within the minority on that (though I do, however, give him full credit for dropping what is probably one of the best hundred or so songs that I have ever heard from anyone, 'I Wanna Go Home' ["FOUR-THOUSAND MILES AWAY FROM BABYLON!"]. Though that is the case, I have to admit that I was very curious in hearing his effort on the Ganjaville, 'Chase Babylon Away', with my thinking that if anyone could make an Alborosie tune pop for me, it would surely be Oneness; and, for once, I was right.
'Chase Babylon Away' may just be my second favourite tune that Alborosie has done to date (I may be overlooking something). He delivers a comprehensive ganja tune with social 'textures' ["I got an app pon mi laptop, ah show mi where di cops at"], which is a JOY to listen to. The tune has a very nice old school vibes to it (which isn't something I could say about every song here in case you think that it is a product of the riddim, itself), which has always been a specialty of Alborosie's. While I will not be a prisoner of the moment and suddenly start saying I'm one of the artist's biggest fans, I am a fan of this tune as the Ganjaville Riddim puts one of its best feet forward to get us started.
'Settle Down' by Luciano & Lutan Fyah
As far as I know, the earliest taste we would get of the Ganjaville was its first single (well that goes without saying doesn't it! DUHHHH!) (what would REALLY be interesting is if the first time we heard it was on its SECOND single!), the MAMMOTH 'Settle Down' an almost over-qualified combination between the legendary Luciano and Lutan Fyah, a pair of favourites of mine, Yours and Oneness' as well. As I said about this one when I first heard it, 'Settle Down' is rather easily one of the strongest pieces that I've heard in the first two-thirds of 2022, from anyone. "COOL" is the word that most comes to mind when I hear 'Settle Down'. It's just a cool song and it definitely does have a bit of further reaching impact as, should you be looking for a soundtrack to play while you 'settle down', you could do FARRRRRRRR worse than this tune which was put together with the best interest of your nerves in mind.
'Ganjaville' by Eek-A-Mouse & Lee "Scratch" Perry
For your riddim title track a pair of legends come together as Eek-A-Mouse links with the immortal Scratch Perry on a tune that leaps out at the listener on paper. If you're even remotely familiar with this duo, you can probably predict fairly accurately what happens during the actual song which is as much of a PERFORMANCE as it is anything. It's BIG and dramatic on EAM's end with Scratch providing a most interesting contrast with his signature fragile vocals. What results is, easily, one of the (if not THE) most compelling listens on the riddim and everything you knew it would be when you saw who was involved as the Governor-Generals of Ganjaville turn in a winner.
'Irie Up' by Tribal Seeds
US based band Tribal Seeds make, at least for me, a rather surprising appearance on the Ganjaville and it is a rather pleasant one. I know who they are, but their contribution here, 'Irie Up' may just be the very first tune that I have actually heard from Tribal Seeds (if it is not, it is one a very small group for me) and I am damn impressed. I do not know the lead singer for Tribal Seeds (I've found a pair of names), but whoever he is a full credit goes to him because his voice works perfectly on the Ganjaville. It is an excellent blend of easiness and passion (nice backing vocalists on 'Irie Up' as well) and he uses it on a piece which doesn't lack at all lyrically either, particularly during its latter portions. A big tune which I hope a few unfamiliar heads like myself take a closer listen to.
'Free Up' by Mellow Mood & Pressure Busspipe
Alborosie isn't the only Italian represnting on the Ganjaville as band Mellow Mood turn in a FINE performance with their 'Free Up'. I hear some familiar quality in the singer of MM (which is apparently either Jacopo or Lorenzo Garzia - twin brothers) (...because their twins, actually, it may be BOTH OF THEM) who reminds me slightly of the Protoge at times (biggup Protege) and he/they, like Tribal Seeds before them, has a very nice command of melody on 'Free Up'. The chorus on this tune is SO incredibly basic that I found myself listening to it and waiting for something else to happen with it, but I have to say that it did eventually grow on me.
NOW! With all of that being said, someone who I didn't expect to see here (for just the second time on a Oneness production, I think, after the lovely 'Goodness' from the Better Days Riddim half a decade ago) pops up as guesting on 'Free Up' is a favourite of everyone with ears, the great Pressure Busspipe who absolutely puts the Ganjaville Riddim to the sword with his two verses on 'Free Up'.
"Ganja mi ah bun, no bodda tell mi bout too much
How dem ah fight di herb?
Mi nah know a wah dat dem ah stir up
Chalice start to blaze, it's like volcano start to erupt
When di herbs run out wi call di farmer fi a reup
Tell some politician haffi free up
Sight di Rastaman - you smell di herbs before you see us
Mellow Moods go find di herbs and now di party buck
Little bit of herbs is not enough
Farmer man woi
Strictly marijuana Pressure Busspipe enjoy
Tell mi how long di government ah destroy
Build up economics, everyone get employed
Seed inna soil"
"Marijuana is a nerve calmer
PLANTED BY DI FARMER AND CREATED BY THE FATHER
Smoke di herbs along di road or bouncing on di corner
Woman get di ganja and forget about di drama
Check di saga: Never tek no crack, cocaine or life will lead to harder
Stick you like a dagger
Get yourself together and lick di herbs pon up a di plaza
Mek sure you get di summin weh dem call di Zaza
MARIJUANA KICK MI HEAD LIKE MARADONA
BABYLON AH COME AND CUT IT DOWN AND DEM A NO BARBER
Ten thousand pound a ganja dock inna yuh harbour
Pressure and Mellow Moods a lava!"
{Note: Should you want to hear more of Mellow Mood (and you should), be sure to check their latest album, "Mañana" which released just a couple of weeks ago)
'Herb Dealer' by Chezidek
What remains of the Ganjaville Riddim is next turned over to the far more than capable hands of Chezidek, who breathes all kinds of new life into it with what is currently my absolute favourite track on the riddim, the MAMMOTH 'Herb Dealer'. The tune finds Chezidek taking matters into his own hands (herb entrepreneurship) with a SWEET delivery which goes all over the pace, including a verse where he basically RAPS the entire thing ["How mi fi be alright if mi no have a spliff fi light? Mi enter inna coffee shop, mi credit card swipe. Mi trying every strain, every draw, every type. Mi bun di marijuana like an exhaust pipe"]. 'Herb Dealer' KEPT a smile on my face and although there is some big material here (already told you about a few of them, about to tell you about another couple of them), like I said, it reigns supreme on the Ganjaville for me.
