Heat Check: A review of Breath Of Life by Queen Ifrica

Names. Lately, within the past few years or so, I've been attempting to stress the importance of celebrating talents and the people who possess them while they are still here and capable of appreciating it. This year, MOST UNFORTUNATELY, has already shown us just how fleeting time can be and, before you know it, circumstances have changed irrevocably and that moment is forever gone. For the most part, I don't think we, as humans in general, do a very good job of this, which I think goes to explain just how well we do actually do at the moment that someone we respect has left us... seemingly trying to make up for lost time. Sometimes, however, we do it quite well and get it 'right' (whatever that means) and the best evidence we have with this, at least around these parts, is tracing the level of attention and appreciation an artist has accumulated throughout their career and particularly noticing when things started to increase (or decrease) for them. In some cases, which seem to be very rare, what happens is that someone will announce their presence on the strength of a standalone, massive hit and then demonstrate themselves capable of matching those heights on a somewhat semi-consistent basis. Think of someone like an I Wayne or Warrior King who reached the masses courtesy of one giant hit, initially, and then proved that it was no fluke by supplying us with music of a similar quality and doing so almost immediately. Things can also have more of a gradual run which is far more common. In these instances, there may be several hits of varying degrees (which is, in and of itself, part of that slower process) and is far more common in my opinion. This approach is what has the capability of building legends as these instances are examples of people who simultaneously introduce themselves and their considerable talents to us at virtually the same time and if I were to ask you who you grew up listening to, most likely your answer would be full of names who grew on you (or your parents more likely) in a much slower way and gave you (your parents... or whoever raised you) years and years of joy.

At the height of that might be a moment where you take a minute and look up and... you just happen to notice that someone who you've been listening to for years has 'suddenly' (not really) (not AT ALL, actually) become a very big deal at a certain level of their career, whether you'd realized it or taken a REALLY good look at recently. Last year gave us a MIGHTY example of this in the form of "Exile" by Chronixx. If ever you had any question regarding the star power of Chronixx, take a long look at the majority response to that album. How I felt (and still do, btw) about is besides the point, the fact is that it was a very big deal in the minds and ears of many fans. While I do not think the release that we're going to talk about today will rise to those levels, who knows, I could be wrong. 

Have you checked in on Queen Ifrica lately??? You probably have but I pose the question because it's been a minute since we've written about her despite the fact that, for me, the diminutive (in height and ONLY in height) [tallawah indeed] Mobay native has well seen her profile raise over the course of the past decade or so. And speaking of "decades" perhaps the reason that we haven't covered her work much as of late is because of the fact that she's only released a single album over the course of the past decade. That set, 2017's "Rise", was her third altogether and the second, following 2009's "Montego Bay" ["Yad the east or forever hold your piece!"], for VP Records (absolutely ridiculous that album is now seventeen years old). Prior to that, you have to go wayyyyyy back to 2007 for her debut, "Fyah Muma", for Tony Rebel's Flame Productions. 'Montego Bay" was special. It was her opus (and it still is) and "Climb" (although slightly bloated) wasn't terribly far behind it. Having risen even further since those days, the idea of Queen Ifrica releasing an album in 2026 (and on my 45th date of birth, actually) is downright appetizing and I would love to get my hands on such a set... so biggup the Queen who, along with Junior Brown & Nuh Rush Records (in association with Tuff Gong) (biggup Bob), has now released her senior set, "Breath Of Life". There have been some big names doing major work on the album side this year (more on that in a few days) and when you add Ifrica's to the pot, she's definitely ranking, on paper, as one of the biggest. I had certain expectations of this year -- like Capleton & Buju -- but the prospects of Queen Ifrica doing a full project was nowhere on my radar and when I saw that it was offering, I got DAMN EXCITED. For me, the Queen has spent the last few years, musically, as someone who would pop up with that big tune at precisely the "right" moment, just when you had begun to think that it was time for her to give you something. She's been terribly reliable and, I suppose, that the timing for the new album was nearly perfect as well; had you told me we'd be getting this back in December, it would have well been amongst my most anticipated. Clearly I haven't been alone in that either as, from what I can tell, "Breath Of Life" is in the process of generating a nice amount of very early buzz (and I think that as outspoken as the Queen has been, outside of the studio, has also aided in lifting her profile amongst fans) and that is excellent but, of course, the main question regarding an album is DOES IT DELIVER??? Well... let's talk about that. 

