Amongst High Company: A review of Dwelling Place by Dan Gio

Gems. I know that I don't do as good of a job of it these days that I used to but I do pride myself on at least attempting to cover music that I feel goes overlooked by the masses and I always have. There is a certain aspect of publicity and.... just general human interaction called "word-of-mouth" that can be very powerful, in my opinion. YOU have something in your mind right now that you probably LOVE that someone else told you about. It could be an artist or just a song or even something like a restaurant that now is one of your favourites that someone once told you about; you gave it a shot and nowadays you make a point of making the same recommendation to others when you can. That's what I try to contribute to here and I cannot even begin to tell you how many times it's happened over the years that someone tells me that they picked up an album or started listening to someone based on something that I said and how much they've enjoyed it. That person will now pay it forward by telling someone else about it and just playing it for others and the work of said album (and whoever made it) has now just gone forward in my own, small little way. We've been very fortunate to have stumbled upon some incredible works from some incredibly talented people over the years that you probably won't find much written about elsewhere. I'm talking about people such as Jah Marnyah, AMBUSH, Jah Turban, Ras Mac Bean, the great Harry Mo, First Born and the list goes on and on; where, if you look around, a large chunk of the material written about them comes from here. I can go back to a band from out of St. Lucia, called Meshach & Wevolusion, who had an album called Awake which was probably one of the most reacted to and viewed reviews that I did in the earlier days. Furthermore, I've had situations, like Jah Marnyah's, Harry Mo's and definitely that of Sara Lugo where I would eventually become just a massive fan, of outside of just checking for their work occasionally (less than a week of August is left. I don't think there has been a single day this month where I haven't listened to SOMETHING from Sara Lugo). Of course I could be wrong -- I usually am -- but I think we've just come across a new name and a new album to add to that wonderful list.

Meet Dan Gio. There is a certain quality that is difficult to describe (but I'm going to try to do it anyway, of course) which I absolutely LOVE in an artist. It's a matter of... combining a certain level of raw, unfiltered ability with just a DASH of refinement. The greatest example I can come up with two demonstrate this is maybe prime Sizzla Kalonji. I can't even begin to comprehend where that man, at that age, got some of those concepts and how they ended up evolving was, arguably, even more impressive, but Kalonji spoke like someone well beyond his years, who had three or four times the amount of life experience you would imagine someone in his 20's having. He delivered these messages in a way that was often messy, unkempt and off-key but you could also hear a certain level of evolving cultivation. It came to no surprise to me when, later on, having spent so much time learning from the likes of Philip Fatis Burrell, Sizzla would get involved in things such as publishing and producing his own work. Someone else who has that is Jah Mason, prime Natural Black and DEFINITELY Spectacular (the opposite side of these would be Tarrus Riley, Alaine, Luciano, Mark Wonder...). These're people who are capable of doing things and making them work that no music teacher with a dash of sanity would ever teach but do so with a level of experience that shows that they, themselves, could teach that music teacher a thing or two of their own. 

Dan Gio is from THAT^ class, in my opinion. I've actually been listening to the music of the "Roots Warrior" for a number of years now as, along with a few strong singles, he's had a few complete bodies of work that I've enjoyed bits and pieces of but I don't think I've ever actually mentioned any of his music up until now... time to make some changes! As far as I know his backstory, Gio is basically a music junkie and he does have formal music training (I THINK), having used it to produce some of his own material. However, when you listen to him, at his best, what he shows is something that he came up with all on his own. He did not learn that from a classroom, he started chanting and that is what came out. Previously, the Portmore native has worked on various projects with strong producers such as House Of Riddim (it was called "Proactive Revolution and I didn't LOVE it but it had a few nice tunes on it such as 'Truths and Rights', in particular); he's also worked with Little Lion Sound & Derrick Sound, Filomuzik and Soulrock Collective. Dan Gio now adds to that with King Solomon Records and Acoustic Vibes out of Sweden for his latest release, "Dwelling Place", with Magnus Hjalmarsson, "Daddy Natural", running the show. I had no idea at all that this album was forthcoming as "Dwelling Place" squeezed itself into what has become an extremely CRAMPED release schedule for Reggae in the month of August and I'm thinking there're many fans who may be in the same boat but, like me, are also going to get a very healthy and HAPPY jolt from what they hear on this one. I just caught myself going through clips and hearing some... BEAUTIFULLY rough around the edges, modern Roots Reggae music and the more I listened, the more convinced I became that maybe Dan Gio and KSR had PERHAPS delivered one of the biggest surprises of 2026. I also appreciated just how simple and humble it was put together. The cover is a very simple photo with basic graphics for the name and titles. It seemed like whoever put it together really felt what they had on their hands and after getting into... what they had was GORGEOUS. 

I saw an old interview of Dan Gio's where he mentioned that his absolute favourite was I Wayne. They're both from Portmore so perhaps that has something to do with it but his style is very much similar to chanters from I Wayne's era (no, he doesn't adopt the 'Can't Satisfy Her' singer's high-pitched approached) and Gio delivers in a similar nature to the aforementioned Sizzla Kalonji and Jah Mason. He has a slight singing to him which kind of reminds me of someone else as welll and I'll make the connection I GUARANTEE you you no one else will here: If you start at Revalation and travel to Ras Indio - somewhere in between you'll find Dan Gio's house (also hear a bit of early Turbulence in there as well). I'm almost certain neither has had a direct influence on him (though I could be wrong, who knows) but his sound is from that arena, in my opinion. That sound is best realized on his brand new album, "Dwelling Place", which begins fittingly, with a prayer, 'Chant A Psalms'. The opener is about as straightforward and basic as it gets on a Roots Reggae album and there's nothing wrong with that at all... because I kinda love it. 'Chant A Pslams' is damn near outstanding and it breaks no new ground challenges me in some way I've never thought about it; it's just a lovely way to give thanks to The Almighty and a pretty much necessary way to get things started ["Di more mi grow locks, babylon dem ah fret!"]. The title track is in next and it, so perfectly exemplifies my basis for this review. The chorus on this song is excellent. It's joyous to listen to, it's sung just fine and it's catchy. The rest of 'Dwelling Place', even down to the straight chanting at its end, features several moments which are cluttery, random and, seemingly, built on emotion - and I mean that in a good way. It strikes this great balance between what you expect to hear (a song should have a nice chorus. You'll hear it several times during and it'll stand out the furthest) and something that is unique to that artist and a powerful showcase of what THEY do well. That is what 'Dwelling Place' is as Dan Gio reminds us all to seek the absolute HIGHEST power in times of need (and in times of happiness). The infectious 'Chalice Load', is exactly what you think it is as the obligatory ganja tune from "Dwelling Place". When I first heard this one, I wasn't crazy about it outside of the beautiful riddim behind it but it has grown on me considerably since then. In addition to everything I've said about him so far, Dan Gio is also a pretty good writer and, like Jah Mason, sometimes you have to slow things down to really focus on what he's saying because of his dynamic delivery. After observing that, 'Chalice Load' grew. I still don't love the occasional spots of "GANJA!" being chimed in but I now have a healthy appreciation for most of the tune, including very solid backing singers. Rounding out the album's first third is 'Dirty Deeds' which is the single best tune on the whole of "Dwelling Place" and it begins a stretch of four consecutive ABSOLUTE KILLERS on the album. 

"Di respect for di elders get exterminate

HUMBLENESS DEPRECIATE WHILE VANITY APPRECIATE

Guns and ammunition mek di youths dem life get wasted

Puppet master laugh cause everyday it is di same thing

IF YOU SLEEP WID DESTRUCTION A CORRUPTION YOU WAKE WID

Mankind full of hatred"

There're alotta people doing really fucked up things and they need to be called out for it. 'Dirty Deeds' is Dan Gio placing a few calls and HOPEFULLY your phone isn't ringing because he covers acres and acres (biggup Capleton) of ground. Also, I definitely should mention the riddim on this one. It isn't AMAZING or SPECTACULAR but it is almost PERFECT for what's going on and the nature of the song. There is a beautiful dub in there somewhere but Gio uses it to a special degree for 'Dirty Deeds'.

Things remain piping hot on the call to action, 'Burning Fyah'. You've seen this title on dozens, if not hundreds, of songs to date and they're usually pretty broad and I suppose this one is as well on a certain level but it is also somewhat specified as the chanter speaks about having "a burning fire within my soul", and having the feeling that he needs to be involved in some way. He needs to be doing something positive and progressive. Fortunately for himself and the rest of us, Dan Gio has found his outlet in making things that sound like this and... he uses it to 'Spread Jah Love'. I know that I'm probably going to overthink it but 'Spread Jah Love' is a gorgeous tune. I put it into two directions and one would be the straight up way in which we're receiving it: Dan Gio is doing his part in bringing songs like this to us and getting the word out there but, no matter what road you walk in this life, it's important to be nice to others and have a positive attitude as well. Those things, ALONE, can really help someone.

"Spread Jah love, don't let it go to waste

Spread Jah love, eradicate grudge and hate"

Some bigger picture and smaller - 'Spread Jah Love' earns its stripes in any category as one of the finest "Dwelling Place" has to offer. Also check how they let that SWEET riddim BOUNCE at the back end of the tune. While there are those who choose to 'Spread Jah Love', others still 'Show No Love' and, once again, that is who Dan Gio addresses on the following track, rounding out the aforementioned splendid stretch of four that I alluded to. I suppose that you could say that the direction here is not to dissimilar of that on 'Dirty Deeds' and it also follows it not too far behind interms of quality as well. For the most part 'Show No Love' registers on the broad side of things but Gio TUNES IN later on and gets very specific in identifying nastiness that he sees in the world ["babylon yuh access denied!"]. There is also (maybe only for me) a very subtle amount of intensity in the track on this one. Gio, of course, goes hard on his vocals but the riddim, which comes off, cursorily, as fairly simple, has DEPTH to it; that expansiveness leads to different sounds and different emotions which is a fine touch to an already huge moment. I styled 'Garden Flower' as simply a 'love song' the first time that I heard and I still think if you do call it that, it's a fair assessment, in part, but there is something more to it. 'Garden Flower' is kinda GREEN. You take the title as an analogy as something beautiful as a flower in a garden but.... you can also take it literally. It took me a minute [and hour] to disengage the overthinking and realize that Gio wasn't attributing these qualities to a human being. 'Garden Flower' is an appreciation of NATURE and the environment. It is a love song - for Mother Nature! 

