Not too long ago at all, we told you about the new EP release from Statian star, Ziggi Recado, "Elevation" from Oneness Records; a couple of months on, and he's already back at work with a brand new tune for his own label, Nayamari Music, 'Head Up'. Let me just say, first of all, that the riddim on this tune is ABSOLUTELY SUBLIME! THIS THING IS GOLD! A quick glance through the credits reveals a pair of familiar names which would well explain the quality of the musicianship here as both Jah David [Zion High Productions] & Tippy I [I Grade Records] are amongst the players of instruments behind 'Head Up' - giving it at least a baseline of expectations (and results). To his credit, Ziggi doesn't waste the moment and continues his winning run of form with another impressive track. This one speaking to keeping focused (and HAPPY) in the face of outside factors trying to steer your decision away.
"Caan mess wid mi mind, dem nuh able
Walk mi own road, mi nuh follow dem fable
Mi destiny set, it written pon di cable
Dem chat plenty but di works nuh stable"
Can't imagine it's happening this year (though I'd take it if it is) but HOPEFULLY 2027 brings us a new full project from Ziggi Recado as it appears he's hitting his stride once again.
"Brightside" by Ziggy Marley [Tuff Gong - 2026]
I've never been the biggest fan of legit Reggae star, Ziggy Marley, and his latest set, "Brightside", most certainly isn't going to change that. I did give it an honest shot but, unfortunately, "Brightside"appears to embody what I don't like about his work. There's a certain... Folk-ishness or Country-ishness about his sound that just doesn't vibe with me for some reason or another and I hear it (whatever IT may be) all over this one. That being said, I'd be pretty damn surprised if "Brightside" isn't nominated for a Grammy next year and it will be amongst the favourites to take home the trophy once again for Ziggy Marley (he'll probably win).
"Love And Energy" by Ky-Mani Marley [Konfrontation Muzik + DubShot Records]
I've also never been the biggest fan of Ziggy's brother, Ky-Mani, though he has made music over the years that I have enjoyed (namely an album from a century or two ago, "Many More Roads") (also had a song called 'Royal Vibes' that I really liked; think it was on the "Radio" album) and he's also back with a brand new album of his own for 2026, "Love And Energy". Though I'm not really a fan and SURELY because of its length, there're things that I've enjoyed on "Love And Energy" as opposed to "Brightside". Standouts include both the openers, the title track and 'New Creature', as well as 'One Family' and 'War Inna Babylon'. Ky-Mani calls in the heavy artillery as "L&A" features a helping hand by the likes of Anthony B, Gyptian, Sizzla Kalonji, Agent Sasco, Lutan Fyah and others. I'm not going to blow it up and say IT'S FANTASTIC [it's not] (I would've reviewed if it were) but I have had a little fun with "Love And Energy" and you'll probably like this one (another damn near lock of a Grammy nominee) more than I do.
Bomboclxxt Now Riddim [Misik Muzik - 2026]
I most certainly AM a fan of Suku from Ward 21 and his latest creation, the Bomboclxxt Now Riddim has not done a damn thing to dampen that... at least not as far as a creation. Strictly in terms of the actual riddim, itself - the Bomboclxxt Now is a winner. It is the aggressive, legit, hardcore Dancehall that you've come to expect from Suku after all of these years. What happens on it when turned over to even some very talented vocalists, however, is largely a different story. Most... MOST of the tunes on this riddim just don't work for me and, again, that isn't just from some random up and comer struggling in the moment (although there're a number of those as well). The likes of Spragga Benz, Delly Ranks, Lexxus, Kiprich, Craigy T, Bling Dawg and others all turn up with relatively flat performances across something that you would think would be right up their proverbial alleys.... but not everyone misses the mark.
Reigning supreme is Sean Paul with the sickening 'Steal Machine', also scoring well are both Wayne Wonder and Wayne Wonder's alter ego, Supriz (Supriz actually does a little better, in my opinion) as well as Jah Izrehl who absolutely scorches with the very clever 'Seh No'. The Bomboclxxt Now also has a version 2.0, featuring some (many... like 20 of them) of the lesser known artists on the riddim, as well as Digital Riley. Actually, though you may not know most (or any at all) of their names, 2.0 is better between the two. Here, Uncle Finch, Andre Blackx, Crazy G, I-Jah Yout, Cute Axe (who!), Kwanele and others still turn up with solid offerings.
"Higher Meditation" by Anthony B [Greensleeves Records - 2007]
Obviously I've found my way back to the [hard-to-believe] now NINTEEN YEARS OLD "Higher Meditation" via Anthony B's latest creation, the lovely "World Of Love". Regardless of the reason that brought me here... I'm here and "Higher Meditation" IS an excellent album, especially when you haven't heard it in awhile. The set was another product of a very powerful union between Anthony B and Frenchie & all of the fine people at Maximum Sound and was the direct descendant of the even stronger "Black History" album from a couple of years prior (before that was the SOLID "Powers Of Creation" project as well) ["Stand guard, nuh let dem hurt you!"]. These albums, in my opinion, are highlighted by HEAVY but INFECTIOUS Roots Reggae music (with a little Dancehall mixed in). It's the genuine article but it is very catchy and that's the signature Maximum Sound (if there exists such a thing) for me. That is exactly what "Higher Meditation" was. These days, a tune called 'Hold On', that I didn't remember AT ALL, is absolutely killing me ["Dutty babylon, mi nah need yuh ointment!"] along with the typical highlights, 'Just Can't Live That Way', the title track, 'One Chalice' ["ALL WHEN MI OLD AND GREY, MI STILL AH SMOKE THE HERBS EVERYDAY!"], 'Jahx5' (that song is literally called 'Jah, Jah, Jah, Jah, Jah') and of course its pair of combinations, 'Real Wariors' and 'Honour To Marcus', with Turbulence and Natty King, respectively. I'm presuming that ship has sailed but, DAMN wouldn't it be nice if Anthony B & Maximum Sound linked up again for another set!