'Floating' by Queen Omega
The overabundance of quality on the Ganjaville continues with the next tune in, 'Floating' by one of my top.... five or so favourite artists ever, Trini Reggae empress, Queen Omega. Something happens on this tune, just as it does on the one preceding it which I will fully dig into in just a minute in closing (or whatever that turns out to be), but it is DELIGHTFUL! The vibes on 'Floating', as its name would suggest, are somewhere in the stars.... much like their creator, as I now sit here reconsidering my choice of the riddim's finest tune.
"So when you use it, just remember not to abuse it
Cause when some use it - dem do it, do it til dem lose it
So some refuse it, but I'm telling you don't confuse it
IT'S JUST LIKE MUSIC: IT IS A HEALING, I CAN PROVE IT
It is a medicine and surely it is therapeutic"
'High Grade Marijuana' by Naptali
"Mi nuh care wah dem ah say
Mi nah stop smoke
Even if dem waan fi take away mi passport"
And, WONDERFULLY, to wrap up the Ganjaville Riddim is an artist who Oneness brought to our attention more than a dozen years ago via one of the finest albums that I have ever heard, "Long Journey", Naptali. His effort here, 'High Grade Marijuana' also well ranks amongst the riddim's finest pieces and does so in a couple of different ways. First of all, there's just something which has become a signature of Naptali's for me: That voice! A couple of songs ago I told you about Chezidek. Chezidek has a strange voice. I just told you about Queen Omega. When she presses it, Queen Omega has one of the most forceful voices in all of Reggae music. Naptali doesn't have either of those; instead, he has this almost laidback assertiveness (I used the word "weary" before thinking about it, but it isn't weary at all. It isn't tired, it's calm) (were you to wake Naptali out of his deep sleep, he could probably sing this tune just as it sounds here immediately) and, when he's at his best, and 'High Grade Marijuana' is at least in the arena, it works almost perfectly for his brand of music. When I hear his music these days, it almost always makes me smile, just do the familiarity and nostalgia and I so look forward to new material from Naptali. Secondly, though no one may give him the credit for him (besides me, I'm going to do it), 'High Grade Marijuana' is one of the best lyrical performances you will find on the Ganjaville. It is very impressive and in such a very natural and organic way.
Ganjaville Riddim Instrumental
As for the Ganjaville Riddim, itself, it is immaculate. I've come to judge riddims on two primary levels with the first being its actual sound. The Ganjaville wins there, particularly on the strength of these gorgeous horns which alternate between dominating and existing in these wonderful bursts bouncing around that solid one-drop. The other area where a riddim needs to do well, for me, is how much it lends itself to vocalists. It doesn't have to be easy (I may even prefer if it isn't) or entirely accessible, but it should be able to produce a nice backdrop to a variety of different SKILLED artists. Even more so than just being nice music, that's where the Ganjaville really shines for me. I alluded to this when speaking about 'Floating' because it happens there and on Chezidek's 'Herb Dealer' - it GLOWS. The thing literally starts MOVING behind the vocals and, in doing so, it pushes both Chezidek and Queen Omega even higher.
I'll resist being a prisoner of the moment and throwing some further reaching accolade on the Ganjaville Riddim, but if someone wanted to call it one of the greatest creations of Oneness Records to date, maybe I wouldn't argue with that person very much (or a all, actually). I also like how the program is run with everyone sticking to the topic at hand and making for one well put-together project that you, YOU RIGHT THERE, need to make time to listen to. Fantastic.
Okay so, BIG BIG vibes this week coming courtesy of a trio of familiar sources as Achis Reggae favourites, Luciano & Lutan Fyah team up with the always scalding Oneness Records to deliver a major ganja tune across their fittingly named Ganjaville Riddim, 'Settle Down'. The two do EXACTLY what you'd imagine they'd do and manage to absolutely thrill, but do so in a more chilled register on a topic to which neither are a newcomer. Immediately 'Settle Down' becomes one of the strongest songs that I've heard altogether this year and I was so happy to see that it came along with an accompanying video clip. Of course, you know where my mind is going, looking ahead, but we'll put that aside (hopefully not for too long, however) and just enjoy this and a remarkable week of Reggae music with albums coming from both Sizzla Kalonji and the great Mikey General (who appears here) as well as a new tune from another pair of favourites: NiyoRah & I Grade Records.
Crowns. We have been spoiled, You and I. We have been treated a little too well and I'm afraid that, if ever it is no longer the case, we will not know what to do with ourselves and how to go on. The good news is that, if it does ever actually stop (and it will not), we will have decades upon decades worth of STUFF to go back to. Of course, I'm referring to the wonderful music we've gotten from a seemingly infinite amount of sources throughout the years and today, specifically, I think I'll focus strictly on the music I have had the LUXURY of covering on these pages over the past thirteen years or so (minus four or five when.... I didn't feel like it). Just here, we've talked about many albums which not worked in their time but have gone on to become some truly timeless work and, personally, some of my absolute favourites from anyone, of all time. And just to demonstrate how wide this point is applicable I will grab two albums which could not be more dissimilar if they tried, to make my point: On one end there would be Mad Cobra's "Helta Skelta", which was the very first album review we did on this blog, while on the other would be a candidate for my favourite album recorded during the last thirteen years, Midnite's "Beauty For Ashes". One of those sets (and I'll let you figure out which one I'm talking about) (think very carefully) may just be the finest lyrical display I have ever seen on an entire release as its star delivered gem after gem, all bouncing around the central theme of unity and bringing people together. The other may be THE most violently offensive and divisive album in the history of Dancehall music (not 'topped' by the likes of Bounty Killer, Merciless, Ward 21, Ninja Man, Vybz Kartel, Mavado or Aidonia (of course not Aidonia)). There was no unity to be found as the DJ would pick a fight with anyone, including The Devil, Himself. Both, in their own very distinct and unusual ways, were displays of genius but, again, they could not be further apart but we've had so much fun with both and will continue to. A quick visit to the 'Modern Classics' tag reveals that while most of the biggest material that has been soaring during our time here has been of the Roots Reggae variety (and I think that is, primarily, due to it just being so prevalently recorded on albums as opposed to the other genres we deal with), the artists themselves are of such a BEAUTIFUL assortment, that it makes me PROUD. Along with the expected likes of Sizzla Kalonji, Capleton, Luciano, Anthony B and Vaughn Benjamin, you'll find MACHEL MONTANO and Queen Omega from Trinidad, Gentleman, Ziggi Recado and Lion D from Europe. You'll see, along with Queen Omega, Etana and Tanya Stephens and then Batch, Niyorah and Tuff Lion (who didn't even need to utter a word to make the list with his stunning "Ten Strings") and even a release from our old friend Harry Mo. Like I said, we've all been spoiled. Spoiled rotten!