"She means so much to me"

Most appropriately, right behind 'Garden Flower' is 'Plant Food', another environmentally conscious type. This time, Dan Gio focuses more on the farming aspect and the importance of living a more natural type of life ["Mek yuh food be yuh medicine; yuh medicine yuh food. Never stray from agriculture"]. This song, like most of them on this album is saturated in passion but I point it out, specifically in this instance because you can really hear the respect that Gio has for farmers and the works that they do. I get the feeling that if music didn't work out for him, he'd be quite content on a farm of his own. 'Take My Love' is the album's actual love song in the normal sense of the phrase. Though it most certainly is not a great song and the weakest on "Dwelling Place", it isn't necessarily bad on its own merits or completely without worth. In fact, the second half of 'Take My Love' is actually pretty good [!]; it just lacks when compared to the rest of the songs on "Dwelling Place", particularly in its first half. For what it is in full, however, 'Take My Love' is a relatively decent love song. Somewhere out there farrrrrr beyond "relatively decent" is the relatively HUGE 'Wrong Order'. This tune is so nice that I'm seriously considering revisiting my choice as the album's finest altogether because Dan Gio SCALDS on 'Wrong Order'. 

"Cause inna babylon di corruption well steep

Di devil dem will distrub yuh frequency

Cause inna babylon di corruption well steep

Di devil dem will disturb yuh frequency

Nuff inna di wrong chronology, dem no respect nobody

Dem caan get no ratings from I

Modern day Judas, dem time deh you cannot trust nobody

Dem words no accurate, dem a lie!

Some ah flash locks and sip coffee and dem life fulla folly

A Jah Mercy seat dem ah cry!

Nuff a dem caan look inna Melchezidek eye!

Dada ahgo hit dem wid a big piece of ply!"

BOOM! BREAK SOMETHING! If you haven't figured it out by now (shame on you!), Dan Gio REALLY hates it when people aren't behaving well and are, perhaps even more so, treating others poorly. It's literally one of the things he despises the most in the world and he has ample passion on the subject. Thankfully that passion isn't misguided and it also isn't broad to the point where he is lyrically just regurgitating tried and tired banalities of Roots Reggae music. His passion is focused and it's coming from someone who has a knack of making his point in a colourful, entertaining way. Lastly is the triumphant 'Bongo Man', which almost sounds like something out of the catalogue of the great Burning Spear. The song is a celebration of Rastafari and all who walk the path in life ["Never negative, I always keep it positive - in the hills of South Manchester, where I live"]. 'Bongo Man' is glorious music and I call it a "celebration" and it is but of a most and, though not necessarily RAPTUROUS, it is everything you'd want from such a musical experience and a LOVELY way to end this album.

Musically, I do want to make the point that Daddy Natural and co. do an excellent job here. If you enjoy Roots music, particularly that of an older era, you will be delighted what you hear throughout "Dwelling Place". King Solomon Records has done Dubs before and I would LOVE to see, later this year, a complete Dub release of this album. And I do have to mention that I would have really liked to see a combination on this album... maybe next time. 

Overall, I think I've found another diamond in the proverbial rough and Dan Gio has DEFINITELY made a fan out of me. Like I said, what stands out is this awesome combination of someone who has musical training and experience and someone who is just giving us what The Almighty gave to him! That's a quality and a talent that I'm interested in hearing here and following going forward. I don't know how many people have heard and are going to hear "Dwelling Place" - probably not a great deal but for everyone who does, what they take away, at least in my opinion, is a BEAUTIFUL modern Roots Reggae set from a very interesting talent in Dan Gio, who reminds me of some very special people. One of the best albums I've heard this year. 

Rated 4.3/5

King Solomon Records

2026

{Also available on vinyl}

Not All That Glitters...: A review of Care About Me by Junior Kelly

Ab normal. It requires some very satisfying diligence but the reward for paying attention and keeping track of certain things can be downright life-changing at times. In this particular medium, I'm so happy to say that writing for this blog has both forced me to attempt to stay up with things going on in music but it's also long brought me to a place where people will help me. I've gotten so many fine suggestions over the years from readers and people in the industry alike that have stuck with me and will continue to for the rest of my days. We've talked about some truly talented individuals who, as they develop and ply their trades, have supplied the world with some absolutely amazing sound that I probably wouldn't have stumbled across otherwise as, seemingly, the more they work, the greater the possibility of something truly special occurring. On the other side of that: The tag counter on this blog currently says that I have written 663 reviews. Over the years, I've found some that haven't been labeled correctly and I've written quite a few other review-like articles as well. I have a secret for you: Some of them are trash. Some of them (probably a few dozen at this point) are extremely poorly written and repetitive and bland and that's just the way it is. If you do something often enough, eventually you'll do it badly (if you walk enough, you'll stumble; talk enough, you'll say something dumb), regardless of how talented and good at it you may be. Even the greatest athlete has a bad game and the greatest actor has turned in a few duds in their career for whatever reason. Sometimes we try to [over]analyze and find out the reason and sometimes we're able to do it but, maybe, the ultimate, underlying reason is that we are human beings - therefore we are INCREDIBLY FLAWED and that's just fine (well it isn't but... it has to be because we can't do anything about it). So while I have no concept of certain others paths, I'm definitely full of empathy when I come across something that may be less than what I expect. I'm a Sizzla fan, he remains my absolute favourite and, specifically given the ridiculous size of his output, Kalonji has probably had more BAD full albums than several of his peers have albums altogether (and it's been a minute since he's had a good one in his current form). And despite that, I'm still a fan. At his pinnacle, that man made music that changed my life and I wouldn't be doing this at all if not for what he's done.

So the good news is that, after today, I will still be a Junior Kelly fan. There is bad news though, unfortunately. On the surface, in continuing the beautiful run that we've been experiencing in 2026, throwing yet another log on this fire is a great thing. Specifically in sticking with his peers -- in terms of decorated and celebrated modern Roots Reggae artists -- Kelly joins the likes of Capleton, Queen Ifrica, Buju Banton (even though that was a Dancehall album, he still counts), Anthony B, Gentleman and others (Torch) in releasing an album. Furthermore, I was pretty happy when I learned what, or WHO, the circumstances behind the new release was (<that makes no sense at all but stay with me, I'm going to clean it up). A Junior Kelly album in 2026 produced by Al.Ta.Fa.An is downright appetizing as the outfit has been amongst the most reliable of the era (and they still are after this) but.... something happened fairly on in listening to "Care For Me" and it... just never quite recovered.

2013

Right after I finish this, I'm going to get going on the next Signatures feature which will have Junior Kelly as its subject, so I won't spend a great deal of time on his background but the probable pinnacle of him, on the album side at least, came during his time with VP Records. 2001's "Love So Nice", so named after what remains the biggest hit of the Kingston native's career, is the single finest set of his Junior Kelly's entire career but artist and label also produced magic two years on with "Smile"; another two years on, in 2005, with "Tough Life" ["Buckle up mi belt; lace up mi boot. Ready fi kill di devil; ready fi slew di brute"] and then again in 2010 with the criminally overlooked "Red Pond". So, he has FINE efforts to his credit and I could go half a step back for pieces such as a "Rise", "Juvenile" and a personal favourite of mine, "Conscious Voice" (I'm going to have so much fun putting together a Signatures for Junior Kelly!), all from the just around the turn of the century. You'll also find a pretty solid and very interesting release in Kelly's catalogue, dating back to 2013, by the name of "Piece Of The Pie". That album was distributed through a wing of VP Records, VPAL, and was produced by a little label that went by the name offfffffffffff Al.Ta.Fa.An. I enjoyed "Piece Of The Pie from the first time I heard it and it's grown in stature in the subsequent years as it features a pair of bona fide personal classics for me in 'Creator' and 'Dem A Wonder', the latter featuring our old friend, Smiley (who just up and retired one day) (biggup Smiley). "Piece Of The Pie" is just a very solid slice of modern Roots Reggae music and it showed (as if you need proof of such a thing) that Junior Kelly could get on quite well with Anthony Senior, Taffari and co. at Al.Ta.Fa.An. On top of that, Kelly and "ATFA" have a direct history going all the way back to the early 2000s which would include a relatively sizable hit he scored atop one of their very popular riddims, the Tsahai, 'Receive'. And just in case you're unfamiliar and don't know their history, ATFA has worked alongside.... pretty much everyone including.... yeah, pretty much everyone you can think of and have made full albums with several of them as well. So with all of that in consideration, it goes to make it even stranger that in 2026, Junior Kelly & Al.Ta.Fa.An do an album together that is.... pretty bad, actually. This is an ugly job and it will not be fun. Let's just get it over with. 

When he's in the vicinity of his best form, Junior Kelly has a very dynamic and exciting style to him. He combines this big, beautiful and BOOMING chanting voice with a strong sense of melody and it results in a catchy, infectious brand of Roots Reggae music. He also has some a little spite to him as well. He has this RASP to his voice which he uses liberally to strong effect (Determine also had something similar but was less talented, vocally, and more talented, lyrically, than Kelly) (Determine, lyrically, was more talented than damn near everyone). I say that to you as a reference; what to look for when you are actually hearing him doing well, because you'll find very little [virtually none] of that throughout "Care For Me". This album is odd; it's messy (in a bad way) and it's... just... not pleasant to listen to which is a damn tragedy in regards to a piece of music from Junior Kelly. I'll give you a good example of precisely what I mean as the very first tune on Junior Kelly's new album, "Care For You", 'Biginning Of Wisdom', shows it off perfectly. Two things before we even get into the actual music: First of all, I don't know if that's an intentional misspelling of the title or a typo but it's very strange; even stranger is the fact that it's the title at all. It has nothing to do with what is actually behind it and I didn't hear "beginning [or "biginning"] of wisdom" in the song at all, as a statement. As for the song, once upon a time, before I had actually laid ears on the complete tune and was just listening through [chorus heavy] clips of it, I had earmarked it as a/THE potential winner for this album. It most certainly is not and, again, it largely shows what the problem with the entire album behind it is.