The ages. The older I get, the more appreciative and respecting I become of the adage 'you don't know what you've got until it's gone'. Things change so often and so unendingly that it seems so many times that, once you've gotten used to something and maybe have started to enjoy it, that thing is gone, outdated and we've moved on to the next. Theoretically (and actually too since we can't do anything to stop it), this is just fine. Things should evolve and progress (or regress, depending on your point of view) in order to not stay stagnant and this couldn't be more apparent than when you apply it to music. Different generations of people produce different sounds. If you say it like that, it makes perfect sense and it kind of hobbles (even more) the old man on his soapbox talking about, 'well back in my day...', telling the youth how shit their vibe is. They should be different. They behave differently. They speak differently. They dress differently and they should enjoy and make a different type of sound. That being said, however, when you are on the end of things where you are supportive of the outgoing trend... well, it's kind of fucked up and I find myself there these days when it comes to Dancehall. I try only to lift up what it is that I miss instead of stepping on what I hear these days (out of fear of being that old man that I just talked about) (no one wants to be him) but damn do I miss 90's and 2000's Dancehall. There was a clear and obvious sound there which differentiated it from any other in the entire world, to the point where you could play a riddim behind an artist from another, from anywhere in the world and what they would come up with would be described as 'Dancehall infused' or 'Caribbean infused', something like that. You'll STILL hear that description, in fact, if it happens with an older riddim but, outside of that, you're normally only going to get that if you literally have a guesting artist from Reggae. In the current sense. It's gone... but, like I said, I'm not going to step on anyone in this review. The riddim 'culture', in general, is largely a thing of the past and I've heard several individuals lamenting the change over the years (biggup Red Rat). As far as the sound, what we have these days is far more akin to what you'd hear in Hip Hop circles (don't love Hip Hop, never will love it) and that infectious, hypnotic, thudding bounce that once characterized the entire sub-genre has become so frustratingly rare and difficult to find.
Once upon a time it was inescapable. Perhaps, a very easy way to quantify just how prevalent riddims were would be to look at one of the genre's most popular compilations ever, the once mighty Riddim Driven from VP Records. Way back in 2000, the series began with its very first edition, The Chiney Gal & Blazing, and would spend the next decade or so bringing together some of the Dancehall's and Reggae's biggest riddims before concluding in 2010 with The Classic. Coincidentally, at literally the exact same time, VP's biggest competitor at the time, Greensleeves Records, was busy with a series of their own, the Greensleeves Rhythm Album Series (original, I know). The difference between VP and Greensleeves, at least for me, was that Greensleeves would deal with a bit more in the way of... GRIMEY kind of Dancehall music and, right up until the near end of the series (which actually went Reggae), I found myself rarely surprised by which riddims would end up on the GRS and it definitely had something to do with how the pace was initially set and by whom... with what.
Ward 21 & Greensleeves
The very first installment of the Greensleeves Rhythm Album series would also arrive in 2000 and it would go on to do some serious damage of its own and also showcase the prodigious behind-the-scenes talents of its creator. I don't even know what's the very first thing that comes to the minds of most fans when they hear the name Ward 21 these days but I'll tell you what I'm thinking about when they come up: DANCEHALL. Even all of these years later, the Ward's Andre 'Suku' Gray remains one of the very few maestros on whom you could fully depend on to deliver genuine Dancehall music, via his Misik Muzik label. Way back in da day, the Ward was working on making their name and building their reputation in doing a lot of work for the immortal King Jammy and, of that early union, was born a legend (probably more than one if you really think about it, but one in particular), the indomitable Bellyas Riddim. Within the conversation of the single greatest riddim of all time, in my opinion, the Bellyas has a seat at the table. It's in there somewhere and with good reason. The Bellyas is dark. It's heavy. It's THICK. It's a lot to deal with and it especially promotes SKILL. It isn't the easiest riddim to dig into and deal with, which is always a great quality because you can literally hear certain artists struggling to find a melody in their delivery against others who do so effortlessly. It also helps when you manage to pull in what is undeniably one of the GREATEST DANCEHALL SONGS OF ALL TIME from one of its most gifted of champions on your riddim as well. Looking back, though the Bellyas has gone into a catalogue full of damaging creations from the Ward (alongside others from the time such as the Bada Bada, the Volume, the Da Joint ["It no matter if you have yuh friend dem fi defend you. From you dis The King, dat mean a hell man ahgo send you"] (biggup Determine), the ALL CONQUERING Trilogy and a few others), it probably stands out as THE best track they've done to date still (though the Trilogy does run it very close). Ward 21's catalogue represents a bit of a golden era for Dancehall music for me. Their work, at their most active and best, was downright thrilling, looking back and I MISS IT! At the time, of course, you think it's going to go on forever but now you realize how venomously BRIEF it really was. Most fortunately, there's nothing at all that says we can't go back and relive just how DAMN NICE it was. Let's talk about it.