2012
A nice sized chunk of the 'blame' for our expectations be sky-high can be also placed at the feet of a very interesting union of artist and label. Back in the summer of 2012 there was a most wonderful album from a most wonderful artist which produced by a most wonderful label as the increasingly incomparable Kingston born Mark Wonder linked up with the just as accumulatingly exceptional Oneness Records from out of Munich to give to the world the GIFT (THANK YOU! THANK YOU SO MUCH!) that was "Working Wonders". I've extolled on the splendours of both ad nauseum (even prior to the release of "Working Wonders") (well, maybe not to that degree way back then) and you're well familiar with their works, even apart from one another, if you frequent these pages. Mark Wonder is simply one of my favourite artists today (and probably ever) and Oneness Records is amongst my favourite labels ever as well. With both predominately focusing on Roots Reggae, the potential of such a union occurring would have been appetizing for me at the time and, before I'd even actually heard it, I can remember having such a strong feeling about the possibility that we were about hear something special and "Working Wonders".... kinda turned out alright, didn't it??? I think so.
2019
So why not try it again? It seemed obvious enough to me but (probably thankfully) what always seems like the right move to make in my mind doesn't always occur; but this time it did. Perhaps it goes to show its lasting strength and significance that, about seven and a half years following its initial release, Oneness Records would released "Working Wonders In Dub" which was a lovely dubbed out EP version of the album via the great Umberto Echo (they only did seven of the fifteen songs, but it was a BEAUTIFUL, kind of nuanced and non-stale style of Dub) ('nuanced' may not be the best word, but they weren't just like instrumentals with a few sound-effects thrown in, here and there). And, thankfully, that wasn't the only work planned for Mark Wonder and Oneness Records with one another. Just a few months later in March 2020, Mark Wonder and the Oneness Band would once again team up (biggup Jah Mason) for the full sequel to "Working Wonders", the epically titled "Remz Of The Dragon Slayer". If ever there was an album which had pressure on it, there was such "Remz Of The Dragon Slayer". I'm thinking of an album that not only followed a great one (and it didn't do so directly, between sets with Oneness Records, Wonder would do both "Scrolls Of The Levite" in 2015 and a couple of years later would come "Dragon Slayer". Those albums did nothing to dampen expectations on any forthcoming Wonder release AT ALL) but followed a great one with the exact same background in terms of labels and producers and such. As far as what we've dealt with here, what Chezidek and Dutch label, JahSolidRock, managed to do in 2013 with the mighty "The Order Of Melchezedik" definitely comes to mind. That set would arrive three years after what stands as, arguably, the singer's greatest piece of work to date, "Judgement Time", and was damn near a classic of its own. So what would become of "Remz Of The Dragon Slayer"? Could Mark Wonder and Oneness retain the MAGIC that would produce its older sibling some EIGHT YEARS later? The only stupid question is the one you already know the answer to. Of course they could! In retrospect, "Working Wonders" exists as this downright immaculately concepted, performed and produced piece of Roots Reggae. It absolutely SHINED from beginning to end and demonstrated a brand of the music which so wonderfully refined and well done that, nearly a decade later, it exists as bright as ever. So how do you follow up on something like that. The easiest way to describe what happens on "Remz Of The Dragon Slayer" is to just say that THEY DID IT AGAIN. In fact, they did it SO well that it left you 'wondering' if somehow, someway, they managed to even do it better this time. Let's think about that.
To the surprise of hopefully no one at all, the second album comes very much as a continuation of "Working Wonders". If operated under the notion of 'if it ain't broke, don't fix it' and "Remz Of The Dragon Slayer" isn't much of a deviation, if at all, from its predecessor. So, if you enjoyed "Working Wonders" (and you did), you're very likely to have a similar appreciation for this one. I will say, reluctantly (because I loved it), that because the first one did exist, it almost seemed as if the chemistry had grown even stronger and we got yet another TREMENDOUS release from Mark Wonder and Oneness Records. AND, if I recall correctly, (again, due in part to the large reception "Working Wonders" received and the buzz it generated) going into this one, the attention was extremely high and it was what we were all expecting. Expectations began being met on "Remz Of The Dragon Slayer" IMMEDIATELY as the very first selection, 'Level With Me Idrens', was a bona fide FUTURE CLASSIC, as soon as it stepped through the door! WHAT! It comes in with such a nice and tranquil vibes about everyone simply making an effort to get along with one another ["No tug-a-war, it's just an upful vibes"] and to stop making an effort (because that's exactly what we're doing) to find things to separate us further and further apart. And the riddim here (with those horns!) is so powerful - altogether making 'Level With Me Idrens' a tune which ranks high for Mark Wonder completely, on this album or any other. A similar BRIGHT message is the theme behind the syrupy sweet 'Another Day', which also rises near the top of "Remz Of The Dragon Slayer. The fact that 'Another Day' was selected as one of the singles from the album should come to the surprise of no one at all because... I mean.... I understand we all have different tastes and it's a beautiful thing that we don't enjoy the same things and aren't 'wired' the same way but.... seriously, if you're even the slightest bit interested in Reggae music, I'm going to have a hard time listening to an argument about how you could not possibly like this tune! It is so nice! I mean, listen to this thing (I'm assuming the video is in here somewhere)! Settled so gingerly in a one-drop which is as brilliantly simple as it is STERLING, 'Another Day' threatens to BLIND listeners as Wonder tells us to give a thanks for EVERYTHING we have and if we don't have anything, then to give thanks for the coming of a new day and a new opportunity to get something (there's probably be like six-ish songs that I could call the best song on this album. I just told you about a pair of them. Here's another -). If it were possible, "Remz Of The Dragon Slayer" manages to go even higher on the next piece up, the towering 'Brand New Me'.