Besides the chorus, it almost seems like Junior Kelly's headphones are not working properly because it often appears as if he... doesn't even hear the damn riddim at all. There's a huge disconnect between his delivery and the actual riddim (speaking of the riddim, it's gorgeous. I don't know the name of it but it sticks in my mind as the same one behind the MASSIVE 'Don't Cry' by Anthony B & Mark Wonder). The end-product is a damn mess and just no fun to listen to at all... but it's still one of the better songs on this album. Up next is a tune that starts off sounding pretty nicely but, SHOCKINGLY, soon falls apart (and it doesn't even wait until the chorus to do it), 'Take From The Poor'.  The tune features Luciano-styled vocalist, Jah Eyes who, PROBABLY, steals what little 'show' there actually is as Kelly, himself, isn't in a good way here; he's frenetic and spotty. The song also isn't written well at all (on either end) and its legitimate highlight comes near its end where the instrumentals are allowed to play completely sans vocals. To his credit, I have heard other tracks from Jah Eyes and he's better  than the taste you'll get from him on 'Take From The Poor'. While 'Hurt So Bad' does not cause actual physical pain to listen to, it will require quite an effort. This one is flash with no substance at all, atop a kind of a Jazzy type of riddim (which may not actually be so bad if you take it out of this atmosphere and place it in a different space): It does absolutely nothing with its broken-hearted approach. The vocals are chaotic and the delivery is poor and 'Hurt So Bad' really has no redeeming qualities in my opinion... but it still isn't the album's WORST moment, one tune here actually manages to outdo... underdo it. "Care About Me" has a peculiar relationship with combinations as it both hits its ground-level heights and FLATLINES with such creations, The best song on this album is either 'Powerfull' or 'Children Are The Future', featuring Aimann Raad & Blessed, respectively. I want to stress the point that neither of them are anything special and if I had to rank them as tunes, 'Children Are The Future', which I would rank slightly higher, would probably tick in somewhere in the range of 5-5.5 at best (and listening to it now.... I'm thinking about lowering that ceiling). They both do, however, at least make a conscious attempt at maintaining a melody. 'Powerfull' for its part is damn odd (it's another one that seems to have a slight disconnect between vocals and riddim... something's just OFF with that damn song) while 'Children Are The Future' is dripping in mediocrity and did I mention there's the best that it gets for this one. 

"Care For Me" hits proverbial rock-bottom during the other piece here which enlists some help, 'Relax'. Here, Junior Kelly taps someone I've never heard of, Ras Kuda, and, together, the two create.... TRASH. Take an uninspired, STRANGE, delivery and combine it with virtually no lyrics of substance and you have a legitimately BAD song which is what 'Relax' here and it's a damn shame as it's a waste of what is a SWEET riddim... the same one that plays behind the aforementioned classic, 'Dem A Wonder'. THAT song was excellent - this song is not. Also settling somewhere super-south of sublime is the awkward title track. I've decided to stop making the same complaint about these songs and, instead, will just reiterate prior to closing this review out but 'Care For Me' features the same warts as many of the songs on the album named after it but, to its credit (I GUESS), it's on the better side of efforts on the album, though, AGAIN, far from anything substantial, while being crude and graceless as it could possibly be. 'Make You Happy' is a song with which I was familiar (and I knew it because as soon as I heard the chorus I started singing along with it) but I know it under a different name, 'Try Me', on the Devil's Angel Riddim (that Bunji Garlin once blessed with the brilliant 'Mr. Murder'). 'Try Me' wasn't very good though, for some reason, I remember it being a little better than 'Make You Happy'... if that makes any sense. The chorus is one of the finest on the entire album but everything apart from it is a step or two beneath average; actually making it one of the best songs on this thing. The obligator ganja tune, 'Mi Chalice', does have a moment or two ["Herb mi ah push up inna trolley and stroller"] but it also features the same, running critique I have of many [virtually all of them] of the others on "Care For Me" which I will get back to right after I tell about the final song, the half woeful/half awesome 'That Empress'. I'll make this one quick for you:

"You won't want your man back cause I'm the king in the sack"

That ^there^ is all you need to know about the vocals on 'That Empress'. HOWEVER and THANKFULLY, Kelly sits out the final three and a half minutes or so of the song and we just get the riddim itself and, because of that, if you wanted to overlook its first forty percent or so and just call 'That Empress' THE best song on the album - go right ahead and, frankly, they could have done this with the other nine songs and we all would have been better off for it. 

Okay! As I've been alluding to (and as I've even said a few times), there is a glaringly prevailingly AWFUL 'trend' found throughout "Care For Me" which is a consistently bad delivery from Junior Kelly. No, it isnt the best written either but you could live with it and the music is just fine; what makes the album so damn difficult to listen to, in my opinion, is Kelly, himself. He is in a poor form. Gone is his command of melody and wonderful usage of that BIG voice that he has. It's gone on holiday for this album and that's a damn shame. "Care For Me" is a Junior Kelly album that is really tough to listen to and that just should not happen.

Overall, like I said, a miss here and there is just going to happen (by comparison, "Care For Me" is still better than what I consider to be Sizzla's worst album, "Addicted") and it has CLEARLY happened here. The album, literally, seems like it hamstrings its star (...to the fault of its star); it takes what he does best and minimizes it as much as it possibly can. There's also something kind of just... OFF about it, in general. It feels like it was hurried about - with the typo of the first song title (and how strange it is) and the renaming of another tune and then, of course, how much [...virtually all of it] of it sounds. On paper, you take "New Junior Kelly album, produced by Al.Ta.Fa.An" and you've got my attention, my anticipation and I'm all over that thing but what happens turns out to be one massive disappointment. Off the top of my head, "Care For Me" lays a a major claim to being both one of the worst albums Junior Kelly has ever done AND one of the worst that anyone has done in 2026. Awful. 

Rated: 1.5/5

Al.Ta.Fa.An

2026

The Genuine Article: A review of Grateful by Torch

Blocks. In traditional Dancehall music, there are what I've called the Three 3 G's: Girls, guns & ganja. What I mean when I say that is if you listen to [traditional, have I mentioned TRADITIONAL??] Dancehall music, while you will find songs about topics beyond those three, those are, far and away, the most popular that songs from the genre center around. Furthermore, you're likely to almost NEVER find a song which doesn't incorporate at least one of the three in some fashion or another. I won't spend a similar amount of time explaining it but if you listen to Soca music at all, I don't have to tell you the concept of "jump, wave & misbehave" or any of its... thousands of infectious incantations or full blown albums. When it comes to Roots music, there're also a number of very basic and foundational concepts that anchor the music to a large degree. One of them is omnipresent (LITERALLY) and is THE central Figure of the entire genre; the others tend to revolve around HIM and are intrinsically interwoven within it as well. Now, just as is the case with the more restrictive confines of the Dancehall (I gave you three options for Dancehall. There're... maybe ten-ish in Roots music), we reward and celebrate the makes of this wonderful sound by how well they can convey these themes and, furthermore, how they can manage to differentiate it from their peers. HOWEVER, with that being said, there does exist a very straightforward way to present Reggae music in a way that does not stray far from center AT ALL but is still able to win the affections of listeners. There's a set road and those who show themselves capable of trodding it -- in even the most basic way -- can still reach a certain level of success when certain factors are in order. I'll bring up someone who so wonderfully embodies such a quality and though he hasn't enjoyed a massive amount of accomplishments to date (and likely never will), Steve Machete has spent a significant amount of time making a beautiful brand of Roots Reggae music that I absolutely love that does not challenge or stress the typical  foundation of the genre AT ALL. When you spread that out in terms of an album form (DAMN I would love a Steve Machete album), it can be even more important and while I do LOVE uniqueness and will continue to push it to your attention when I find it done well, I have to admit that there is SOMETHING mightily attractive about digging into a pure, extremely well done piece of modern Roots Reggae. I've spent years and years lifting up such releases and have absolutely no problem with doing it again.

2026

....like today, for example! Earlier this year, Torch released an EP by the name of "Path To Success" which, for what it was, was incredibly well-received and fairly popular in its time. I remember being very pleased to see the response around it and it featured a number of big names in just a handful of tracks (more on that in a bit because all of those songs are on this album) - so that definitely helped bring in eyes and ears. We were all largely rewarded. "Path To Success was very good and, apparently, it was just a bite of what was forthcoming. I've never actually reviewed any of Torch's work (despite the fact that he's been making full projects for... almost a decade and a half or so and you'll find him mentioned around here as early as 2009!) and made a proper note to attempt to change that around the time of "PTS" and LOOK [!], he's given me the opportunity to change that and I am all over it. 

I don't want to paint a picture that Torch or his music (or this album) are bereft of uniqueness or originality: They most certainly are not. His style is a very pleasing blend of a loud chant (he almost sounds like Tony Rebel at times. Coincidentally, The Rebel would give him his name and has been a help throughout Torch's career to my understanding) with a more traditional singing voice that he occasionally employs to big effect. I've also read interviews where the Trench Town native lists the likes of Buju Banton and Sizzla Kalonji as artists who've inspired him musically and his approach also reminds, somewhat, of them as well. Now, were you one of the ones who caught onto Torch during the hype of "Path To Success", you should be REALLY happy (and even if you go back further than that, you'll be pleased as well) as that release has now been inhaled and a larger project has been constructed around it and we get "Grateful", the brand new album from the ever talented Torch. Torch has an actual background in music, apart from making it, I believe he was trained as an engineer and he also spent considerable time at the hallowed Penthouse Records, so it comes to no great shock that he, himself, handles production for "Grateful" and, after getting a listen to it, hopefully he spreads the joy around a bit because there is some WONDERFUL Roots music on this album. I got started down this road as far as the direction of this review because of that title and how being grateful and thankful, in general, is foundational tenet of this music and, as the album plays out, Torch and company really begin to touch so many of the others and in a very forthright and matter-of-fact manner. "Grateful" makes absolutely no illusions as to what it is. It is a modern Roots Reggae album - nothing more, nothing less. It's very well written, it sounds exceptional and it is just so beautifully presented. Such a set of circumstances may present certain limitations (and I'll touch on that in closing, SURELY) but it also will open it up to my opinion; for what it may lack in "legs" and diversity, "Grateful" more than makes up for with sincerity and an UNFAILING understanding as to exactly what it is. Let's talk about it! 