There was a time when I can recall being downright frustrated at just how often or in-often Greensleeves would actually release albums by artists. In comparison to feeding their riddim series, for several years in there, it was a rare occurrence at times. Ward 21 was a favourite of theirs also. The group would supply the label with three of the first five tracks from its rhythm album series (and, subsequently, go on to release their first two albums there as well in 2001 and 2003, respectively) (both of those albums, "Mentally Disturbed" & "U Know How We Roll" have aged excellently, btw). That includes the very first edition of Greensleeves Rhythm Album series, the Bellyas, which gets going with what is, CLEARLY, its greatest moment 'Who Dem' by Capleton. I'd likely go as far as to make the claim that 'Who Dem' ranks as one of the finest modern Dancehall tracks EVER and it's the best song the Bellyas backs, as it was also the best on Capleton's opus, "More Fire" (...and probably any other album that you'll find it on as well); but you knew all of that already. The unfortunate task of following 'Who Dem' FORTUNATELY fell into the most capable hands on the Bellyas, the Ward themselves, who check in with the first of a pair of offerings, 'Model and Pose'. Though the lesser of their two, 'Model and Pose' is still a pretty good time albeit one which strives and almost revels in how basic it is (especially for a W21 tune). Later, the Ward returns with the stronger and significant (in an entirely ridiculous kind of way) 'Blood Stain'. While 'Who Dem' is THE best song on this riddim, 'Blood Stain' holds a serious claim to being #2. This song is madness and it wholly exemplifies what Ward 21 does when at their best: Along with allowing Suku, the "Deep Voice God", to do what he does, the others create chaos around him but it's still fairly centered. I think it says much that, between 'Model and Pose' and 'Blood Stain', only one of them was featured on the Ward's subsequent album, "Mentally Disturbed", and 'Blood Stain' was the one chosen. Although cringy (with all that damn moaning), Mr. Vegas''Two Minutes More' actually proves to be relatively solid, in retrospect. It makes its way based largely on being pretty clever, lyrically, and Vegas also sustains well (there's a term here that is popular, "flow", I kinda hate that word but that's what I mean by "sustains"). I wasn't much of a Vegas fan at the time (am moreso now but still not a HUGE fan) but credit goes where it is deserved. Speaking of sustaining, Beenie Man provides a heavy dosage (biggup the doctor) of sustenance all over his cut of the Bellyas Riddim, 'Skettel Tune', which features the handiwork of Angel Doolas as well. I hate to say it but in the name of transparency (whatever the hell that is), I've always felt that 'Skettel Tune' would have been better if it were sans Doolas. Typically, I think his presence is well welcomed but not this time. His offerings are kind of awkward while Beenie damn near shines. Moses completely sparkles the next time we hear from him on the Bellyas with another track that could very well be #2 and is, AT LEAST, its second most recognizable selection, the brilliant 'Heights of Great Men'. You listen back to it now and it kind of represents a brief golden era in Dancehall when giants Beenie Man and the aforementioned Capleton were having a bit of a spat and 'Heights of Great Men' was a large part of Beenie's public offense on the subject ["So tell mi how di hell you go sign to Def Jam"]. Chasing the album's first combination, 'Skettel Tune', is its second, this time featuring a triumvirate of Dancehall regulars from the era: Elephant Man, Lexxus & Kiprich; who team up on 'Ghetto Youths'. None of the three offer what I consider to be their absolute best effort but, at the same time, none of them necessarily struggle either. 'Ghetto Youths' was, ultimately, an OKAY tune and it still is but its most remarkable (at least to my ears and maybe only mine) is that it appears to receive an ever so slightly more enthused version of the Bellyas than pretty much everyone else. Lexxus also gets another run out on the Bellyas (yes, I'm about to end this big ass paragraph) with his second piece, 'Halla Halla'. Again, there isn't much to see on this one. While I won't call it annoying and it does have its moments, 'Halla Halla' wasn't a standout in its day and it doesn't carry much weight in 2026 either. Fuck it, I'll mention 'Naah Go Switch' here as well, Kippo's solo track. This tune goes unexpectedly hard for what you may've been expecting. It's full pre-warbot Kiprich and it's fun but it isn't stellar in any way. Kiprich would later show his class on such songs but 'Naah Go Switch' wasn't quite there (this is probably THE longest paragraph I have ever written).