"Thanks for the lesson well learned
You have taught me so well
Now I won't make the same mistake again
It's just that I've always believed in loyalty to the end
Now I'm a brand new me
I'm a brand new me
I'm a brand new me
On the battlefield, a soldier gives his soul
BUT NOT EVERYBODY KNOWS TRUST IS WORTH MORE THAN GOLD
Seeking for the treasure, gotten no measure
But while we're living, while we're giving-
People can still be so cold
But I'm believing and redeeming myself and whole
Now I'm a brand new me"
This piece of gold strikes in on a message of just going throughout life and amassing experiences, good and bad, and how to move on from them. I really enjoyed how 'Brand New Me', as fine as it most certainly is, isn't entirely positive. It has REALISTIC negative aspects to it, which made it very relatable and tangible to my ears. Rounding out our first third of "Remz Of The Dragon Slayer" was the the heavily diasporic 'Voyages Across The Sea' which featured two Oneness favourites teaming up as South African, Crosby, joins Mark Wonder on the label's lovely Bambu Riddim. Once upon a time, we used to run into the work of Crosby quite frequently on Oneness Records' tracks and I was damn happy to see his name attached to this project (he also had a solid full project of his own, "A Better Place", just a few years back) (really cool tune on that album called 'Play Yuh Something) because he's delivered some fine material of his own (check 'Jah Powers' on the Redeemer Riddim and 'Heart of A Lion' from the Raspect). Unsurprisingly these two blend perfectly and form yet another winner from both on a Oneness production.
'Remz Of The Dragon Player" is very much a release which you can truly just turn on and walk away from. Do so, even as a background vibe, and you will encounter some truly STUNNING music as, along with basically the entire first third of the album, the winners continue to roll through. For a PRIME example of that, check, oh I don't know, the very next tune, as Mark Wonder goes ancient with 'Kemetic'. Pieces like this, which are so specific can be taken in a variety of different ways, in my opinion. Along with the literal approach of drawing this line from Rasta and Ethiopia to Egypt, I also think it works in the sense of just demonstrating to someone how powerful their lineage is and how high of a standard they should hold themselves to. When you're able to do that for someone, although it may be difficult to comprehend (it is), and have them really get it, not only does it make them FEEL REALLY GOOD ABOUT THEMSELVES, but you also have the potential effect of instilling in them something which they will go forward an use in fully tangible ways such as, perhaps, finding better ways to conduct themselves and/or treating themselves and others better. When you come from such CLASS, it is your job to keep it sharp. 'Nubian Glory', Wonder's cut of Oneness' African Children Riddim, strikes with a very similar message of maintaining a very high status and standard of life because of your ancestry and who you were born to be ["African children, this is the revolution. Steadfast in meditation - knowing Haile Selassie is The Highest One, Ruler Of Iration"]. This one, more specifically, speaks to the younger generation (and as I sit here typing this, I'm just now noticing, after more than seven and a half years, that 'Nubian Glory' was basically the title track of that riddim), where it has legs as both a tool of education and inspiration... well I guess us old folk should be taking it like that as well. And if you stick with this streak, you run into the similarly rooted and downright MAMMOTH 'Blessed Itiopia' which, by the slimmest of margins, is probably my second favourite song on "Remz Of The Dragon Slayer" altogether (slim on both sides, from #1 and #3).
"From di anciency, up to this time presently
All hail, unanimously - A ROYAL DYNASTY
Now the scepter will never depart from thee
ALL CULMINATING WITH THE CROWNING OF THE KING"
'Blessed Itiopia' is SERIOUS! While similar in many respects to both 'Nubian Glory' and 'Kemetic', 'Blessed Itiopia' is a praising tune at its core. It is also incredibly dynamic and just a joy to spin through. If you're at all familiar with Mark Wonder's work (even if you aren't and this is your first time listening), you know that such tunes are a specialty of his -- they always will be -- and 'Blessed Itiopia' has to be one of the finest of its kind that he has ever done. You take the vibes from that huge set and go right into 'Better Days' and... things change just a bit and I mean that in a good way. I was SO DAMN HAPPY that they included a track like this one on the album because what it does is to change the pace but not in such a huge way that it becomes strange. 'Better Days' is downright melancholy but it arrives in a way which, should you choose to really tune in, does not lose one shred of the strength that you're going to find on some of the more VIBRANT selections here. To me, something like that speaks to the true talents of an artist: You can play absolutely anything and if he feels it, Mark Wonder can produce something magical. 'Better Days' is magical.
While 'Better Days' is surely the album's changeup in terms of sound, 'In Tune 2 Di Rockaz' manages to 'resituate' things here slightly on its own. So much of "Remz" is heavily spiritually based and so is this one, but here we find Wonder kind of placing the music is a kind of a 'go-between' for the spiritual side and the people in the tangible world. In doing so he, once again, is damn impressive - serving up one of the undeniable highlights of the release. And with about a minute and twenty seconds to go Echo and company, perhaps, give us an early taste of a future Dub version as the vocals fade away and the track is left to DAZZLE and it does! 'Crisis' was the singer's great take on the Buff Baff Riddim from Oneness and Real People Music and despite the obvious risk I run of being a broken record (you know I don't care), it proved to be one of the album's finest tracks and definitely one of its most formidable lyrically as well ["A continuation of the propaganda machinery. Finding new ways to obtain their monopoly, so di ghetto people dem have to find a new strategy just to maintain their space in society"]. Still, to my opinion at the pinnacle of "Remz Of The Dragon Slayer" has to be the JARRING 'Same King'.
"Rising up to meet the sun raise in the morning
Giving thanks and praises for a new beginning
It's such a joy to see the rainbow bliss
And like robins, my people rejoice and sing
The waters meet in Zion
The truth within manifestation
It's the truth: IT IS HIS DOMINION
Thy precepts will always keep
BE HUMBLE, IN KNOWLEDGE WE SEEK
HE SAID 'WEEP NOT, SONS AND DAUGHTERS, WE ARE THE WORD'
It's the same song and the same King
It's the togetherness
Forever, yes -
HE LIVES"
This tune SHINES! Coming with a golden old school vibe, courtesy of the Retro Locks Riddim, what begins as another very nice praise ultimately ascends into a very complex and IMMACULATE (the latter kind of goes without saying, it is a Mark Wonder song after all) moment of giving a supreme thanks to THE Supreme. BOOM! And ending matters here and sending us on our way is yet another very powerful and just beautiful (it just feels good to listen to) selection, 'Voice of the People'. This one is Wonder standing up for the marginalized people of the world who are so often overlooked ["Voices of the people cry aloud and, dung inna di slum everyone waan get out. System implementing need cut out. Total catastrophe there ain't no doubt"] and the 'vehicle' used to deliver that message is a gorgeous one (with horns!). A tune like this one could really do some heavy work because what you get is this powerful idea and it is packed in something which is so easily digestible and EASY TO RETAIN! When your message is presented like this, you have something special.