Something that I (a nerd) found really cool about "Grateful" in relation to "Path To Success" (that no one else will but who cares!) is the fact that of the seven songs present on "PTS" only four of them made it to the full release. To me that says that there was some sort of total vision for "Grateful". It isn't that they cut away some of the 'fat' (they most certainly did not. This album has seventeen tracks and it's an hour long); it's that Torch and company had an idea of what they wanted "Grateful" to be and the songs that fit in that image made it over and the ones that did not fit, did not. They weren't just attempting to flesh out a record. What they did see (whoever "they" may be, precisely) begins with a definite highlight and the first of what turns out to be NINE combinations in total, the GORGEOUS 'Travel Jah Road', featuring Vyzadon.  The guest here is an interesting one for a few reasons, not the least of which is that Vyzadon tends to sounds.... almost SAD to me at times. It isn't quite the same feeling (and they sound nothing alike) but the feeling of listening to his music sometimes reminds me of Bugle to a degree. Of course SAD does not mean BAD at all and, like I said, 'Travel Jah Road' is outstanding. Specifically, the tune deals with things such as perseverance, overcoming obstacles and not being too proud to ask for help when needed. There's a lovely spot right in the middle where 'Travel Jah Road' REALLY settles in, musically, and when the vocals return we get a bit of back and forth between the Torch and Vyzadon for one of the more dynamic stretches of the album before the instruments return and send us out soaring on a golden start. In next is, arguably, the even higher 'Agenda', which is downright brilliant.

"So sharpen di vampire stick

Pass through, stab wicked heart wid di prick

A DIS YAH FLAME BUN NASTINESS"

"Full time no deh pon shift

DI MISSION IS TO SAVE DI PEOPLE DEM FROM A FIERY PIT

Dem waan fi stop mi from seh dat and dis:

Waan control di narrative wid lies and tricks

So dem come and seh 'excuse mi, yuh fire too red!'

KNOW SEH MI NAH PARTIAL

BUN YOU OUTTA YOUR BED"

'Agenda' Torch's shot back against a general level of nastiness being expressed in the world and he does it with such a HEAVY HAND! I mean this tune is dripping with confidence and wit. Torch tackles this one like someone who is taking a test that he's been studying for his entire life. There are no surprises to be had; HE'S GOT THIS! 'Agenda' is a special song and though I do find one stronger than it on "Grateful", were I to just pick one to present Torch's music to someone, 'Agenda' might get the call. I'll skip ahead a bit to another excellent selection and one with a title that you'd fully expect to see on a release such as this one, 'Don't Give Up'. I just mentioned how "confident" Torch struck me on 'Agenda' and I think that CONFIDENCE, particularly self-confidence and assurance is the main theme behind 'Don't Give Up'. This isn't necessarily that piece solely about dealing with things that you encounter in life and going through the things that give you trouble (as is the case on the opener); although that is certainly apart of it, 'Don't Give Up' is more about what's going on inside of your head. We've had bad times that we've experienced and we knew that they were passing. Maybe you were working on something that wasn't going quite to plan but you were fine with it. You were patient and knew you had a good chance of turning it around; 'Don't Give Up' is when THAT is gone. When you've lost that inner belief, 

"So no give up on yourself

ONE DAY YOU'LL HAVE A STORY TO TELL"

'By The Cover' was a legit surprise to me and a damn powerful one. I didn't make the connection but it's quite clever. This one is about not underestimating people and places and circumstances (and ALBUMS) (I may've thrown in that last one) ["Dem judge di book dem by di cover and wasn't sure of what was inside. And now dem wishing dem discover, cause it was more than what meets di eye"], for better or for worse. There's just LOADS of common sense and knowledge behind 'By The Cover' as well and you get the point, without knowing him at all, that Torch is someone who writes with a level of life-experience that he pushes into a song like 'By The Cover' and several others on "Grateful" as well. Before I switch gears, I will mention out obligatory love song on the album, 'Still Believe In Love'. You don't dwell on these tunes unless they're exceptional or really bad and 'Still Believe In Love' is neither. It's just fine for what it is and it actually does a nice job in showing off Torch's vocals when he sits on them just a little. You should have expected such a piece to be in this mix and, if you did, you probably expected it to sound pretty close to 'Still Believe In Love'. 

Now, let's talk about the other seven individuals who, along with the aforementioned Vyzadon, join Torch in making "Grateful" the project that it is, as he taps a wonderful variety of names you know and maybe others that you should/will know. Let's just pick a random one... let's say... 'All I Need'! This fine track features veteran singer, Little Kirk. Little Kirk is [delightful] an interesting one because he was never the type to hop on every single riddim -- even at his pinnacle -- and though he's strung together a fine career for himself, the urge is to always bring up his generational talent of a brother when his name comes up but he's more than deserving of a significant amount of credit on his own merit and I was DAMN happy to see him aboard "Grateful" and he does not disappoint. 'All I Need' is a very straightforward, but BEAUTIFULLY done, praiser and that's about all of the explaining it needs, but DAMN this song is so nice to listen to! Biggup Little Kirk. You wish he came around more often after tracks like this one (but he won't). Just ahead of Little Kirk's appearance on "Grateful", Aneillyon makes a contribution on the somewhat melancholy 'No Procrastinating'. Like the song just behind it, 'No Procrastinating' is song exalting The Almighty but it takes a little bit of a twisting route to arrive there. I'm actually pretty curious as to how they came up with it but the song's punchline:

"No procrastinating, we've got work to do

Trust in Jah, and HE will see us through"

It's pretty SMART. What they're saying is that NO ONE, not even HIM, is going to do everything for you and you have to try, at the very least, to meet someone halfway. You do your part and I'll do mine and we'll be just fine. Again, the vibes of the song are pretty different; this is not a joyful tune but it's one that you'll make a mistake in not taking in should you pass on it when realizing that it doesn't immediately grab your attention. You should have no such issues AT ALL with the all sorts of fun 'Wheel Again' which enlists the talents of Bingi (who, himself, has a new EP for this year by the name of "The Beginning"). I'm not going to call it a 'love song' or a 'lust song' ["She seh she a nuh door but she loving how mi jam it"] but it is kind of relationship-ish and flirty. HOWEVER you come to qualify it - it is outstanding and a damn joy to listen to. Just as impressive as Torch & Bingi on the vocals is the actual riddim and whoever is on that guitar on this song deserves a bonus with the performance they put on for 'Wheel Again'.  'Be careful of the company you keep' is the sentiment behind another winner, 'False Pretense', which links Torch with the always interesting (for one reason or another) Turbulence. The tune was one of the few making it over from "Path To Success" and I can actually recall the first few times that I heard it (because I can literally still hear what my critique of it was at the time) because it sounds a little uneven in combining the vocals with riddim at times (especially at the beginning) but it subsequently settles down and you get a really nice vibes between these two across an old school bounce of a riddim ["TRY TO DESTROY MI FOR SELFISH REASONS AND IN MY EYES, THAT IS A TREASON"]. You've heard songs like this many times in the past on Roots sets (Ickarus had one of the finest I've ever heard called 'Mind Who U Lime Round' ["Spend time round. They could be the same one that's putting you down"] and they do so nicely fit into the ideology of the genre as well as far as uplifting positive works and putting away negative ones. Torch also taps German star, Gentleman, for a cut on "Grateful", the glowing 'I Will Be There'. RIDICULOUSLY COINCIDENTALLY, Gentleman, himself, also recently released a very similarly titled album by the name of "Gratitude" and it also just happens to have seventeen tracks as well! No stranger at all to combinations, himself ("Gratitude" has TEN of them), Gentleman at least has the propensity to work well with others, Gentleman can pretty much work well with just about anyone - CLEARLY Torch isn't an exception (and I am fully expecting to see Torch on Gentleman's next album or EP, whenever it may get here). As its title would suggest, 'I Will Be There' is just a track about accepting and asking for a helping hand when you need it. It's also about serving that purpose for someone else when you're able and just such a nice vibes altogether and one which sort of indirectly (almost directly) gets into things such as depression and mental health. Now, with supreme respect to Gentleman, Turbulence and everyone else whose name I've mentioned thus far playing a guesting role on "Grateful" there's a trio of others who really turn in efforts that set them apart from the rest. One of the names I was most curious about hearing was Natty King. Natty King is a really big deal for me but he seems to not be as active as I would like (which would explain why I was more looking forward to his tune than another one here which happens to feature one of my absolute favourites artists) (more on him in a second) which makes it an even bigger deal when he does come around. His contribution to Torch's album comes on a song called 'Give Thanks'... you know damn well you can't have a Roots Reggae album without a tune called 'Give Thanks' or something like it. The actual music echoes the simplicity of its name and it definitely is cursory but in a lovely way. The two have a nice amount of chemistry with one another, the song sounds excellent and it isn't necessarily lacking lyrically either. 