The Bellyas also featured the infamous 'Skin-A-Slap' by Red Rat. I don't know if I ever had a great emotion (of any kind) towards this one but, all of these years later, I can recognize only the positives. 'Skin-A-Slap' is absolutely hilarious:
"....my yute, yuh cellie
'Tell dem fi call back'
But my yute, a Kelly
Mi nah tell her nothin, better you come tell it
MI NAH KNOW HOW YOU AH SHH... SO LONG AND MI NAH SMELL IT"
I can remember quite a few people (I think even Beenie Man) having a problem with 'Skin-A-Slap' and although I can see the (hear) (not SEE) (thankfully)(...no one wants that) the source of the controversy, the song featured the underrated (including by me) rodent on a creative and entertaining pillar. I was never the biggest fan of Red Rat's and I was even less of a fan of Alozade back in da day (there were a few of them back then who just never did much for me and he was one of them) (Buccaneer was another one) and it was kind of sweeping, for the most part. I can't name a single one of his songs that I even sort of enjoy and his cut of the Bellyas, 'Prowler' most definitely isn't the exception. I won't dwell on it for long but the chorus on 'Prowler' is... challenging, there's way too much of it and I'll leave that there. A contemporary of the Rat and Alozade's challenges W21's "Blood Stain' for the champion of the second quarter of the Bellyas Riddim album as Spragga Benz delivers the absolutely blistering 'Praise'. Spragga dazzles on the Bellyas in a way in which is a little deceptive (and I mean that in a positive way). He meets the aggressive track in a way that sounds as forceful but it isn't. This is a masterful matador with a bull and, easily, one of the most skillful displays on the whole of the Bellyas (arguably, THE most) (not the BEST song but the most adroit). Someone else who definitely hits the target is the Ancient Monarchy, Frisco Kid, who checks in with 'Wash Pan'. Although kind of funny at times, the women-empowering cut is a strong display of one of the more overlooked and undervalued talents of the times (I have a very healthy appreciation for what Frisco Kid was able to do with his career these days and he's still out there). Madd Anju may not necessarily appeal to everyone (no one does though) but I've always appreciated his skills and the characteristic 'Dat Nuh Mek It' didn't detract from that appreciation at all. Generally, there's a comedic value to his work and that's found all over this one:
"Gal weh have baby like puppy
DAT NUH MEK IT
Big big man weh fraida duppy
DAT NUH MEK IT
Man weh have stinkin foot
DAT NUH MEK IT
Gal weh too hype and can't cook
DAT NUH MEK IT"
For me, as I've said in the past, Anju is one of the most inventive artists the Dancehall has ever produced and, when he's anywhere near his best, it is a FULL JOY to listen to his work. I also have to mention Mega Banton, who I'm also a fairly big fan of, who went in a controversial direction with his tune, 'Tight Pants'. Songs like this one have an obvious baggage to them these days but I have a very large level of respect for for Mega's talent but if you don't, I do understand why (...if this is the only tune you've ever heard from him and ONLY if this is the only tune you've ever heard from him) (otherwise, you have no excuse at all). Goofy (Mr. G) (I think either name is fine with him these days) does just fine with his piece on the riddim, 'Naah Heng Out'. Goofy (like Red Rat) was a member of the once mighty Main Street crew, helmed by Danny Browne (the most talented of which was General Degree) and he had some very nice songs. 'Naah Heng Out', which cleverly combines more typical/terrestrial Dancehall topics with more substantial ideology (primarily being anti-abuse of women) would have definitely been on the higher end of Goofy's releases in my opinion. You'll find a slightly stronger tune featuring the two on the aforementioned Badda Badda riddim (and they've also had another one since these two) but 'Live Up' is another very high level selection linking together Bushman & I Lue. Their other track, 'Send Dem Come' is a near personal classic for me but 'Live Up' holds its own and interjecting a well received bit of excellent consciousness into the madness here. In retrospect, I'm actually kind of surprised that things didn't turn out better for I Lue. He is incredibly gifted (and still out there, just had at least one big new single a couple of years ago, 'Love Rastafari') and though the stars never seemed to quite align for him to reach a level of stardom, his catalogue is well worth going through, even today (also had a big tune on one of my favourite compilations ever, "Culture Dem", called 'The Sabbath').
The remaining trio of selections on the Bellyas are by veterans and name from the era who I don't feel really hit the mark with their selections. The bottom of them is likely 'Tight It Tight' from Jack-a-Diamond. This one is about exactly what you think it's about and it just isn't very good and it's non-imaginative. J-a-D is someone else who I never really caught on to but I have seen a number of interviews with him and find him to be a very impressive human being, for whatever that's worth... in a music review. Slightly ahead of 'Tight It Tight' would be 'Mix Up Time' by Hawkeye. I was never a fan of Hawkeye's either (he had a tune called 'Twingy Twang' which had a pretty good run. I fucking HATED that song) (and I just listened to it and I STILL FUCKING HATE IT) for some reason and this tune, at least for me, never really got off the ground. And lastly, 'Wi Like It' also didn't do much for me but neither did its creators, Tanto Metro & Devonte. The derivative (of a song from the 1980's by the name of 'Tom's Diner', by American singer, Suzanne Vega) chorus of 'Wi Like It' is painful. It is tough to get through and it comes off as a really cheap way of trying to find a melody on the Bellyas and it did not work at all for me (though the rest of the tune isn't anything special, it's far better than its chorus).
The very fact that the Bellyas album (like most of the Greensleeves Rhythm Series albums) even existed in the way that it did is a rather large statement on the state of those times. It was too damn long. It just was. Checking in at north of seventy minutes, spread over twenty tracks, you got ALL of the Bellyas that you wanted and so much more. The very fact that they did this at a super-consistent rate FOR YEARS (which, obviously, means that they were happy with the revenue that they were receiving from them) definitely speaks to the strength of an unfortunately long gone time in Dancehall music. And I also have to mention that Bounty Killer NOT being present on this track is one of the most regrettable situations of particular artist missing particular riddim that I can think of (Lady Saw, Ce'cile or Tanya Stephens would have been nice as well)... and there not being a clean version of the riddim included is also kinda criminal (thankfully, however, the internet masters have remedied that).