"Breath Of Life" does end up in a good place ultimately but it does take a while for things to progress to that point in my opinion. For me, when she's at her absolute best, Ifrica is a very compelling blend of sweet & spicy and she can hit both areas effectively, as well as everywhere in between. At her best, Queen Ifrica can literally do EVERYTHING: From a traditional straightforward chant to an ultra-aggressive, agitated delivery (and, for the type of work that she does, she has a very nice singing voice when she does use it). So perhaps that's where my mind was as I dug into "Breath Of Life" which gets going in a predominately slower fashion (and then stays there for awhile) with its very light and breezy eponymous track. Try as I might... I could not get into 'Breath Of Life'! It's nice and it's pretty decent as an opener (it does have its moments, especially in the middle stages) to set the table for what is to come but I found it unremarkable in just about every way. Next in is a song that may be slightly stronger but one which left me with a similar feeling as the one before it, the lovers oriented 'Speechless'. I can't quite describe it but there is definitely something to the sonic appeal of 'Speechless' that I do enjoy but, whatever it is, it isn't huge. It's a nice sound to listen to and that is the best thing that I was left with from it. The golden-aged (damn near Doo-Woppish) 'Pelican' is considerably better than the two tunes ahead of it but, again, I wouldn't call it a great song necessarily. Very pleasing to the ears?? DEFINITELY. She also adds a bit of spice to the song for what may be the very first shot fired, in the most subtle possible way, on "Breath Of Life". 'Spoonful', as a good sign, is a further step ahead of 'Pelican', as it comes in (at least initially) in a similarly vibed style. To its credit, 'Spoonful' is a pretty clever love song which finds the Queen interesting in a someone that 'belongs' to a someone else who isn't doing right by them... or at least not as right as Ifrica thinks SHE can. 

"Mi will be yuh doctor, even check yuh vital

She just ah treat yuh like a instrumental 

Everything one place, it like intramural 

Yuh need fi mek a linkup, mek wi trod go rural

Wi friendship no ordinary, more like unusual

Baby, let's make it official

Let's make it official"

There's another song, 'Bad Girl', that doesn't make much of an impact but sounds pretty divine at times ["Original badness, no AI antics. Every robot bow to it"] but I come away from the first five songs of "Breath Of Life" entertained to some degree but not overly impressed. I also come away thinking that Queen Ifrica is likely enjoying life these days. She sounds COMPLETELY in love with someone. 

'My Highgrade', is a love song of a different variety and it's also, by far, the best song on the album up to that point [#6] with that downright FILTHY riddim supporting it. Let's talk about this tune for a minute. First of all, for as immaculate as it is at times, there's also (especially later on) a nice... almost improvised type of vibes to it. Certain parts of it sound like Queen Ifrica just came up with it off the top of her head and decided to leave it in the final version of the tune, which is such a nice mix of sounds. Her delivery is also winning on 'My Highgrade' as she largely employs a GRUFF type of chat which comes off as not like she's angry but she's trying to make sure that you pay full attention. Also more than mentioning (for the second time) is the music here. As it progresses, you start to hear more things -- like HORNS; glorious glorious horns -- and the base track is almost Hip Hoppish which I'm typically no fan of but it works for me on what is the first undeniable highlight from this album. Another heavy offering chases 'My Highgrade', the EXCELLENT praiser, 'Excellent Jah'. 

"Birds and di bees and ah praise Fari

Rivers and trees and di clear, blue sky

America to England - tension high

'PEACE & LOVE' a di great old cry

Put it pon pause, everyone stand by

War & crime you fi tell goodbye

Easy fi happen but I don't know why

Every nation ah beg, unuh nah comply"

Loosely redolent of the epic 'Alpha & Omega' by the aforementioned Chronixx; somewhere in the midst of this song is the archetype of what Queen Ifrica is best at, musically. 'Excellent Jah' is a prime example of her in her best form and demonstrating something that is almost uniquely hers as an artist (someone else who is really good at kind of varying approaches like this would be Reemah but she kind of builds intensities. Ifrica just kind of explodes at times). Here, she uses that fine form to give thanks to the Supreme in a THICK way. 