[Who knew ^that^ paragraph was getting THAT damn long???] Junior Kelly has an album of his own which actually releases TODAY (currently writing this on the 2nd of October, 2026), "Care About Me". If it's at least halfway decent (and it should be), it'll probably be the next review that I start (listening to some of the early clips.... ain't looking good) (maybe I'll review it anyway) but until then, he pops up on "Grateful" for one of its largest moments, the downright triumphant 'Perseverance'. 'Perseverance' is GLORIOUS Roots Reggae music; both turn in excellent performances but you have to definitely big up Junior Kelly who provides the tune (and the entire album, actually) with one its most scintillating segments:

"I no born inna socks or nah grow up pon no carpet

No silver spoon inna mi mouth mi neva get yet

Yet, when rain ah fall - man a wet

Sun ah shine - man ah sweat 

Pon mi pride, mi dignity - dem waan mi step, step, step

I'm more

Mi nah less 

Mi nah sleep

Mi nah rest

Through all di blood and di sweat and all di stumble weh mi mek

AND WHEN YOU HIT ROCK-BOTTOM DI ONLY PLACE YOU CAN GO IS UP!

And when you lost everything then you got no more to lose!

So don't give up!"

BOOM! Similarly vibed is the final combination I have to tell you about, the title track, this one calling up the great Lutan Fyah. 'Grateful' is EPIC. It's one of the single best songs that I've heard ALTOGETHER in 2026 and, of course, the sitting GEM of the album named for it. Though 'Perseverance' has a more jovial type of vibe to it, it and 'Grateful' are quite similar to my ears and, again, they both WONDERFULLY encapsulate a couple of the longstanding and significant themes of modern Roots Reggae music. CHECK! 

And we're not done, I still have four really good solo songs to tell you about [!]: Check the easy-going and prayerful 'Goodness & Mercy'. This tune, which has a clearly established biblical core, is likely exactly what you're thinking but it might come as a surprise that it actually has some of the finest musicianship on the entire album. The riddim here exquisite and it seems to keep adding little [delightful] nuances as it goes on and on. First you get a little horn (not THAT kinda "horn") (biggup Soca); then A LOT of horn; then a keyboard; then some guitar and it all makes for one attention dominating piece of music. 'Goodness & Mercy' shares a heart with the closer of 'Grateful', 'We Shall Overcome'. While the sound of 'We Shall Overcome' is far more basic than 'Goodness & Mercy', I'll challenge you to listen to this album out and not find yourself singing, "we shall overcome, we shall overcome". It's musical 'modesty' is not only its most apparent characteristic, it's also its most charming and powerful in my opinion and I wouldn't be surprised if, somewhere in his background, is a more traditional amount of Gospel for Torch as well. Then there's 'I Am A Warrior'.

"Sometimes I feel so broken and battered

All my hopes and dreams, it seems shattered

And I know that faith is required

Even though I'm weary and tired

Time it waits on no man, so I just can't play around

Keep my head above the water, cause I man no plan fi drown"

I'm thinking 'I Am A Warrior' (and the next song that I'm about to tell you about) will kind of go overlooked because it definitely doesn't have some of the more... IMMEDIATE qualities that you hear on some of the others but it is a very nice selection! It's well-written, it's catchy (that chorus ranks amongst the album's finest in my opinion), the vocals are lovely and it's just a high-quality, total effort from Torch. Finally, 'Oh Jah Jah' is a sweet praise of The Almighty which instantly translates to a more terrestrial and tangible idea in using a level of praise and inspiration to overcome certain things in life (more on that in a second) and it is lovely. Take a listen for yourself! 

"One day my sorrows will ovah!"

There're a couple of things that stood out to me as I was putting this review together that I think deserve to be stressed. The first is that "Grateful" definitely does cover many of the bases of its genre but it pinpoints things like perseverance and struggling, specifically. While I won't say that it does to that topic what Akae Beka did with unity on the unforgettable "Beauty For Ashes" because not the entire album is on the same topic but what Torch does manage to do here is extremely impressive, particularly considering that "Grateful" remains fresh and exciting throughout. It never wears out the subject and becomes flat. To that end, credit goes to the wonderful music and writing. The other thing I want to mention is just how nice of a showcase this set is for Torch's VOICE. He sounds fantastic, consistently, within every approach he takes (he almost sounds like Natty King at times, which is a huge compliment). If he's chanting, full singing or bringing in the fire, Torch shows himself to be amongst the most gifted, CAPABLE and versatile lights on the scene today with what he does throughout this release. 

Overall, if you cannot tell (shame on you), I REALLY like "Grateful". It's long overdue that I review one of Torch's albums but I picked a good one to get to work on. Because of how it goes, and its full quality, I would first specifically recommend "Grateful" as a great doorway into Torch's work. Maybe you'll find a better set somewhere in his catalogue (and if you know of one off the top of your head, feel free to let me know), maybe not, but if you're just catching on to his work, this is a FINE entry point. Furthermore, I'd go as far as to say that, even in a year as ridiculously STACKED as 2026 has been, "Grateful" stands as one of the strongest displays of talent that I've come across. Let's specify that for just a moment: I'm not saying it's THE best album that I've heard (it is not but it is up there) but as far as showing what its star is capable of, it's great at that. Along with its sound, its display and everything that it has going in its favour, "Grateful" by Torch is an album that should register with fans for one reason or another. Maybe it isn't the greatest you've ever heard or maybe it doesn't blow you away but IF YOU ENJOY MODERN ROOTS REGGAE, YOU WILL LIKE THIS ALBUM. Period. 

Rated: 4.45/5

Bad-Hasai Muzyk

2026

Aging Gracefully: A review of "Gratitude" by Gentleman

Indomitable. I think that as you age, you begin to make certain concessions in regards to the passage of time and, even if you don't, Mother Nature makes them for you. You wake up one day and you're forty-five years old and most of us aren't what we used to be, physically, and maybe you have to watch what you eat a bit closer than you ever did (....if you ever did) if you're at all concerned with sticking around on the planet. Similarly, you'll also have to start making room for the younger generation. If you have kids, they'll grow up and, perhaps, start showing less and less interest in you and what you've taught them (which isn't necessarily a total bad thing, they're allowed to make their own way) and start seeking other sources of guidance - just like you did when you were their age. They'll be interested in more interested in other things (if you've done what youre supposed to do as a parent). They'll also begin to make their own sound and you'll probably [SURELY] not like it as much as they do and maybe not even understand it very well at all - also fine. I say that because, I look at things now and I find myself likely mentioning people who either weren't around when I started writing these things or, if they were, were very, very young and I'm probably the same age (if not older) than the whoever raised them. I'm definitely enjoying some of the younger talents but, unsurprisingly, I still spend more of my time writing about the work of people with whom I am far more familiar. These're people who I either grew up listening to or began hearing as a young adult. The last review I actually completed as I write this now was for an album called "World Of Love" by Anthony B: He definitely qualifies as such an artist and so do the Capletons, Bujus and Beenies of the world, all of whom have released albums this year and we've covered them all (and I'm sure I'm forgetting someone else in there). So when I saw the album we're dealing with on the schedule today, one of the first things that went through my mind was just HOW DAMN LONG, I've been listening to this 'German guy'. I can remember hearing so much about him in the early days, to the point where I went and tracked down an album of his... and it would become a Modern Classic and then another album he did a couple of years later.... also a Modern Classic ["Intoxication of a certain kind!"]. More than twenty years later now and we're all still here and it's time for another party!

If you do not know who I'm talking about (you have selective vision because his name is literally at the top of this post), of course I'm referring to German big man, Gentleman. For as long as I can recall (perhaps at least partially due to the sizable Carribean population in the UK), Europe has been a hotbed for Reggae music. And you can go back to THE 70's and acts such as Steel Pulse and Aswad and even UB40 (if you don't like UB40 you are unworthy of love) (SERIOUSLY) or, further up the line, to the likes of the brilliant Maxi Priest (who is still going and on his way to SEVENTY years old). I don't know that such a background exists in Germany, however, and though I'm sure there must've been someone ahead of him, Gentleman's is the very first name that I can think of and, definitely, to the degree of the impact that he's made in his career. You have to think that Gentleman has not only inspired many Germans to listen to and to actually start making Reggae music but I'd go as far as to think that he's inspired a large number of Europeans, in general, to do the same with the strides that he's made over the course of the last... damn near three decades or so. 

2022

But apparently Gentleman, now well into his 50's, isn't ready for some lifetime achievement award. He's not ready for the rocking chair. He still has a few things on his mind and one of those things (or seventeen of them) is "Gratitude". I THINK the last time we heard from Gentleman in album form would have been just four years ago, with "Mad World" (seems longer than that for some reason). That album, like pretty much everything he's done, was very well received and, listening back through it right now for the first time in a few minutes, it has aged very well (when I find myself listening to albums like this, I'm always curious as to what I thought was its best song when I reviewed it. In the case of "Mad World", it was 'What Them A Go Do'. It's still fantastic but 'Defining Love' is running it close these days) You knew you'd hear from Gentleman again (more on that in a second) and probably in the not too distant future; four years later is just fine. He's also been relatively active over the course of the past few years or so. I have to say that Gentleman makes such an... OPEN and SPRAWLING form of Roots music (for the most part), that he's someone whose work, whether I mention him a great deal or not, I really find myself looking forward to hearing. His music is very catchy and immediately gratifying. In fact, in a year where we've seen CONSTANT big names arriving and re-arriving with albums and projects, "Gratitude" was in the small lot that I was most anticipating digging my claws into (biggup Capleton). When the actual background info surrounding "Gratitude" began to come out, I got even more intrigued as the new album features quite a bit of the handiwork of the great Don Corleon. I think a legitimate case could be made that Don is THE greatest producer in Reggae... like ever. He at least has earned a seat at the table so anything he puts his work into is at least worth hearing. Furthermore, the two have a history together as Corleon has been behind some of the biggest work of Gentleman's career including, arguably, THE biggest, the previously alluded to 'Intoxication', across the legendary Drop Leaf Riddim. Just a couple of years ago, the two reunited for 'Watch Over Me', Gentleman's lovely cut of Corleon's STERLING Finally Riddim; so the link has remained strong. Also, along with Corleon, Stephen "Di Genius" McGregor and Clayton "Claye" Morrison also provide production and, of course, it's a Gentleman album, so you know that the vocal guests will be damn interesting as well. If all of that hasn't sold you on "Gratitude", at least on paper, then.... just listen to it anyway. You will not be disappointed in what you hear. 