Overall, no, the Bellyas Riddim ALBUM wasn't the greatest riddim album from Greensleeves (if you're looking for the pinnacle of the series, check the later editions, which would go Roots and tracks such as the Diwali and the Masterpiece, from Lenky, where the riddim changed many times over the course of the overstuffed album) but.... DAMN, WASN'T IT SO MUCH FUN! It still is and, listening back to it now, it has not only a nostalgic appeal to me but also one which (almost certainly because of its rarity these days) almost sounds revolutionary. It sounds like something that could set a trend. That is a credit to the riddim's creator, Ward 21 and the lasting quality of their work. Now, when you place it in the context of, again, an album that is... admittedly downright exhausting at times what you ultimately end up with in the Bellyas Riddim album a quarter of a century later is a celebration of a classic and absolute juggernaut of a track. One of the best Dancehall riddims of all time.
The Africa Movement Riddim [Conquering Lion Records - 2026]
1. 'Faith' by Quan Nelson 2. 'Hail Adonai' by Jelliss 3. 'Guidance' by T'Jean 4. 'Wisdom Over Hype' by Dahvid Slur 5. 'Amharic Verse' by Daweh Congo 6. Africa Movement Ridim
Okay so, I had mentioned this one (sorta/kinda) in a review that I did a week or two ago because I'd had my eyes and ears on it already for a few minutes ahead of its release but the Africa Movement Riddim from Jallanzo The Dubwizard and Conquering Lion Records has now been released and it is thriving mightily at least on one front (but more like a couple, actually). While all of the tunes are at least solid, there're a couple of standouts that I think you should REALLY be paying attention to.
"Propaganda dem ah spread but it can't change di facts-
That the first man and women dem was one wid locks
A di same bloodline run deep in us
Melanin inna mi skin like a burning pot
Wid hair like wool and foot like burning brass
Everybody haffi hail The Negus Negast"
The first of them is definitely the mighty 'Hail Adonai' by Jelliss. Jelliss has been coming on over the past couple of years or so (downright EPIC love/ganja tune he had, 'Medication') but he also had a few big tunes that I've run into throughout the years, particularly one called 'Back To Reality' (which sounded like something from out of the ZIK catalogue) that well caught my attention, so I am aware that he possesses a certain level of ability. Were I not aware, however, 'Hail Adonai' would have certainly remedied that.
"WICKED SHALL BLOW AWAY, JUST LIKE A TRASH"
The other song here that you'll be doing yourself a favour by donating a whole heap of time to is the ABSOLUTELY MAMMOTH 'Amharic Verse' by Daweh Congo, the single best tune on the Africa Movement Riddim and... probably one of the best songs that I've heard in a minute (I seriously have difficulty NOT playing this record).
Also appearing on the riddim are Quan Nelson & Dahvid Slur, with tunes that are at least decent, like I said, with the latter, with 'Wisdom Over Hype', being quite strong, actually (Slur sounds a bit like Chronixx at times). The talented T'Jean also checks in with 'Guidance', which is also good but is a delightful listen. As I song, I wouldn't place it ahead of 'Wisdom Over Hype' but for pure sonic appeal, 'Guidance' is lovely. And you also get a LOVELY clean version of the riddim itself with a bit of effects added in, making for an almost Dub-like experience. Golden.
Be sure to check out the brand new and GORGEOUS Africa Movement Riddim because it isn't like you have anything better to do.
Vintage. Something felt REALLY good and REALLY familiar about this one. Twenty years or so ago, I would have never thought that, in 2025, Reggae/Dancehall music would look and sound like it does today. I would have been downright shocked if I could have had a glimpse of what was to come and that is in no way a critique (my personal opinions being what they are, I still spend a great amount of time enjoying good, NEW music) but I would have been shocked. One aspect, in particular, that has seemed to have declined to some degree -- and maybe not in terms of practice, overall, but definitely as far as how respected it has become on the highest scale -- is that truly BIG riddim. Music will never stop producing stars and generating popularity in that way and it will (HOPEFULLY) never stop producing hit songs but something that Reggae had going for itself, and itself alone basically, was the times when that big and all-conquering riddim would drop and go on to support multiple hits and big songs from a variety of different artists. It may even serve as an introduction to new names who will stick with fans for years to come or maybe just come across with a single hit from an unexpected light but... damn, was it fun! Furthermore (and why we're here today), some of those riddims (not all of them) would go on to work very well in an album form, particularly on the Roots side (I've never been the biggest fan of mixes but if you get the right Dancehall track and just put neverending tune after tune on it, it is spectacular) (biggup Spectacular). Surely, you'll recall a few years when the reigning biggest album-releasing labels of Reggae & Dancehall music both maintained 'dueling' (not really) riddim album series, VP Records & Greensleeves. Of course, you remember Riddim Driven. I bring them up not just for the obvious but when I saw and initially got a listen to the project we're taking a look at today, it brought my mind back to something very brief and even more specific (...and random as hell). In the midst (or maybe slightly after, I don't feel like looking it up) of Greensleeves' Rhythm Album Series, the label would break form and, very surprisingly, release an album for the Triumphant Riddim. It was no shock that they (or VP, or anyone from the time) would have been interested in the track as it was not only beautiful but the Flava McGregor produced piece carried a pair of solid hits in Gyptian's 'Mama' and 'Trodding' by Natty King, as well as efforts from the likes of Luciano, Chezidek, Ras Shiloh, Lutan Fyah, Anthony B, Norris Man & Natural Black (on the same song), Turbulence, Fantan Mojah, Perfect Giddimani.... I mean.... it was absolutely LOADED!