Overall, Mark Wonder and Oneness Records definitely had.... "something special" on their hands when they sealed up "Remz Of The Dragon Slayer", once again. I'm of the opinion that they could do as many of these things as they wanted and the results would continuously be of this level (there is no reason not to believe that) (AT ALL). And I have to reiterate just how happy I am that this album exists. Following "Working Wonders" (which, I am going to assume, was as successful commercially as it was critically), it would have seemed a natural next step to take and then came the Dub release and this sequel - CLEARLY artist and label are very conscious and APPRECIATIVE of what they have found in one another. Fans, such as You and I should be most grateful of what they've managed to do and.... who knows what they can do going forward. Until then, however, as I alluded to (I think I did), I walked away from "Remz Of The Dragon Slayer" 'wondering' if maybeMark Wonder and Oneness Records had actually outdone the MAGIC they'd produced in the first time around. A year and half later... damn. I think they just might have. FLAWLESS!
".... 'Take Me to the Place' SOUNDS so nice. I don't know what the name of that track is, but Oneness may want to consider spreading it around a bit if they haven't already, because it is divine!"
I said that up there in reference to a tune on "The Answer", the 2020 release from the legendary Luciano and firebreathing Oneness Records from out of Germany and apparently I wasn't the only one who thought that it would be a good idea. The track whose name was unknown to me at the time is called the City Riddim and, because it is STUNNING, Oneness has spread it out six other vocalists and a very familiar maestro in Umberto Echo who provides it with an exquisite dubbed out version. If you've followed their history just a bit, you know that Oneness is a label who has consistently not only done fine riddims, but have turned those tracks into sterling compilations as well. When we were at our most active, not a great deal of time went by when we were not dealing with some type of release of theirs and though we slowed down, Oneness, delightfully, kept right along. So, while I was extremely happy to see this set pop up, I was also immediately convinced of its quality... and maybe some of the names they brought in to handle the vocals had something to do with that confidence.... just a little. Let's talk about it.
1. 'Take Me to the Place' by Luciano
Literally (being that it's the first song) and figuratively (it's also the best) Luciano's 'Take Me to the Place' is the skyscraper towering over the City Riddim. As I said in my original look at it, in 'Take Me to the Place' I hear (lyrical) echoes of 'No Night In Zion' which.... just may be The Messenjah's greatest ever. Fortunately, its SOUND resonates just as mightily and what we have here, in my opinion, is THE signature moment of the City Riddim. When you visit, you'll need to stop here first and take many pictures my friends.
2. 'Say That You Love Me' by Yaadcore
While Yaadcore's isn't a name which is entirely new to me, his solid effort on the City Riddim, 'Say That You Love Me', did come as somewhat of a surprise. I hear this tune and I feel a bit of Cali P and maybe even Protoje to a degree. It's a piece which excels largely based on its simplicity (I DON'T THINK THE MAN IS ASKING TOO MUCH! DO YOU?!) and ultimately makes for a very nice 'catch-up' on an artist who we all should probably start paying more attention to.
3. 'Nah Reverse' by Devano
And I could probably say a similar thing regarding Devano and his tune here, the largely political critique, 'Nah Reverse'. He had a nice song that I heard from last year or the year before (further research reveals that it was 2020's 'Say A Prayer'), but apart from that I can probably say that it's been at least a good half-decade that I can recall hearing..... pretty much anything from Devano. Surely that's my fault for not paying a good enough attention and not his for not doing anything for five years but, being that the case, 'Nah Reverse' just may be the single greatest work that I've heard from the artist to date ["Instead of fixing climate-change, they'd rather test their rocket's aim. Instead of hearing the poor man's cry, they'd rather love to see the people ah fight. Remember this: You were elected to work for the people - find a better future for the people. Can't trick the people like the camel through the needle, Devano mi ah burn you for the people. Mi bun di fyah fi purge dem. A through mi chat di truth, mi know it hurt them. I give the people what they deserve then - A forward wi ah forward, nah reverse"].
4. 'She Got Stoned' by Lutan Fyah
Lutan Fyah's cut of the City Riddim, 'She Got Stoned', initially appeared on the chanter's 2020 EP for Oneness Records, "Touch Di Road". It was a somewhat bleak and gritty story about a young lady who had lost her way in life (you're thinking of I Wayne's 'Can't Satisfy Her' and you're not way off). As I've said countless times in the past, Lutan Fyah's one of my favourites, particularly as a writer and, even here, he shows a nice command of melody (which isn't always his strongest suit) while delivering a typical excellently worded effort.
5. 'Nice & Clean' by Queen Omega
Speaking of favourites... The most divine and always welcomed on any damn thing Queen Omega checks in on the City Riddim as well with the pride saturated 'Nice & Clean'.
"Beautiful inna mi heart and a lovely inna mi face
THE MOST HIGH NEVER MAKE A MISTAKE
You see that I am wonderfully made
Sweet and strong and brave
You must love yourself and never hate
When you walk with pride, no one can underrate
SELF-CONFIDENCE WILL MAKE YOU FEEL GREAT-
NO ONE CAN DEBATE
Nice and clean, fit inna di magazine
I know I'm beautiful indeed
Got to love my own
I'm a Black Woman sitting on the throne
Nice and clean, fit inna di magazine
Real raggamuffin queen!
Got to love my own
I'm a Black Woman sitting on the throne"
It isn't her first go-round with Oneness and CLEARLY there is some chemistry there (and you know where my mind is headed) because 'Nice & Clean' is golden! It is an excellent song, simply made to instill some pride, self-esteem and confidence in the masses. Mission accomplished.
6. 'No Vanity' by Iba Mahr
Much as was the case for Lutan Fyah, Iba Mahr's track, 'No Vanity' was carried by his own Oneness produced EP release, "Get Up & Show", from 2018 (which might make it the debut of the City Riddim). Just as was the case there, again 'No Vanity' (which, sequentially, stands next to 'Nice & Clean' very nicely) (well placed in terms of ideology) is a standout on this release. Mahr has such a unique vocal approach with this kind of 'mid-singing' and wailing that he does, but he's perfected it through the years and if you're still not convinced (what the hell is wrong with you), 'No Vanity' might be a nice next stop for you.