"No matter what time of day it is"

There's something infectiously pulsing going on with 'Weeping Willow' which seems as if it is building and building itself in the background. It does touch its crescendo ["IF NOT NOW THEN WHEN?!"] but its is the journey to that point that is most rewarding. The tune is an African unity peace and it has a certain grandness about it. If you were to just listen to the instrumentals of this one, I would expect even that to sound like something of a major importance is happening here. With the vocals added and the theme actually set, 'Weeping Willow' is nearly special. 'Mom Like Me' is ALLLLLLLLLLLL kinds of interesting. In Reggae music, if you've hung around to any length of time, chances are high that you've probably ran into more than a few tunes giving thanks to Mama above almost anyone and any THING else. 'Mom Like Me' is like the opposite point-of-view of all of those tunes. Here she deals with all of the joys and hardships you go through as parents watching your kids grow up and living being supportive through their successes and failures. I'm sure it exists but I'm having a hard time coming up with a similar song, at least one from recent times. MAYBE the only one even remotely close would actually be the next song, which takes things even further, 'New Version Of Me'. This song actually features Queen Ifrica alongside her own kids! The one you know will be Imeru Tafari but there're also his younger siblings Tanzie & Malawi (I don't know who Imeru's father is but the Tanzie's and Malawi's is Tony Rebel). This one is just a BEAUTIFUL full celebration of the entire family with mama saying how proud she is of her children, after all of the work she put in:

"I Clean your nose

Wipe your asses

Make sure that you're early for classes"

And the youths returning the love on how much she's inspired them to get where they're going in life:

"My Mother love endless

And dem qualities dem mi look fah inna mi empress

Di true meaning of selfless

Determined and perseverance, that is relentless"

Taken together, 'Mom Like Me' & 'New Version Of Me' are very original and unique musical experiences and it shows that Queen Ifrica and Nuh Rush REALLY got to thinking of some strong ideas to put into this album and they both light thing up on "Breath Of Life". 

Take 'Change The World' and compare and contrast it with the songs at the beginning of the album. It has a big and open, inviting sound like some of them do but it's stronger than all of them and immediately so (literally as soon as Ifrica utters a single word, the song takes an instant step ahead). The tune may just be either the single best or joint best written on the whole of the album and one of the best of its kind in recent memory from Ifrica as well. While, again, shining on the music with just a dash or two of spice to bring some flames to the vibes. Fantastic tune. I was expecting something on the light and probably more jovial type when I saw the title 'Raggamuffin Style' but, instead, Ifrica uses the moment to display some substance! The song is about hard work, hustling and doing everything you need to do to take care of yourself and put food on your table. 

"Mi certain, I will never be nobody else's burden

TRY AND GET OVER YOUR PROBLEMS LIKE A HURDLE 

No trust dem if you know dem will hurt you 

Dem treat you like a dirt too 

You better know your virtue

 Jah love and He'll never desert you

 Rise up all kings & queens, I urge you! 

Make sure you fast and you pray, that work too 

HIM love deh haffi purge you"

Another big winner and a nice surprise as well! Finally, for the first time in what seems like a pretty long time, the album's absolute pinnacle is at its tail as previous single, 'Lanton' is pretty damn special.

It may've taken a few playthroughs to grow on me initially but these days, 'Lanton' is in the stars when it comes to her catalogue: It's one of the best songs Queen Ifrica has ever done, period; it's the best song on "Breath Of Life; it's one of the best songs I've heard in 2026 from anyone. It's very speciiic in its approach but what I take from the song is that we all screw up sometimes. We all have bad stretches in life and during thes moments, there's something or SOMEONE who can help us out and lead us back to where we need to be. Ifrica's route taken to bring that message into the light is fucking genius. It just is. 

Overall, when you review an album, obviously you have to take the entire thing into consideration and if a nice sized portion of it (like damn near half of it) is less than stellar then the album is less than stellar and that is most definitely the case with "Breath Of Life". HOWEVER, I'm confident to say that the best that it has to offer ranks favourably alongside the best that Queen Ifrica has ever done. A song like 'Lanton'... that song can go anywhere. Drop it on either "Climb" or "Montego Bay" and it's just fine and it isn't the only song here that I can say that about. As a whole, "Breath Of Life" may leave a little something to be desired but, when it is good, it is GREAT, and those bites are everything you would hope for from someone in Queen Ifrica who just might STILL be on the rise.... even after all of these years. 

Rated: 3.70/5

Nuh Rush Records + Tuff Gong International

2026

Lyrics to Yad The East by Queen Ifrica

How wi say Truck Back [To the world].