When I saw & heard the Pon Di Island Riddim and saw that it had been headed to album form, I got all nostalgic! I was thinking that if, by some chance, Riddim Driven was still active and VP didn't pick it up (and they would have), Greensleeves would have likely turned it into one of those COOL projects like they did with Triumphant Riddim. On the surface, it was loaded with big/good names (although not to the degree as the Triumphant), it was excellent, had some IMMEDIATELY interesting firepower (more on that in a second) and it just has that same vibe surrounding it like some of the big projects that I remember from years ago and it feels good! The Pon Di Island Riddim also comes to fruition via some very nice (and marketable set of circumstances) which would have, again, gone on to make it of presumptive potential interest of big labels, back in da' day.
2021
In 2023 a bit of common sense made it into play as "The Kalling" would take Reggae Grammy honours. It's rare that a set lauded by so many fans of the genre actually does such a thing as the award is, typically, seen as a popularity contest/Marley Invitational. The moment would take the album's BRILLIANT star, Kabaka Pyramid, to new heights and help to bring his considerable lyrical talents to the forefronts; beyond the attentions of Reggae faithfuls. "The Kalling" was masterminded by the equally sagacious Damian Marley for his family's Ghetto Youths International imprint, alongside the Pyramid's own Bebble Rock Music. Previously, BRM had worked on several projects, including Kabaka Pyramid's debut album, 2018's "Kontraband" and the EP which preceded it, "Lead The Way" (incidentally, there was also a deluxe version of "Lead The Way", which contained thirteen tracks making it, TECHNICALLY, his debut album, in my opinion). Arguably even more interesting for us today is 2021's release of The Victory Rock Riddim. Just like what I'm about to tell you about, the Victory Rock was GOLDEN and was placed into the more than capable hands of vocalists such as Christopher Martin, Gentleman, Bugle, Romain Virgo, an all-conquering Alaine with the riddim's title effort and others. Given its history, no one should be surprised that Kabaka Pyramid and co. at Bebble Rock Music are back with one of the best produced and situated riddims and subsequent riddim albums of the first half of 2025. If you are familiar with the Victory Rock Riddim, the fact that I hesitate in saying which of the two is the strongest should tell you all you need to know in regard to its quality. The Pon Di Island is chilled to a near perfection with a subtle guitar (I think that's a guitar) and GORGEOUS piano being amongst the standout detailed sounds and a more prevalent horn dominating. While it doesn't change for individual artists (Lenky used to do that, it was special and led to some of his pieces being some of the greatest Dancehall riddim compilations ever in my opinion), all of those different colours and textures, given to different vocalists, make for an incredibly varied experience and, by its end, the Pon Di Island proved to be every bit of the class presentation that I felt it would be, going in. Let's talk about it!
Although it definitely does have a solid number of the bigger names, as I mentioned, the Pon Di Riddim isn't quite as loaded as you might expect. However, what it does lack in supremely massive names on paper is that it sets and maintains a very high level initially from which it rarely ever (if ever at all) dips. Also, specifically concerning the artists here, I found the MIXTURE of talents to be damn interesting. Yes. I am a nerd about such things, but it's damn hard for me to imagine anyone with any type of interest in what's going on here coming away disappointed to any degree. Getting the Pon Di Island Riddim from Bebble Rock Music started is Yaksta who supplies the riddim with its title track. 'Pon Di Island' shouldn't come as a surprise to anyone as far as its direction but what is a very nice eye-opener (ear-opener??) is the vibe of this one. It comes off as a very laidback type of theme but there is a certain STERNNESS behind it, making for an experience much more than just... laying around, enjoying the sun but that element does exist and is celebrated. I don't know if I've ever actually written about Yaksta's work, but he is a well talented individual and someone to keep an eye on, providing a definite highlight on the Pon Di Island Riddim. Next up, lives are endangered and stuff is broken and blown as, RIDICULOUSLY, legendary fireman, Capleton is paired with Cruzan blowtorch, Pressure Busspipe on 'Gunman Town', the single strongest tune here, to the surprise of absolutely no one.
"Gunman town inna gunman town
Gunman town inna gunman town
Inna graveyard every gunman found
This is the problem wi face as minorities
Ghetto youth nuh have no food and don't get no surety
Nuff seh dem are your friend but dem no know what is loyalty
Bwoy seh dem a gangsta and dem don't got no lawyer fee
WAIT!
Don't be a fool to what di system create
Give up your life so easy and go take di bait
He who fights and run away, lives to fight another day
LOOK IN AND LOOK OUT!
Be careful when they step and put a foot out
Gun clown, gun rookie - dem dun rook out
LIKE DEM FORGET SEH THAT THE GRAVEYARD BOOK OUT
CAAN BELIEVE DEM OWNA FRIEND - DEM DID TOOK OUT
Seh dat him have something weh tall weh chop di bush out
Inna gunman town, nuff a dem get push out
Dem seh dem cold and start di vibes and now di whole a dem goose get cook out!"
BOOM! The tune is a HEAVY anti-violence set that gets brilliantly specific, grinding the subject down to a powdery-like substance. Capleton's older now. He's nearing sixty years old. You cannot tell me, lyrically, that man has lost a step - one of the sharpest minds in the history of Reggae and he and Pressure sets this riddim on fire with one of the strongest selections of the year. Unlike on the Victory Rock, if I recall correctly, Kabaka Pyramid does take on his own creation, with the typically genius 'Jamaica'. This one is all about having pride in being where you are from and, in the case of the Pyramid, he just happens to be from the sweetest place on the planet.