7. 'Old Talking' by Vysionaer
Vysionaer is someone who, at least in my opinion, will soon his time come as he has spent the last few years or so churning out some strong material (check 'Hard and Dread', personal favourite of mine), and his piece on the City Riddim, 'Old Talking' does absolutely nothing to diminish my expectations on what is to come from the chanter. This one is a very clever type of a social commentary (in a sorta/kinda way) aimed at those who are fond throwing stones and judging others because they know you can't do the same to them.... because they aren't really doing shit themselves.
8. 'Take Me to the Place' - Umberto Echo Dubmix
Given all he does for the genre, if you're at all a fan of Dub these days, most likely you're also a fan of Umberto Echo's as well (and if you aren't you should be). From his working with Oneness Records, and Sara Lugo in particular, I've been listening to the man for quite some time now and despite being no expert on Dub, I consistently his enjoy his output. Taking on Luciano's 'Take Me to the Place' is easy for him, Echo probably couldn't do something less than stellar with it even if he tried and he does not disappoint. I do like situations like this where I am fully familiar with the tune and can compare the two versions and take a more direct listen to all of the variations the producer makes. This one is fairly straight-forward (with one or two nice deviations) and as infectious and hypnotic as one would hope.
9. City Riddim Instrumental
Take a look and a listen to the City Riddim in its BEAUTIFUL original form. Strictly as a composition, I think that it rates fairly high in Oneness' catalogue (which is saying a lot from with what they've done). It is UPFUL and LIVELY and just pulls a great vibe from you when you hear it. I was really happy that they placed it in this type of release and populated the City with a talented group of individuals from various stages in their respective careers and.... if they wanted to do even more with it in the future, you'd get nary a complaint from these parts.
Wherever and however you listen to music these days (unless you're only on physical media) (WHAT!) you'll find the City Riddim from Oneness Records, which is available now. Go see for yourself, it's not like you have anything better to do right now!
Standards. Maybe I am not as appreciative as I should be, but it really isn't much fun writing reviews for Luciano albums. You know, I can go into a release from virtually anyone else and at least have some type of questions going in. Even if I'm relatively certain about the level of quality I'm going to hear (and that is something that almost never happens, really), maybe the prevailing direction or the style of the project is something that remains an unsurety (<probably not a word). I was trying to think of someone with some type of history behind them -- more than just a release or two -- and really the only person who it reminded me of was someone like Beres Hammond. Even in the case of Hammond's, however, I may be wondering just a bit more of what precisely I am going to hear. Depending on who's in production and maybe what type of vocal artists he has joining him, there can be a faint amount of question going into something done by Beres Hammond. Luciano? There're no such wonders, even if he linked up with a Heavy Metal producer, I know what I'm getting myself into. The ONLY question you have going into one of his albums is how good it will be and that range begins at 'GOOD'. Whatever you're about to listen to will be at least GOOD and you know that looooooong before getting your hands on it (I can assure you, RIGHT NOW, that his next drop, whenever it gets here (this year or in 2025), will be at least GOOD. I can tell you that right now). So perhaps I've been spoiled by the drama provided by the likes of Sizzla Kalonji (sitting around wondering when the next "Rise To The Occasion" or "Million Times" will get here and you know they're on their way), Vaughn Benjamin and the questions of SOUND in his case (lyrically you know what to expect - well, you don't really, but you've grown to expect the unexpected in his case) and even people like Bushman, who we recently talked about, Buju Banton (if you've ever REALLY listened to a Buju set, you know that man has damn eclectic tastes in music, he will give you a few different looks before he's done).... Vybz Kartel.... the list goes on and on. When you get an album from someone, you're wondering about SOMETHING. That is, as I said, unless on the cover the big words say "LUCIANO". When they do, though it may not be this CGI-heavy, action movie of a musical display, what you are getting is, essentially, a LOCK (coincidentally, I just thought of someone who may as reliable as Luciano - his musical brother, Mikey General. Biggup Mikey General) (and biggup Mark Wonder as well, although on a much smaller scale, given Luciano's level of activity).
It will be fine, upstanding and wonderfully crafted Roots Reggae music. If you are a fan of the genre, you will enjoy it at least on some level and, at some point during your listen through, he will find a moment or two to absolutely THRILL you. You're going to get at least one higher reaching moment in the midst of a whole heap of immaculate ones. He's been doing that very thing for a few hundred years and if there exists anything good in the world, he'll continue to do it for a few hundred more (the first part of that statement is exaggerated, of course (biggup Luciano, he just celebrated birthday fifty-seven a few days ago as of this writing) but the second is not. Long after he is physically gone, people will be loving what this man has done and is still doing for us. His musical immortality has long been secured). Given the level of activity that he has demonstrated throughout the years (which, although it is rarely looked at in the same way, was once only rivalled by the hyperactive types such as the aforementioned Sizzla and Benjamin and Anthony B) it is so utterly impressive that he's not only managed to find a winning formula in terms of quality (he has, arguably, been THE dominant Roots Reggae singer for the past two generations) but sound as well. Where many of his peers have felt the urge to experiment and even reinvent themselves in some instances, Luciano has reached level of full Reggae music royalty by establishing his vibes and re-enforcing them for the best part of the past three decades or so. Like I said, the questions for his output are very few and far between. One of them, however, is though his levels may began at least at GOOD, when will he be GREAT?