A music we say for like, you know.

And we nah beg no friend from the enemy.

A Selassie I wi praise and bun heathen.

Haile Selassie I neva lose a fight yet.

Like how the sun neva witness the night yet.

Darkness neva overcome light yet.

And the wicked neva sew no good seed weh ripe yet.

You neva see Haile Selassie I a hype yet.

And the Man neva biggup wrongs ova right yet.

Babylon say them have the vision but dem no sight it.

But if a credit card dem ready fi go swipe it.

So mi say.

Yad the east or forever hold your peace.

The lioness will overcome blessed is the meek.

So mi say.

High scandal microchip dem a release.

And don’t you see you’re in the belly of the beast.

So mi say.

Rastafari shall set the people free.

Free how you want to, free how you want to be.

Ova land this the Zion ova sea.

Free how you want to, free how you want to be.

Babylon not mi sista, mi cousin, mi bredda.

Wi none related.

And dem associate with, dem a obligated.

And dem war of aggression weh dem dominated.

High society, new technology, system navigated.

Computer world, dem fascinated.

AK-47 dem assassinate with.

Di Lion The Tribe Of Judah dem no waan fi stand with.

They only come to show us hatred.

Then a so di rise of the people get manipulated.

And from di simple things dem a isolated.

If you know the gate will fly then why you hesitated?

One sound from the kette dem eliminated.

Yad the east or forever hold your peace.

The lioness will overcome blessed is the meek.

So mi say.

High scandal microchip dem a release.

And don’t you see you’re in the belly of the beast.

So mi say.

Trample dem, Trample dem, Trample dem.

Trample dem fi real.

And Nyahbinghi man to honour you just buss the seal.

Yo. Pull down the corner cause wi nah go mek no deal.

Run and diss the gully side when light Fyah and you ‘heal‘.

Selassie I neva lose a fight yet.

Like how the sun neva witness the night yet.

Darkness neva overcome light yet.

And the wicked neva sew a good seed weh ripe yet.

You neva see Haile Selassie I a hype yet.

And the Man neva biggup wrongs ova right yet.

Babylon say them have the vision but dem no sight it.

But if a credit card dem ready fi go swipe it.

So mi say.

Yad in the east or forever hold your peace.

The lioness will overcome blessed is the meek.

So mi say.

High scandal microchip dem a release.

And don’t you see you’re in the belly of the beast.

So mi say.

Rastafari shall set the people free.

Free how you want to, free how you want to be.

Ova land and distant Zion ova sea.

Free how you want to, free how you want to be.

Babylon not mi sista, mi cousin, mi bredda.

Wi none related.

And dem associate with, dem a obligated.

And dem war of aggression weh dem dominated.

High society, new technology, system navigated.

Computer world, dem fascinated.

AK-47 dem assassinate with.

Di Lion The Tribe Of Judah dem no waan fi stand with.

They only come to show us hatred.

Then a so di rise of the people get manipulated.

And from di simple things dem a isolated.

If you know the gate will fly then why you hesitated?

One sound from the kette dem eliminated.

Yad the east or forever hold your peace.

The lioness will overcome blessed is the meek.

So mi say.

High scandal microchip dem a release.

And don’t you see you’re in the belly of the beast.

So mi say.

Trample dem, Trample dem, Trample dem.

Trample dem fi real. . .