"Mi fly around
Go whole heap a town
Collect nuff euro & pound
But dem no nice like Jamaica
Nowhere no home like Jamaica
Been all round di world
Seen whole heap a girl
Ah wear nuff diamond & pearl
But dem no nice like Jamaica
Nowhere no sweet like Jamaica
A what a likkle Island nice!
From di beaches, to di rivers, to di island spice
From wi likkle but wi tallawah
Leader, wi no follower
And every Yard woman no fi whine pon time
Just a dat pon di map still, regardless
Weh you know bout Nanny and di one Marcus Garvey?
World class coffee and cocoa dem call chocolate
AND FRESH JELLY WATA FI WASH OFF MI HEART WITH
Jah know mi love buy mi Clarks dung a Brixton
And mi will travel, go a Brooklyn inna instant
Mi juss shell a one show ova Lisbon
But nuttin no nice like a dance inna Kingston
Uptown man deh so Weddy Weddy now
Boom Sundays ah gwan, so wi heading out
Every night bout three dance ah keep
AND DI DANCEFLOOR MI SPOT ALL MATTRESS AND SHEET
The birthplace of Rastafari
Ah wi seh 'look to the east'
Wi gi yuh Bob Marley, Usain Bolt, Shelly-Ann and all now nobody can compete
Mi have whole heap a mango tree so mi no buy a supermarket
Trailerload a ackee so just forward wid yuh basket
Real Jamaican, yuh know wi caan stop
From wi have pure breadfruit and plantain, lawd!"
YES! I felt compelled to write all the lyrics down from the tune (because why not!). Kabaka Pyramid, in my opinion, is one of the very few people who has a case for being THE single greatest lyricist in Reggae today and he consistently proves it to devastating effect. 'Jamaica', easily, goes down as one of his finest builds in recent years. And if you love great writers, immediately following him (and Capleton & Pressure) is longtime favourite of ours, Lutan Fyah (probably going to write out a chunk of this one as well, then I'll give it a rest) (not saying there won't be anymore in this review --THERE MOST CERTAINLY WILL BE-- just not for a minute), also takes on the Pon Di Island Riddim on a vibe we know absolutely nothing about 'round these parts, 'Common Sense'.
"Mi no graduate from Yale
A common sense
Mi no believe inna no fairy tale
A common sense
Mi never come first in class
Mi took di test and pass
Mi no run dead last
None a dem coulda neva si mi fail
A common sense, just common sense
Mi no deaf, mi no dumb
Mi know mi language and mi psalms
I'm not a calculator, so dem caan shut mi dung
Alla now mi wise and mi did smart from mi young
They looking down at us, now si what wi become
I took a shot from the free-throw line
Things are stepping up, I'm certain, one day I must rise
WEH MI DO BEHIND CURTAIN MI LIVE IT OUTRIGHT
MY KNOWLEDGE COMES FROM THE MOST HIGH"
There is more than one way to come across knowledge is the sentiment behind this one and Lutan Fyah, I would guess, is someone who, though he may or may not have the scholastic accolades to show for it, has spent a considerable amount of time studying both the book and that type of knowledge that only comes with living and learning from life experiences. 'Common Sense' is MAMMOTH and it speaks to the quality of this entire project that it only barely manages to crack its top five efforts.
Dre Island comes through with the very entertaining and Jr. Gong-esque 'Cold World'. I've always thought that the Island to be reminiscent of Damian Marley and, if you haven't, I'd definitely recommend you take a listen to 'Cold World' (...even if you have, still hear this song); that being said and regardless of its stylistic inspirations, Dre Island absolutely DAZZLES here ["HOW YOU FI TELL MAN BOUT PEACE WHEN A YOU AH MEK WAR? TELL YOUTHS BOUT HEAL, BUT YOU NEVER GET SCARRED?"] as he asks the world for just a little compassion and understanding for others. I've never been the biggest Demarco fan, I never will be and his effort on the Pon Di Island, 'Don A Yard' does not rank anywhere near my favourites on the riddim.... but it isn't bad at all! This one doesn't hit in the way that relatively similarly vibed present pieces like Kabaka's 'Jamaica' or the title track do but that does not mean that it is dull. 'Don A Yard' is a beautiful ode to the culture which gave birth to it and everything you're going to hear on this album. I'll also mention one of the two remaining combinations (trying to get most of the biggest names together, then we'll talk about the surprises), 'Real Vibez', which pairs Qraig [from] Voicemail and well grizzled big-voiced veteran, Singer J. Singer J (has a new album out this year, the Gospel vibed "Grateful". Qraig's on that album as well) has literally been making music for over thirty years and I don't think that we tend to properly acknowledge his contributions because they have been numerous. Let's start here! The two come together under the umbrella-ing idea of being aware of those who may come into your life with not the greatest of intents in their thoughts, while giving credit to people who're true to you. 'Real Vibez' is fairly direct, but it does a very nice FEEL to it, particularly at the chorus and it is well worth several spins.