Gentleman has always struck as a bit of a music junkie. What I mean is that - if he never made a dime for his work, I think he'd be, by far, one of the most enthusiastic of music hobbyists in the world. Because of that, I almost look at the way he does things as how a fan might. If I were a musician, I think I'd hear someone and really want to work with them. Gentleman does that. He's done full albums with other artists (coincidentally, one of whom was Ky-Mani Marley who released an album on the exact same day as "Gratitude") and it's usually one of the most compelling aspects surrounding his releases: Seeing with whom he'll work this time around. We'll get more into that in shortly but 'Genkleman' begins his brand new album, "Gratitude" all by himself, with what is undeniably one of its biggest moments, 'Lion'. This tune may've been one of the (if not THE) first singles from what turned out to be "Gratitude" as it launched way back in the winter or so and even a cursory glance of a listen to it shows you exactly why it was chosen. 

Not only is 'Lion' excellent but, again, it's signature Gentleman. It's open, EXCITING and very catchy Roots music. I do have to mention that... GRUMBLE sound on the riddim. It kinda/sorta sounds like it's a little angry at us all (and that's fine) (we're flawed. It probably should be mad at us) and IT IS GORGEOUS! Gentleman shines, arguably, just as bright but Don gave him a damn DIAMOND of track to do his best on. Next in is, EASILY, one of the most interesting efforts on the whole of "Gratitude" and at least partially the reason why I structured this review in the way I did, the absolutely LOVELY 'I'll Be There'. Let's go back for a second: In 2007, Gentleman did an album by the name of "Another Intensity". That release carried a nice tune by the name of 'Lack Of Love', which just so happened to feature the great Sizzla Kalonji. Nearly twenty years on and Gentleman now does 'I'll Be There' alongside Meleku, who is Kalonji's son. You know you've put in some serious checks in the longevity column when you're knocking around with GENERATIONS of families (not named Marley or Morgan). And you aren't just hanging out and sticking around, you're also maintaining some level of stature as well (particularly given who else is here) (Gentleman & Sizzla would make at least one more song as well. It was called 'Don't Worry' and it also featured Mark Wonder). 'I'll Be There' is really good stuff as a love song and it finds Meleku employing that high pitched kind of wail that his father often does and it works from beginning to end and as the first of TEN combinations on "Gratitude", it really gets us off to a great start. Just as Anthony B did with his ridiculously addictive 'Jet Ski' from his most recent release, "World Of Love", Gentleman also tackles the Hill & Gully Riddim and he also dazzles, with 'Nah Worry'. 

"Coulda hill top weh a di grades, man grow

Dung inna di gully, a di same love show

Still ah carry love pon di journey, mi know

IT'S A HILL AND GULLY RIDE FULLA HIGHS AND LOWS

Jamaica just open di door and say 'come Gentleman, cah yuh heart to di core'

Cologne, where it start unfold, wid a real yard influence: Cultural gold!"

The song goes through Gentleman's journey to prominence a bit but what I REALLY get from 'Nuh Worry' is just HOW DAMN APPRECIATIVE he is. It comes off more, to me, as a THANK YOU. Gentleman is thanking a culture, his fans, an artform, a place and he's grateful for everything -- "the highs and lows" -- that he's experienced along the way. That is a HUGE thought for me and I love all of 'Nah Worry'.  The R&Bish 'Unity' is another winner here with its somewhat unusual sound. I call "R&Bish" and I'll stand by it but you'll get nothing of the typical R&B fare in terms of direction from it at all. 'Unity' is pretty much exactly what you'd think it would be if you follow Reggae music to any degree ["Mi waan di people spread di love so mi ah nudge dem. For our part wi use di music and wi touch dem"] and it is a substantial body of work, lyrically. I don't want to be a 'prisoner of the moment' but, seriously.... 'Unity' is one of the best written tunes that I've heard from Gentleman in quite some time and he's always pretty dependable in that area, so that is a considerable statement. Here is another considerable statement: QUEEN OMEGA IS ON THIS ALBUM. Her contribution comes on a tune called 'What If' that reminds me of a personal all time classic for me by the name of 'Stay Like Bees' from Agent Sasco; as the Queen and the Gentleman ask a most basic question: What if things were different? I don't think that the perfect picture (or perfect MODEL of a picture) here is some type of utopia where things are both better and simpler (he literally says "what if reality is just a mirage") but I took this one in more of a combined way. This is a tune where so many different little topics come together to make ask that question. Maybe they would be better in some cases or maybe not but these two go about posing that scenario in a most DEVASTATING fashion together. And... I MEAN, DAMN! IT'S GENTLEMAN & QUEEN OMEGA ON THE SAME SONG! BOOM! 

The floodgates open after Meleku and Queen Omega as EIGHT of the final twelve selections on "Gratitude" are combinations of some sort; featuring a very healthy variety of names joining Gentleman. The album actually completely introduces me to someone who I've never come across in any capacity, the wonderful voice of German songstress, Milaa, who joins in on the glowing 'Show Me A Sign'. My little research tells me that Milaa typically sings R&B and CLEARLY that gold bar of a track from Don Corleon made her feel completely at home because she does a BEAUTIFUL job with Gentleman here. The song is lovey-ish but it has a certain DEPTH to it and, much like the opener, the riddim comes equipped with this terrifyingly delicious GRUMBLE to it. It isn't as strong as it is on 'Lion' (and it shouldn't be) but it is so damn addictive when it pops in. Even stronger is the track behind 'Bypass The Sorrow' which features impressive German singer, Nico Santos. I am not crazy about 'Bypass The Sorrow', on the whole, as a song; lyrically, it isn't very strong (it isn't bad but it's kind of meh). But just LISTENING to it... DAMN! It is a heavy piece of art and, strictly in that capacity, it's probably one of the finest listens on the entire album. Just play that thing in the background to your day and you'll truly enjoy it. Curious voiced Irishman, Michael Patrick Kelly, makes an appearance on "Gratitude" through 'Wildfire'. My friend, Google, told me that, about a decade ago, Kelly and Gentleman worked together on 'iD', which I'm listening to right now and am probably going to have a difficult time shaking. 'Wildfire' may not be quite as immediately captivating but it is a better song in my opinion (probably due to all of that actual Reggae going on) ('iD' was a little Poppish) and it really does pick up. Much like the situation with Meleku & Sizzla, this is pretty nice as you make a song with someone who doesn't really fit into the landscape of the music that you typically make and, several years on, you're both still around and are able to run it back and do so at a level where it's still crucial to your fans. The THICK and unusual 'Fireflies' brings in both Jahmiel and Claye (who also produces the song). I call it unusual because I don't.... quite know how to qualify it in terms of sound. It isn't Reggae really and I almost want to call it Hip Hop to some degree but not quite. Regardless, while I can't rank it amongst my favourites, I'm still working on 'Fireflies' because I'm damn confident that there is something in here that is slowly building on me. I don't think that I ever get to the point where I LOVE 'Fireflies'.... but we will see. And I'll put it here (as it may just be the shortest combination that I've ever heard) but 'Same Struggle' is at least a little better than every song I've told you about since 'What If'. 

 

"Careful cah di rat dem out fi get yuh cheese

Mind yuh enemies cah dem will try fi put yuh pon yuh knees

Solid as a rock, it's like wi concrete

 Neva tek a loss, it's like wi bawn fi it

HAFFI LIVE MI DREAMS, THAT'S WHY MI CAAN SLEEP"

I THINK I may've come across Richie Campbell but I'm not entirely and IF I did, I did not hear THAT from the Portugal native. He SCORCHES the semi-social commentary (I say "semi" because it is but it's also pretty personal and specific) with his piece to the tune of one of the most thrilling verses on the whole of "Gratitude" and I will definitely be seeking out more of Campbell's work in the future. 

I have no idea how many songs Gentleman has done with Capleton and I don't feel like looking it up but I'm going to go ahead and immediately install their collective tune on "Gratitude", 'They Don't Care', as one of my favourites from the duo. Let's stay here for just a second because I have a couple of things on my mind. The first thing I'm going to do is to give HUGE credit to one Gardel Fulvio Stuart who produces and comes up with a riddim literally DRIPPING with nostalgia. This thing sounds like.... gorgeous, BRUTAL late 1990s Dancehall and if you don't know, you just happen to be in the presence of one of the genuine masters of the era in Capleton and he absolutely annihilates this sweet, sweet track (the KNOCK on 'They Don't Care' almost reminds me of a tune King Shango did called 'Melting Pot' a hundred and twenty years ago) 

"After mi gi dem di torch and dem drop it

Show dem di door and all now dem caan knock it

Give dem di code and all now dem caan crack it 

How dem si mi wid di key and ah ask 'a who lock it'?

Capleton and Gentleman, di one yah shoot like rocket

Not even AI, nuttin can stop it

Go fi cybernetic and dem still couldn't hack it

Mek mi tell dem one more thing: 

Mi love di people uplifted

Blessed from birth, so mi know seh mi gifted

ANYTHING THAT GOOD, IT HAFFI GET RESTRICTED

Real organic, well a dat wi ah stick wid

And mi nah lef mi clip wid"

Grrrr! Gentleman, himself, also turns in a stellar effort and the pair blaze hot enough to the point where if 'Lion' is not the best song on this album (and it is), 'They Don't Care' makes a MIGHTY argument for itself! Don returns to steer Gentleman with Christopher Martin on the postively golden 'Open My Eyes'. This is another pairing that isn't first as the two vocalists have linked on multiple occasions; most notably, perhaps, on 'People', atop Kabaka Pyramid's winning Victory Rock Riddim. Though 'Open My Eyes' may not quite hit those lofty levels, it's running it very close as a total composition. 'Open Your Eyes' isn't Reggae music at all. It just is not. It's somewhere between R&B and Jazz and it's one of those songs that people would say has "Caribbean undertones" or something like that, strictly because of the vocals but it doesn't have that either (and we'll get back there before closing this one out). It does have a very uplifting message and, again, regardless of its genre, 'Open Your Eyes' is undeniably wonderful music. Finally (besides the other... four songs I still have to tell you about), Bermy star, the well qualified Collie Buddz, is featured on "Gratitude" as well with his track, 'Friends' ranking amongst the very finest it has to offer altogether. On paper, Gentleman with Collie Buddz is a HUGE FUCKING DEAL. The thought of it is a very one exciting one and it pans out as well as you could have imagined.