Taken from Queen Ifrica's album Montego Bay

Queen Ifrica @ Myspace

The Prime Example: A Review of Montego Bay by Queen Ifrica

I would say my case is very similar to pretty much all youths who grew up around the time I did in the 1980’s and 90’s in Jamaica in that we all at least entertained the notion of becoming a music artist at one point or another. Coming through a place which is probably the most musical place in terms of how much is produced against how many people there actually are, for a very young an impressionable person you simply can’t escape the allure of what has to be regarded as one of the (if not THE) most fascinating professions and lifestyles in the entire world, that of a Reggae artist. In my time probably the most influential artist that there was, was Beenie Man at that exact time (although, through the course I followed, I would probably say Buju Banton had more ‘literal’ influence on me, that was, of course, pre-Sizzla time). Beenie Man, along with a few others such as Spragga Benz and General Degree and even Shabba Ranking, to an extent, so fully PERSONIFIED what the Dancehall was and as someone at that young age, so FAR removed from the glitz and glamour of that world for the most part and virtually ‘tucked away’ in St. Ann, seeing that type of stuff was highly addictive and attractive. There were also others such as the aforementioned Buju who DIRECTLY played two different roles for most people who listened to him as he went from next superstar Dancehall bad boy to young and downright REGAL Rastaman almost over night and ESPECIALLY Mad Cobra whose tougher than tough persona almost gave him a super-hero appeal to me; who I also looked up to and wanted to be like when I grew. I would definitely say that with what we had at that time, in terms of Dancehall, we were better off than a youth growing in Jamaica today being influenced today by the same glitz and glamour as all of the lights simply tend to do is blur the sights of the ever present gun. And when you think about it in terms of time, there have been very few suitable role models to emerge in the Dancehall over the past decade or so and even some of the older ones (such as Mad Cobra and Bounty Killer) have become even HARSHER to keep up with the times than when they first bust. In fact, the only one who comes to mind right now would probably be Assassin who gets more and more impressive day by day. HOWEVER, that being said, I would honestly say that in terms of Roots Reggae music, the landscape of artists seems better for the youths today than even when I was growing because as dark and downright NASTY place as the Dancehall has become, it seems as if certain aspects of the Roots spectrum have become less cloudy and objective than they were and we have seen so many nice figures come through that system CLEAN as a representative to young people of what righteousness can do for you, directly and indirectly. Of course the add-on to that is that young people don’t typically have ears for Roots music.

Maybe they’d listen to a woman. In retrospect, when I was growing up there weren’t very many, if any at all, HIGHLY SKILLED female Roots Reggae artists and that has been a rather glaring void in the landscape of Roots Reggae. How times have changed! Last year VP Records brought to the international spotlight one Roots ENCHANTRESS from out of August Town named Etana who was about as SPOTLESS as an artist that currently exists in any genre. They didn’t wait very long at all to offer up the logical follow-up as they signed an artist by the name of Queen Ifrica whose popularity has grown within the same last three or four years as Etana to a degree where she can no longer be ignored AT ALL. Queen Ifrica is simply one of the most powerful, classy and mature artists in Reggae today and she offers an arguably even more solid role model base than does probably all of her male counterparts. ‘Together’ with Etana (indirectly speaking, of course) Queen Ifrica has DEFINED what it means to be a modern Roots Reggae artist for the Women and not only that but has also stood as a nice model for the guys as well as she fully exemplifies what exactly a successful Rasta Empress can be. Ifrica’s own rise to prominence comes with just so much interesting material, not the least of which is that her father is Ska/Reggae legend Derrick Morgan or the fact that she was allowed to the opportunity (which she earned) to grow under the wings of longtime Reggae veteran Tony Flames and his Flames Productions outfit for whom she has maid steady hits in recent years and been a highlight of the Rebel’s AMAZING Rebel Salute show. She has also had the opportunity (which she has also earned) to voice for some of the prominent and simply BEST producers in the world and has scored hits for so many of them as well. Back in 2007 Rebel and Flames Productions released Queen Ifrica’s debut album, the very well received (and packed) Fyah Muma which was one of the better Reggae albums of that year and featured almost all of her big material up to that point and although it was quite difficult to track down for many international heads, it ended up doing quite well (and is now widely available digitally) and it and the material since its release has garnered the attentions of VP Records, the largest Caribbean music label in the world, who signed up the Queen and now delivers her much anticipated sophomore release, Montego Bay. This album has been one of the most talked about and look forward to since they announce the signing of Ifrica and just like with Etana’s The Strong One album last year, VP Records now delivers an album which will DEFINITELY satisfy the anticipations. Montego Bay is an album which, may actually be stronger than Fyah Muma, despite being just a bit more than half its size (which is the ONLY problem I have with this one). The album has a focus to it and more of a DIRECTION which was missing in the somewhat lumped together project that was Fyah Muma (Flames also ‘lumped together’ an equally large release for Rebel himself at the same time, the wonderful I-Rebel). Montego Bay is STREAMLINED and modern Roots magic in its slightly too brief time.