Today. Luciano will be great today. Someone else who has shown a penchant for a supreme level of reliability as well as flashes of genuine greatness is a little label from out of Munich, Germany by the name of Oneness Records. I think (though I could be wrong and I don't feel like figuring it out) our first encounter in a full way with their music would have been eleven and a half years ago, when Oneness delivered our 2010 album of the year, "Long Journey" from a then under-known vocalist by the name of Naptali. Were that not enough (and it 'were'), Oneness was also most instrumental in presenting the wonderful work of Achis Reggae favourite, Sara Lugo. If you spend any length of time around these parts, you know exactly how IMPORTANT her music has been to us. Wonderful works from the likes of Mark Wonder and Indonesian star, Ras Muhammad, would also come in as would, literally, countless riddims (all these years later, I'm thinking my favourite would have been the SWEET Soul Riddim ["Waiting for you, waiting for you, my familiar stranger. I can't have you. You can't have me. We can't have each other"] (BOOOOOOM!) as a composition. They have had better riddim albums, the Reggaeville Riddim had a better one, but strictly as a riddim, the Soul was probably my favourite) (at least right now it is. By the time I finish this sentence I may've changed my mind) (nope, it still is). The label would celebrate ten years in existence in 2017 and I can safely say that NO ONE has been considerably better (if at all) in the genre than they have over the past fourteen years now (and, personally, in terms of this blog, they have been as crucial as anyone in providing great music for us to listen to. Right up there the Zion I Kings). There was a fantastic song on "Long Journey" by the name of "Seven Miles" which featured Luciano alongside Naptali (and, if I recall correctly, Luciano had been something of a mentor for Naptali in his early days as a musician) so the relationship of Luciano and Oneness Records goes back at least that far. However, even prior to that, when the label would make their debut with a riddim named after them, present was Luciano with a big tune which I will tell you about, specifically in a little while. So clearly Morry, Benjamin, Umberto Echo and company at Oneness were fans of the singer in their own earliest of days. Throughout the years, he would also make appearances on a few of their subsequent riddims and, just last year, things went 'OFFICIAL' as Oneness released "The Answer", a full album from Luciano. WHAT! On paper such an occurrence is MAGIC for me. New album from damn near anyone on Oneness Records is a big deal for me, but from someone like Luciano??? That's something even greater and I was expecting the on paper wizardry to materialize as, potentially, one of the greatest projects of one of the greatest careers we have ever seen.
And expectations were met. Even prior to actually listening to the music, I REALLY enjoyed the cover of "The Answer". It's so simple, but it made a powerful statement, at least for me. It's colourless and has a dusty or smoky effect to it and it's just Luciano at a very joyous moment. You will not get very far at all into the album behind that cover before discovering that the singer has a great deal to be "joyous" for. For example, check the very first song, 'The Music' which was Luciano's cut of Oneness' Bambu Riddim also from last year and it featured the well talented Jessie Royal (who had a project out from earlier this year in "Royal"). 'The Music' is GORGEOUS! It is a downright stunning selection which is a testament to this wonderful artform we all love so much. It's long been one of Luciano's foundational ideas that he makes music for a purpose and for the right reasons and this song is about that. When you make a positive sound (and especially when it sounds like this), there is nothing to fight against it! For his part, Royal well adds a very nice spice to things and I wouldn't at all mind hearing these two link up again at some point in the future. Next up was an older piece which was very interesting in 'Build a Better Land'. In reference to this one, I once wrote, "....and although I still wouldn't call it a highlight here.... I wouldn't be surprised if I changed my mind on that in the future". Well, it is the future. It has arrived (still waiting on those flying cars they said would be around when I was a kid though) and my mind has changed. The song originally appeared on the African Children Riddim, way back in 2014 and I think that what hear now that I didn't back then is the prevailing VIBE of this one. 'Build a Better Land' is this golden call to action which has some depth to it as well ["Everyday we hear the same cry. Why people suffer and die. Things won't get no better unless we try. We can put our faith in The Most High"], with the main idea being to treat one another better than we do, IMMEDIATELY making the world a better place in the process. If that does happen and that 'better land' is built, Luciano wants to be there, that is the sentiment expressed on the fantastic 'Take Me to the Place'. Completely new to my ears on "The Answer", I thoroughly enjoyed the song and, in my overactive thinking-ness, somewhere in here I hear a sequel to what is simply one of the most POWERFUL songs I have ever heard in my entire life, Luciano's 'No Night In Zion'. It just extolls on the nature of ZION and how it is this amazing and NOURISHING place to be and I would think that the thought is not that we all need to pack up (biggup Ras Mac Bean) and head there , but that we need to take its qualities and bring them to us! Along with that, 'Take Me to the Place' SOUNDS so nice. I don't know what the name of that track is, but Oneness may want to consider spreading it around a bit if they haven't already, because it is divine!
Back in the summer of 2018, Iba Mahr dropped "Get Up And Show" which was a better than solid EP set from Oneness (had a few very nice tunes, including a combination with Agent Sasco, 'No Vanity' and the MASSIVE 'Family Not Friend'). So it came as no surprise when Mahr (who is excellent, by the way, I should probably write up a review for one of his albums as well) (think I will) was tapped as a featured artist on "The Answer" and it still wasn't a surprise when the tune, 'The Victory' was both a single and one of the album's signature moments as well.
"Through time and time we hold our focus
And never ever lose our purpose
Do what we must, working from dawn til dusk
And all crumble around us
In Jah Jah I & I will put our trust
THE WICKED BETTER KNOW THAT THEIR TIME IS UP
LIKE STONES THEY TURN TO DUST"
"Yes, like sands through the hourglass
A so mi si di wicked man just ah pass
Yes, so wi ask fi strength and power and upliftment to di task
BETTER GET YOUR HEAD RIGHT
SPIRITUALLY GAIN LIGHT
IT'S NOT JUST A PHYSICAL VIBE
IT'S MOST HIGH INNER SHINING LIGHT"