"Biggup di real ones and go have a laugh"

The tune is about the special people we meet along our journey and how they come and go (and how we come and go in their lives as well) with that specific select few sticking around to the very end. Also I just get from 'Friends' the idea of TREATING people better, in general. Also, just in case I haven't mentioned it over and over again but the riddim here, from Don, is a piece of glowing magic. I don't spend a lot of time talking about Collie Buddz but the man is super talented and he's been churning out some top notch material over the course of the past few years or so.

'So Good' is a solid love song. It isn't a GREAT one but it's pretty good but.... I hate to beat a dead horse (revive it and beat it again) and sound like a broken record but... DAMN! The riddim on that song is kinda divine. It's a gift from the Heavens or Don - one of them. The same EXACT source provides that thing you'll hear beneath 'Never Fail' so I'll spare you my thoughts on its quality... because you already know what I think about it. 'Never Fail' is excellent. The praising tune sits comfortably amongst the very best that "Gratitude" has to offer without a doubt and it's specifically one of the best on the lyrical end as well. I should also mention a VERY subtle horn that I hear in the background here. It is as faint as it could possibly be but my ears jump (biggup Shabba) each and every time I hear it, particularly during the sweet, SWEET chorus. Check the surprising modern Dancehall burner 'Warrior' which stands as a bit of a changeup for 'Gratitude' and one that is damn welcomed! I would have listened to this album and said that maybe something here is missing and I wouldn't have been able to qualify it.... it would have been 'Warrior'. 'Warrior' would have been missing. It's a FUN song that does have a semblance of a greater purpose but, like I said, Gentleman seems to me to be that music addict who is always thinking of something to add to the pot and it sounds like he had an endless amount of fun putting this one together; that stands out most glaringly, when it almost seems like he free-flows an entire verse to biting effect. 

"Mi just ah sekkle and flow pon di beat unu Don

Cooler than di breeze weh blow outta di fan

Hotter than di fya from out frying pan 

Lyrics dem ah shot but no gun inna mi hand" 

The final song on the album doesn't do much for me - 'When The Sun Goes Down'. It's largely acoustic and it has a nice, bright vibes to it which is fine but it doesn't move too much from that point. It's also the second shortest song on the album so it doesn't wear out its welcome and, who knows, you'll probably enjoy more than I do.

Sticking on that topic, quickly, I do want to just mention that, "Gratitude" definitely brings in a few different sounds which aren't typically/traditionally found in Reggae circles. It isn't overbearing to any degree and it isn't even all that shocking given just how many songs it carries but it is worth mentioning. So, just in case you're wanting every single tune to clunk you over your Reggae & Dancehall starved head, do beware. Also,.... have I mentioned just how DAMN GORGEOUS some of this music is??? In case I haven't (over and over and over again), you've now officially been notified. 

Overall, while I won't attempt to compare "Gratitude" to some of Gentleman's other releases, what I will say is that it is a very entertaining and fulfilling set. Again, given the sheer number of songs here (and all of that other stuff that I mentioned), I was expecting a lot here and I don't come away from it disappointed to any degree. While the album comes at an interesting and WELL DEVELOPED point in the career of Gentleman, it still sounds, wonderfully, like he's working on some things. He's still in the lab tinkering and mixing vials that probably shouldn't even be sitting next to each other; it's probably the same thing that got him started down this most interesting path in the first place. "Gratitude" is an album from an aging star that sounds like he still brings every ounce of the zeal and PASSION that initially put him on our radars in the first place.... way back when. Well done.

Rated: 4.2/5

Warner Music

2026

Respect. FULLY: A review of Power Shift by Dezarie

Rotation. Respect can be a very interesting thing to consider for and endless number of reasons. Something I find most captivating about the concept is the fact that, though it is entirely immeasurable and subjective, it can also be very easy to spot as well. You may see a tiger on a very hot day walk up to a little lake and, very carefully, take a drink and go about her day. Why not just go into the water? Because alligators live in that lake and she doesn't want those kind of problems. Maybe she has her cubs with her as well - she has just taught them that RESPECT can be as powerful and as clear as the stifling heat they're seeking relief from. Specifying things, let's take a look at respect within Reggae music. You know a guy named Moses and you know another one named Rodney. Moses is, universally, more well know. He's more popular. It's a matter of fact and not opinion: More people know BEENIE MAN, than BOUNTY KILLER. Who is more respected can be another case entirely but, if we're talking about more hardened fans and people who actually produce this stuff, the answer is probably Bounty as evidenced by the countless names of artists who came after him (those who made strides in music and those who did not) crediting him as being a major influence in their careers. Bounty Killer was a bad ass. When you were a kid, that's the guy you wanted to be. Getting even more specific, I can recall a time... maybe a quarter of a century ago at this point, when I knew the name Midnite but I wasn't much of a fan. I've talked about it quite a bit in the past (and will certainly do it again in the future) so I won't delve into it too much but "MIDNITE" was something I didn't particularly understand. What was crystal-clear, however, was their appeal. By comparison, they were nowhere near as POPULAR as some of their Jamaican peers like Sizzla and Capleton but the Virgin Islands outfit enjoyed such a powerfully dedicated, loyal and FAITHFUL fanbase. To me -- at the time and still today, looking back at it -- that was a sign of RESPECT. That the Benjamin bros. and company, in their ascension had, perhaps in a way that we had never seen before or since, gone from the 'underground' to being something very difficult to ignore... even for a young, naive 19-20 year old like myself. And I can actually recall later hearing from some of their Jamaican peers (like Lutan Fyah, for example, if I recall correctly) how their work had traveled and just how appreciated Midnite had become. That is a DEEP level of respect and admiration. 

2025

And Midnite came bearing gifts. Along with indirectly opening doors for forthcoming talents from out of the Virgin Islands (and directly via putting some of them on their songs and live shows), including Pressure Busspipe, Midnite DIRECTLY had a hand in introducing a downright monstrous talent by the name of Dezarie to the foreground as well and her rise to prominence IMMEDIATELY resembled their own. You could very well make the case that the level of esteem that Midnite had earned by the early 2000s had put Dezarie in a fine position to succeed as they began to lift her up and that would be more than fair but that wouldn't explain why we're STILL talking about her today. Having a hand in producing and/or releasing much of her early work such as the "Fya" and "Gracious Mama Africa" sets were strong introductions but the work that she did on her end and, CLEARLY, the work she's still doing has allowed the Queen of VI Reggae to maintain her most unusual and distinguished.

like 15 minutes ago

So it's kinda awesome how we're talking about her in 2026. I haven't finished it yet but the mini-review is coming where I'll tell you about her most recent release (well... not anymore), "7th Heaven", a BEAUTIFUL EP release courtesy of Tikur Anbessa Records. Something that was quite remarkable about that release, even prior to listening to the music that was actually on it, was the fact that it even existed in the timeframe that did. If you have been following along, you probably know that Dezarie isn't the most active of artists (I think I've probably called her "reclusive" at some point). It takes her a little while to get her thoughts together and bring a release forward but that was not the case with "7th Heaven" as, JUST LAST YEAR, she had a full album in the absolutely SUBLIME "Guardian". That album was fantastic and took #2 on our Best of 2025 list back in January. So the very fact that Dezarie had something to contribute to 2026 was icing on the cake... but apparently she was not done. The official release date for "7th Heaven" was the 30th of July; on the 4th of September -- which my magic calculator tells me is thirty-six days later -- she now... returns, SHOCKINGLY, with a brand new album, "Power Shift". I was completely surprised to see this one as, though I had heard what turned out to be an initial single for "Power Shift", I didn't know of/make the connection to it being anything related to a fuller project as it was somewhat odd (more on that in just a minute) and definitely seemed more like a one-off. "Power Shift" comes through a Goddess Frequency imprint (I could make some assumptions given its name but I'm not going to but you probably know what I'm thinking about a label called "GODDESS FREQUENCY" in regards to a Dezarie album) with production being handled by ZionLab. I've always known Dezarie to have a fairly large following in South America particularly and ZionLab has its roots in Brazil. Dezarie is releasing a Brazilian produced album in 2026 (...or in any other year at all)?? GIMME! I'll take two! The album not only continues a suddenly prolific run for Dezarie but also a TORRID release schedule for Reggae music in 2026 as a whole; coming the exact same day as a new album from the great Anthony B as well. Respect is like a muscle. It must be exercised and it must be fed. Is Dezarie still fit during this "Power Shift"?

Of course she is. Part of the attraction to Dezarie, I think, has to do with her very interesting style. She alternates between using a more straightforward (and beautiful) singing voice and an often strange kind of... hypnotic chanting. She literally sounds like she's in entranced at times. She also possesses a more straight forward type of chant which often hits more on the aggressive side. If you require an artist to be able to do something - Dezarie does it and does it well. FOR EXAMPLE, check the first tune and title track from her brand new album, "Power Shift" from ZionLab. The song finds Dezarie, literally, putting her best foot forward as 'Power Shift', by the slimmest of margins, is the single best tune on the album named for it, in my opinion. It is just BRILLIANT! 