If you haven’t actually had the opportunity to listen Queen Ifrica at this point, I struggle to find an artist to compare her to. The most immediate comparison, of course, would be to Etana or Tony Rebel, but I would say that she most reminds me of a female version of someone like Junior Kelly or maybe even Fantan Mojah as she definitely has quite a bit of versatility and EDGE to her vibes. And speaking of Mojah perhaps no other artist on the current scene would be more pleased by what Queen Ifrica draws to open her sophomore album Montego Bay, the intro. T.T.P.N.C. The tune is a PURE Nyahbinghi chant and one advanced for the popular Pitfour Nyahbinghi. From a technical side, what it actually is a mix of traditional Rastafari chants (one in particular) and biblical Psalms. YOU WON’T FIND A MORE BEAUTIFUL THING ON THIS ALBUM. Period. I get tears in my eyes listening to this chant! I’ve heard variations of this one before (the base of it is a chant called Every Man Have To Know which the Queen has wonderfully revoiced as ‘Everyone shoulda know’ to be less domineering, perhaps, and more inclusive of the Mother) but never voiced by a female and CERTAINLY never one so talented. I have to call it the best ‘tune’ here, its amazing it will wear you out before you even get started really. MASSIVE! The next tune up is the title track and a BIG one at that. The talk about this album beforehand was that it was going for a livication to Montego Bay where Ifrica was grown (I THINK she was born in Kingston) and this was the tune, which I’ve never heard before, just to do that directly. After a very odd and movie-ish type of beginning, the tune ASCENDS somewhere into the stratosphere and becomes one dusty sounding piece of laid back GENIUS and gives a tangible and necessary view of an area often associated with tourism and such, but very full of vibrant culture, for better and for worse. Another big tune. Closing out the opening to Queen Ifrica’s Montego Bay is one of the best tunes on the album and one which was featured on the album’s pre-release EP (Road To Mobay), the HUGE herbalist anthem, Coconut Shell. This tune, for Flames, is just WICKED! It has some old school type of madness going on behind it (you’ll notice a high-tech and souped up version of the famed Satta Massagana riddim) and it features Ifrica grabbing the straight forward DJ style which typically backs her bigger tunes. No exception here! Big opening.

The aforementioned EP, Road To Mobay, was interesting because it featured three tunes, which ended up being a rather generous quarter of Montego Bay. The second tune present here from that EP follows Coconut Shell, the inspirational and UPLIFTING (and just SMOOTH) Lioness On The Rise. This tune, we knew already because it is one of the biggest tunes on Penthouse’s recent Automatic riddim. The tune is a NECESSARY vibes about the Women in the business and in life in general making their way and not being ignored anymore really and if you think about it: How powerful a message is that to send to young Jamaican girls and girls everywhere really? Big tune (“Call me by my name!”)! The other tune on that EP was, of course, Daddy on Kemar McGregor’s BIG 83 riddim, which was a MASSIVE hit for her awhile ago and it speaks to an often ignored subject, child molestation. You could have built a nice EP from any combination of any three tunes on Montego Bay really. Yad To The East is a HEAVY tune in praise of His Majesty over Truck Back’s Springblade riddim. The song has an almost indefinable ‘rough’ vibes with it as it almost comes off like a feminine version of what Capleton does with the long lyrics style if you ever catch him in live performance as it SO EASILY seems to just roll of her tongue. And the message is heavy too, so definitely tune in further than your almost assuredly ‘foggy’ enjoyment of the tune on the surface. Although it was absent from Road To Mobay, having now full arrived at our location, the album’s official first single, the lover’s tune Far Away is present full on. The tune comes across Jamplified’s SWEET Movements riddim and essentially ‘takes the place’ of her last big lover’s tune, Below The Waist (which I think VP was right for NOT including on Montego Bay), to which it is definitely comparable in terms of quality. Don’t Sign I think will be largely underappreciated but it’s such a nice idea for a tune, as Queen Ifrica warns all to be careful when dealing with official things and simply be sure to read contracts and other documents before you sign them and yourself into them (over the old Movie Star riddim). Producer extraordinaire Don Corleon (and Alaine) linked Ifrica to voice their nearly PERFECT Secrets riddim and with it she tells all nasty and corrupt individuals to Keep It To Yourself before flying down Jamaica and you just need to hear the song as it is another which you need to FOCUS because that riddim is angelic! Calling Africa was one of the tunes which I hadn’t heard AT ALL prior to reaching Montego Bay and when it first starts in I was kind of hesitant, but it grew on me definitely especially when Ifrica jumps in. the style here is STRAIGHT DJ and alongside of some very involved backing singers (who are excellent), Queen Ifrica gives a very ‘funky’ and addictive tune about the Motherland of earth. She loads up the singing voice for the next tune, In My Dreams which I think might be ready for American R&B radio RIGHT NOW (of course it won’t get that opportunity) and is a very nice lover’s tune. And Queen Ifrica, somewhat predictably (becoming more and more common these days), ends Montego Bay with a sublime acoustic set, Streets To Bloody. The tune is (DUH) an anti-violence piece and a lovely song, you could just picture her sitting and singing it alone. Excellent way to end things on an excellent note from an EXCELLENT artist on an EXCELLENT album.