Given their styles, even before the actual music, Luciano and Mahr make for a very compelling pair and what results may just be one of the stronger combinations of either of their careers (and in the case of Luciano, in particular, that is saying a great deal as he has worked alongside... pretty much everyone to date). The course here is one that when you align yourself with The Most High (and positivity, in general) your victory is assured. As I (just) said (watch this wonderful transition, watch it closely) Luciano has worked with a whole heap of big talents throughout his distinguished career (about twenty years ago, he even had a release by the name of "Duets" which carried four different tracks with Sizzla, a pair alongside Beres Hammond and other names such as Josey Wales, the Morgans, Alton Ellis, Cocoa Tea and Mutabaruka and that was just scratching the surface of his entire list). A name which he may've missed along the way, however, is Determine. Determine may just be one of the most underrated artists of his era, given his talents. That man's lyrical gifts places him within a category which sees him with very little in the way of peers. You could name a dozen or so individuals from his generation who have had more success, but maybe two or three of them have his lyrical capability when he is at his peak. It is a trait which he has, obviously, passed on as his son, Runkus, is clearly proficient with the spoken word as well and while we continue to wait for a Luciano/Determine link (and maybe it will happen at some point) (maybe it already has) Luciano and Runkus turn in a HEAVY tune with the fitting 'Use Jah Words'. The song originated on the very first riddim that Oneness made to my knowledge, the... the Oneness Riddim ["BLAZE UP DI FYAH, MEK BABYLON RUN! ONE THUNDERBALL LICK DEM STRAIGHT DUNG A GROUND! BABYLON AH RUN, AH SI DEM JUDGMENT COME! DEM BOAT GET CAPSIZED, NOW DI WHOLE A DEM DROWN!"] and is remixed here via the addition of Runkus. Although more on the finesse side than his father (though I wouldn't necessarily call Determine's style 'brutish'), Runkus has a similarly unique 'spurting' style of delivery (check a damn impressive track named 'General' for a perfect display of that) (and definitely check Runkus own set from earlier this year, "In:Side"). He's also been on a couple of prior Oneness releases and has just turned in very strong output over the past seven years or so. It is apropos that this union produces a composition about being more careful about the things you say ["Use Jah words and hammer them. Do Jah works and stammer them. Words, sound and power come fi jammer them'"]. You could take this in a more specific manner and say its Luciano and Runkus warning musicians to do better ["Use up good lyrics and grammar them"] and to recognize the power that they do posses in making this music. The album's other combination 'Stronger' pulls in German veteran Jahcoustix and I don't know if it was the central purpose of the song (I would imagine it had to be one of them), but 'Stronger' MAKES YOU FEEL GOOD! It has such powerful and attractive vibes to it and it really gets you moving on the outside and inside. It also featured on "Reunion", Jahcoustix' most recent album which was also on Oneness Records in 2019 (I actually reviewed one of his albums as well, "Frequency", in 2013). What I take from 'Stronger' is the sense of preparation. Be it, mentally, physically or spiritually - you have to be prepared for what is to come! My eyes definitely gravitated towards the MAMMOTH 'Jah Army' because it had been quite awhile from the last time I'd heard it. I reviewed the Raspect Riddim where it appeared initially in 2012 (....time flies man....) and reigned supreme there. It is an AMAZING song and, as I called it in 2012, "almost vintage" Luciano. You do not need to be the biggest fan of the singer's to know exactly whose side he's tied to.
"To the ends of the earth
To the depths of the sea
To the highest mountain
To perform Jah works, I'm ever-ready
From the words were spoken
From the days of anciency-
It was ordained to be-
I fulfilled my destiny
What is to be must be"
You may remember the anti-violence piece 'Nuh Play Ting' from a few years ago on Oneness' most appropriately titled Nice & Easy Riddim (that thing was definitely nice and it was definitely easy) (big combination between Sara Lugo and Randy Valentine, 'Growing a Jungle', was also there) (Naptali had a nice drop as well). This one is kind of odd if you (over) think about it. You can kind of describe it as SAD almost, particularly during the second verse (which is a HORRIBLE story), but with that damn riddim behind it... it doesn't hit in that way, at least not for me. My confused emotions not withstanding, 'Nuh Play Ting' is one of the best songs on "The Answer", without question and probably one of the better pieces of its type that I've heard in a while. Not too dissimilar from the ideas supporting either 'The Music' or 'Use Jah Words' was 'Ah We Dis'. Though it goes on and expands, at the beginning, Luciano, once again, makes the point that artists have the RESPONSIBILITY to make good and positive music for the masses because it is THAT important and powerful. If you choose to do what he does and what so many others are attempting to do, you take with it the potential fame and wealth, but it also comes with this giant obligation to at least TRY to do the right thing. He then goes on to deliver what is a fairly straight-forward social commentary with, again, this ever-present notion of maintaining the positivity, the ACCEPTANCE and having everyone do our best, collectively, to improve this place.
The pinnacle of "The Answer" comes somewhere between a STERLING pair of tunes, 'I Wonder' and the title track. In the case of the latter, while Luciano's idea of the what exactly 'The Answer' [TEARS!] is will come to the surprise of no one at all ["Jah is the answer for all the world today. HE is the answer and love is the way. Jah is the answer, if we could just obey. HE is The Master, showing us the way"], the vessel he uses to convey it in is a glorious one. I used the term "vintage" in description of 'Jah Army' and the same goes for this one. Again, though it would not have been unexpected, take ANY point of Luciano's career and wherever you would find it in respect to whatever form you would find him in and 'The Answer' is a winner! And note the detailed message of the song - that humankind borders on ruining things because we have deviated from the path HE has set for us. The 'twinning' 'I Wonder' takes top honours on "The Answer" for me. Here we had another set which spoke on how we have wandered away from the teachings of His Majesty which has the singer wondering why.
"Yes I wonder how - could creation go so wrong
And I wonder why - man has disturbed The Master's plan
And I wonder when - will we learn to live as one
Yes I wonder and I ponder
On the first day, when Jah said 'let there be light'
And the darkness disappeared -
Still from that time, seems there's a conflict between the day and night
Cause there are people who dwelleth in Jah light -
Trying to do what's right
But there are those who lurketh in the darkness
Who always putting up a fight
Now we wonder how - could creation go so wrong"
Along with coming in with this infectious, almost bubbling vibes, 'I Wonder' can lay a significant claim to being amongst the very finest written selections that you will find here. That is heightened when you take in the delivery as well. There're sections of passion here, but much of it is toned back as you would be if you were confused and lost in thought. It proves to be this nearly perfect blend of lyrics, sound and PRESENTATION which made 'I Wonder' the single finest moment on "The Answer" for me.
Overall, as I recall saying relatively recently, one of the best things about writing reviews is that it almost forces you to go back and have a listen to some previous work from a particular artist (or producer) (DELICIOUSLY, it was both in this case) and that was true as well in this case. I've 'stumbled' upon a wonderful old album from 2010 by the name of "Write My Name". I bring it up, not only because it's fantastic, it's better than you (meaning 'I') gave it credit for being, so you (meaning 'we') should go back and give it another listen, but also because when I listen to it, what I hear is this ultra-fascinating level of parity. There is an established line of quality set very early on there and things virtually NEVER get below that line, but they do go considerably higher on a few occasions and it has been that way for Luciano from basically the first time he had anything to say in a song. That line of consistency is also found on "The Answer", but it is a bit higher than on "Write My Name" (which is saying a bunch). The question, like I said, is HOW MUCH HIGHER. Ultimately, what Luciano and Oneness Records had when they gave us "The Answer" was something genuinely special, his finest release in release in a decade (since "Rub-A-Dub Market") and an album which, for all it may have lacked in drama and theatrics, more than made up for it with a consistent glow. One of his best ever.