"DELUSION COME TO A CONCLUSION"

'No one gets to stay on top forever' is the sentiment behind 'Power Shift' and Dezarie is noticing some slow (and some not so slow) changes in the world. She spends much of the track somewhere between the hypnotic and aggressive chants that I just told you about and utilizes them both to a DESTRUCTIVE effect: The best on this album and one of the best in recent memory from her catalogue, altogether ["Genes of Gods & Goddess - lasting. OUTLASTING CONTRADICTIONS, CONTRACEPTIVES"]. And it should go without saying (and yet, here I am saying it anyway) that you'll lose a great wealth of information should you choose not to really tune 'Power Shift' in, lyrically and you can keep that thought for the next eleven songs that I'm going to tell you about as well; though it is especially true on the unrelenting opener. I suppose that, directionally, 'Rise Higher' sticks fairly close to the title track as it's also talking about a change in power as one rises and one falls ["Di uprising stepping up, so they're capsizing"]. There's a giant issue with 'Rise Higher' and it comes during its second verse. Dezarie ABSOLUTELY LOSES IT! She goes somewhere else. She leaves the studio both (or wherever she recorded and goes somewhere else) ["Basement of the basement - relocate"]. Thankfully we're there to hear it and she SCORCHES 'Rise Higher'. Afterwards, the song catches up to here and ascends as well with a slightly more open sound that she continues to disturb. Entirely, 'Rise Higher' is this beautiful, almost Persian sounding offering and, strictly from a sonic point of view, is not to be missed. When you add the drama that unfolds atop it, you get something pretty damn special! The duty of maintaining the high opening of "Power Drift" falls to 'Run Dem' and... if you want to call it even stronger than the first pair of songs, you go right ahead. You won't get much of a fight out of me as Dezarie IMMEDIATELY comes out torching everything within her reach specifically those who keep one foot in the church, while the other is.... somewhere else. 

"You a dirt, a inequity worker

AT NIGHT, HOW YOU SLEEP ON YUH SERTA?

Cah you hurt young boys, never nurture

Preacher impose indecent exposure

You inviting di devil make a churcha-

To increase yuh membas and yuh stacha [stature]

You got di sheep caught up inna yuh rapcha-

Of lost, predatory nacha

DISGUST, monster behaviour

How you coveting di wife of yuh neighbour

You don't practice what you preaching neither"

"Man a condemn a faker

All-star perpetuator

Disaster leech, dem a preacher

Inferior preach be like Issa

Ministers being sinister

Reverend reverence di dollar

Di shops be shopping for power

MELCHEZIDEK ORDER, WI RATHER

Superior age and ulterior

THE MOST HIGH IN OUR INTERIOR"

The song instantly reminded of both Jah9's vicious 'Preacher Man' and 'Inna Dem Purse' by Reemah (Reemah is a damn genius. I just listened to that song for the first time in awhile... PROBLEMS!) and it is on the level of both as Dezarie continues her EXHAUSTING start to "Power Shift". I've got bad news for you if you were hoping for a rest with the next tune, 'With The Enemy', as it offers no such respite. Apparently we are undeserving of a breather. Were "Power Shift" a movie (there is no way there isn't a movie with that title), 'With The Enemy' would be one of its action scenes. From the second it drops in, it provides an urgent feeling as well as one that sounds very important. You might get a little nervous as the beginning of this one! In this fight for power, unfortunately, we have certain ones who will cross from side-to-side and they've grabbed Dezarie's attention and she is not letting them off easy ["HUGGING, SNUGGLING WID NEGATIVITY. HOLD HANDS AND CARESS WID CALAMITY"]. I don't want to start transcribing lyrics on every single song on "Power Shift" but, TRUST ME, when I say that you REALLY NEED to pay attention to what Dezarie does with this song, lyrically. Doing so offers the listener one of the greatest rewards available on this album. BOOM! I've previously alluded to 'Petty' as it was the song that I heard before even knowing that Dezarie had, yet another, new album forthcoming. I also called it "odd" as it just so happens to be a combination and.... Dezarie just doesn't do too many of those. In fact, I'm sure I'm missing SOMETHING but 'Petty' may just be the very first combination that she's done on an album, altogether! The song features her working alongside big Trini star, Kushite (and there's another "Trini star" that, someday, I would LOVE Dezarie to make a song with) (biggup Queen Omega, of course) and I was very curious as to how it would all turn out. SURPRISINGLY (not at all), it works very well. If you took Kushite off of 'Petty' and just kept Dezarie's portions (which is almost all of it anyway), you'd have a STUNNING tune. 'Petty' is really nice. However, with her kind of delightful ruggedness, Kushite adds another texture to it and takes it from this kind of airy vibes and gives it an edge that the subject matter would deem most appropriate. I'm not surprised it was chosen as a single, it is attractive on paper but the actual song also stands amongst the album's finest. If 'Petty' is the very first combination to appear on one of Dezarie's albums, #2 is also on "Power Shift" as the Cruzan empress also links with another VI standout, Tizzlah, on 'Hater'. Like Kushite, Tizzlah is also slightly more on the aggressive side which makes for a nice contrast with Dezarie who, again, varies her work on 'Hater'. The two enjoy more interaction than on 'Petty', directly marking their sound differences as, just as Midnite helped Dezarie along her way, she returns the favour, to Tizzlah, introducing him, SURELY, to his biggest listening audience via appearing on this album. 

I usually save this for just ahead of closing but I'll take care of it right now. "Power Shift" is twelve tracks long, spanning across fifty-two minutes. By my [surely incorrect] math, that means the average song length is A LOVELY four minutes and twenty seconds. There is a six minute + long piece which makes up for the difference made by the TIMELY 'Leave In A Rush'. If your actions are not positive and if you intents are not righteous, Dezarie has no time for you at all (SHE CANNOT SPARE THREE MINUTES FOR YOU!), so the fact that 'Leave In A Rush' is so brief, is perfect for it ["Shoo! Shoo, fly, don't bodda wi"]. Check 'Won't Kill Joy' with its fun and inviting sound (almost here like... a mix of old school soul music and maybe a Spanish guitar??).

"Cool, calm, collected, keeping an upful perspective

Foes ah come round like detective

Mind people prerogative, meditate

WOLF AN SNAKE UNIT WILL BE SOLO

WHEREVER THEY GO, WE'RE A NO-SHOW

Dem frequency low" 

I woke up in a good mood today. Therefore, I don't give a damn how negative you are or how much you try to bring me down, you're not doing it! And you know what? You're not doing it tomorrow either! 'Won't Kill My Joy' has a very practical point to it. I think everyone knows a really negative person or two who never has anything nice to say and just carry bad vibes, in general, most times. There is a MUTE button for people like this and Dezarie wants us all to attempt to use it just a bit more. On the other side of that, maybe YOU ARE THAT PERSON. I can't imagine such an individual would be interested in reading so much of a review like this one but, in case you are that one, you are not dead and gone. You have time to change your ways. Listen to "Power Shift" - maybe it'll cheer your ass up. 

I do want to skip ahead to the album's closer, 'ToGether' because it's very interesting and I've spent quite a bit of time listening to it. What you'll notice about it first is that it's a song on which Dezarie employs her BEAUTIFUL singing voice almost exclusively. She uses that sweet (and maybe somewhat underused) voice to push a unity anthem which is anchored in love. Yes. I made it sound it not so good but 'ToGether' is much better than my descriptors here are ["They don't want me to love you. They don't want you to love me"]. The vibes are nice and serene and it is a lovely way to end matters on "Power Shift". The penultimate effort, 'No Love' is even better than the song behind it. It's also what I was previously alluding to when I mentioned that this album carried a song over six minutes long and the anti-war set makes proper usage of every single second. You  get a standard song in the first four minutes or so and then the final third of 'No More' becomes a lovely display of pretty much everything including, most notably, a speech from Dezarie before things wrap up in an instrumental style. Prior to that, she does everything you might expect on such a song but what really stands out here is just how SPECIFIC 'No More' is at times. She names names! She hits places and situations ["Police vicious when dun gun down protesters. Brutal against melanite dem pull over"]. Anywhere you may be promoting war in the world -- currently or historically - Dezarie has something to get off her chest regarding your nastiness.

Finally, Dezarie serves up a cleansing fire with a couple or literal burners, 'Playing With Fyah' and 'Fiery'. While the latter is probably the slight stronger of the two, 'Playing With Fyah' is really strong as well. The tune is a call to caution and safety when dealing matters of SUPREME importance. In typical Dezarie fashion, the way we arrive at that point is nowhere near a typical road. This drive has many twists and turns in it and we must know our limits within it ["Some Judas calling demself Judah. Chamelon calling demself Lion, dem lyah"]. For its part, 'Fiery' is pretty much flawless  from beginning to end. 

"Some ah tek bribe to bring bad vibe

Fulltime being found to fault

Yuh money to man-ipulate man mind

And success will regress lives"

A GOLDEN musical display (there should be a teeny-tiny paragraph beneath this one getting into that a little more), 'Fiery', again, is quite detailed as it deals with negative things people do to put food on their table. Some of it just ain't worth it and but listening through "Power Shift" is WELL WORTH your time.

Full, beautiful credits to ZionLab. with the work they do here, musically. I'm going to make a larger statement about the entire album in closing but, just in terms of the riddim tracks on this album, "Power Shift" is EASILY one of the best of its kind that I've heard this year. The players of instruments, whomever they may be, really provided Dezarie with a big platform for her work and she, in turn, provided them with a GEM! Also credit goes to the artiste who did the cover. I can guess who it may be but to him/her, WELL DONE! 

Overall, yes. "Power Shift" is excellent and I probably didn't need to listen to much of it to be able to say that with any confidence at all. I cannot imagine that this sudden explosion of prolificacy by Dezarie will continue but we're REALLY enjoying it while it lasts (that's NINETEEN new Dezarie songs in one year!) (WHAT!) (oh and by "in one year", I mean like five weeks). I will say that I think it's a bit more OPEN than some of her other releases. Not that the music leaps much outside of the genre -- it does not -- but I think that music is SO good that if you are someone who hasn't typically found something in Dezarie's output that has been for you, this album is would be a great starting point in my opinion. For the rest of You: While you may have opened the door to the music of Dezarie initially at Midnite, FULL DECADES later and in broad daylight, she's now living in a mansion and still earning it. "Power Drift" is THE best album I've heard in 2026 so far. Period. 

Rated: 4.7/5

Goddess Frequency

2026