Overall, here’s the thing: in my mind I add about two tracks or so (one of them would definitely be Dance Floor) just to get that number up and having been spinning Queen Ifrica CONSTANTLY for a couple of years now, I know she has the material, either brand new or already loaded. However, for what it is, Queen Ifrica’s Montego Bay is MASSIVE. The incredibly hardcore heads (and I’m one of them) MIGHT complain about the lack of new material but I’m not. The comparison to Etana’s The Strong One is obvious and to that I’ll say that it’s at least as good as that one which proved to be an almost consensus Reggae album of the year 2008. Montego Bay is one best Reggae albums you’ll find in the first half of 2009. And coming after big recent drops from the likes of Buju, Sizzla and Jah Cure, that’s saying a great deal. In the grand scheme of things Queen Ifrica is on her way to perhaps leading an entire generation of young girls and boys as an EXCEPTIONAL and inspiring figure. If she keeps making vibes as she has and as on Montego Bay, she might even start inspiring incredibly jaded, old men. Like me. AMAZING! GO GET I!

Rated 5/5 stars

VP Records

2009

Queen Ifrica @ Myspace

Coming Soon: Montego Bay by Queen Ifrica

01. T.T.P.N.C.

02. Montego Bay

03. Coconut Shell

04. Lioness On the Rise

05. Yad To the East

06. Far Away

07. Don't Sign

08. Daddy

09. Keep It To Yourself

10. Calling Africa

11. In My Dreams

12. Streets Are Bloody

Up until now, the title for Reggae Album of the Year for 2009 has been rather briefly 'debated' between the likes of Rasta Got Soul from Buju, Universal Cure from Jah Cure, Ghetto Youth-Ology from Sizzla, Ghetto Skyline from Daweh Congo and a few others. To be honest, however, a CLEAR favourite for the title has yet to emerge (although some have already passed the crown to Buju, I haven't just quite). I have, however, noticed an interesting trend developing in the past two years with regard to Reggae Album of the Year. Last year, my choice for the designation was Etana's The Strong One (which was pretty widely the choice of most I've found out) and back in 2007, an even wider champion was Sizzla's brilliant I-Space album. Both The Strong One (VP Records) and I-Space (Greensleeves) were released in the month of June (coincidence???) (yeah probably). And if you're looking for the trend to continue in 2009, the potential champion has arrived in the sophomore release from the ULTRA talented Queen Ifrica, Montego Bay via VP Records, her debut for the label. Queen Ifrica has been one of the fastest rising young artists in the Roots Reggae arena over the last decade. Growing under the unbelievably RICH wings of Tony Rebel and his Flames Productions outfit, the Queen has secured hits in just about every avenue where she has tried. This, coupled with being one of the most active in terms of both touring and recording artists in the game overall, led her to VP's doorstep as she and Flames had already been preparing to release her album last year, just as they had with her debut, the well received Fyah Muma back in 2006-2007 (review coming soon).

VP had been so eager to get the album out to the masses that they took a step which I have a HARD time recalling them doing in recent memory and released an EP for the album, Road To Mobay, containing three tracks, all of which make the final cut and amount to essentially a quarter of the albumm back in March, two and half months before the album's official release date. Besides the three tracks on the EP, I've heard another three or four (including the WICKED Yad To The East on the Springblade riddim from Truckback) and all are impressive. Of course we would have loved to see Dance Floor included on the album as well but all in all I'll give credit to VP for track selection. Since it was announced Montego Bay has been one of the most anticipated Reggae albums forthcoming and it figures to cement those expectations, especially having the promotion machine that is VP behind it. Expect a whole heap of fun things surrounding the release. Potentially the best Reggae album of 2009.

Queen Omega's Montego Bay (which may officially get the title Welcome To Montego Bay) arrives in stores and online on June 15th and 16th all over the world.

Rated Potential: 5/5 stars

VP Records

Releases on June 16, 2009

Queen Ifrica @ Myspace