Hopefully, you'll come away from the Pon Di Island Riddim with a few names that are either completely or relatively new to you and you'll be impressed enough to, perhaps, follow their work going forward. Such a candidate might be bouncing Spaniard, Irie Souljah, who does reach amongst the highest of heights here with 'Bout Ya'. Call it INFECTIOUS, 'Bout Ya' (and 'Common Sense' would be another one), is the type of song that forces this riddim to 'change'. Whether it does, actually, or not is not even important but with his delivery and the backing singers and everything going on here, it sounds like such a different and CAPTIVATING display from every other song. I'm dying to write lyrics here but I will refrain and, instead, tell you to really focus on what Irie Souljah says because you'll miss a few GEMS if you do not ["Mi and mi empress take a ride up on di hill and ah talk bout di one bad house wi waan fi build"]. Impressed? If so, you can check "World Citizen", the new album from Irie Souljah (which does feature 'Bout Yah'), when it releases on the 1st of August, 2025. Maybe (you're crazy as hell) Irie Souljah doesn't do it for you. If so, check the burgeoning Jah Lil with the, arguably, even stronger pure social commentary 'Hold Corner'. Lil is a multia-talented/faceted artist and you will encounter it all on vibrant display on this tune which is an examination of ghetto life in its most basic sense. It also develops slightly around that with the suggestion that people who go through the struggle may come out stronger because of the tough experiences Jah Lil is the exact type of person I was thinking of that may earn quite a few fans from appearing on this type of project. There're many people who will hear him here for the first time and will remember the name. While Ras-I doesn't quite mine gold with his 'Do The Right', he does come close with the solid piece (which does take a step up during its latter stages as the chorus seems to intensify and the delightful backing singer/s take more of a presence. Check the final vocal track on the riddim, it's obligatory ganja number, 'Pon Plane', courtesy of Jah Izrehl (great name). This one does DAMAGE!
Izrehl has a very free-flowing and organic style. It seems like it comes so naturally to him (he does have a new album, "Kippy Fyah Red", which I have listened to. I cannot recommend it though, it isn't very good) but he doesn't run from STRUCTURE, which is kind of unusual (and I mean that in a good way). 'Pon Plane' IMMEDIATELY becomes one of my favourite songs ever from the Kingston native. I would have complained had 'This I Know' not been on the Pon Di Island, saying that the riddim lacked a significant female presence (more on that in just a second.... literally the next tune I tell you about) but not only is that NOT the case, Kabaka Pyramid tapped one of the greatest female voices going today, the outstanding Khalia. 'This I Know' is golden. It is a LOVELY song, centered around the idea of going through the trials and tribulations of life and coming out better for it on the other side (with a spiritual inclination, of course). Such pieces are in abundance but they rarely have the purely sonic appeal that 'This I Know' does. Khalia's isn't the only woman's voice you'll hear on this riddim as (along with backing singers), Iyansa brightens up 'Jah Sound' which features an ABSOLUTELY SCALDING Queen's son, Imeru Tafari.
"Rifle dem ah lock a town
Body drop a ground
Wonder why di father not around?
It's a shotta zone
Likkle juvie get a proper crown
Bodies scattered round
GWAN GO LOOK INNA YUHSELF AND TRY FI LISTEN JAH JAH SOUND
Rastaman is not a clown
Siddung pon a throne
Responsibility - dem heavy than a pound
Give thanks ah gimme everything a Jah alone
That's why a everywhere mi wave di banner proud
He that dweleth in the place of The Most High
Tell dutty babylon dem seh fi don't try
Abide under di shadow of The Almighty
The inner city, it so cold until it icey
One time mi could afford fi live but now it pricey
Di youth dem nah no upside, now dem get so grimy
CORRUPTION CLEAR COULDA EVEN MEK DI BLIND SI
Ghetto youth unuh bodda tek it lightly"
You don't even hear from Iyansa until well into the song's final minute but she does make the most of her time. I do wish that she did have more of a presence but Tafari absolutely lays waste to everything he touches on this track. 'Jah Sound' is FIRE and, again, if you are unfamiliar with with either Imeru Tafari or Iyansa, you've now become acquainted! Also included, thankfully, is a clean version of the Pon Di Island Riddim... because to not do so is just dumb. The instrumental is gorgeous and one of the nicest moments on its album - as is generally the case on these things.
What's wrong with the Pon Di Island Riddim? It's too damn short. I don't necessarily mean in terms of the total length here (I just clipped the screen off, I don't even know how long it is) but with all but three being in the 2:50ish range (and the other three are only ten seconds longer), I would have liked to see more done with the development of some of the material here, with the prime example definitely being 'Jah Sound'. Just looking through the tracklist also gives you that kind of... bad nostalgia that was so frequently associated with Dancehall - with that sort of 'cookie-cutter'/'one-size-fits-all' type of approach. Would have loved to have seen someone kind of break out of that and do something more.... organic and improvised because you can listen to it and KNOW that the opportunities were there.
Overall, the Pon Di Island Riddim is outstanding and its album, for the most part, is as well. Riddim albums, in my opinion, provide such a wonderful opportunity to compare performances, ideas and such things as you can really see the different ways different artists approach the same music. The tunes can float around the same areas or be completely very different at times. What stands out in this particular case, however, isn't such a grand deviation between tunes but, instead, REALLY big performances. As I said, I hope that you might come away from it with someone new in your mind to listen to, going forward, but the ones with whom you are already familiar SHOW UP as well. The biggest guns on the Pon Di Island shine just as bright as you would hope. Going in, I had such a beautiful nostalgic feeling about this one and, as it turns out, Kabaka Pyramid has delivered yet another one for the time capsule. Very well done.
Over again. It tends to be easier to remember certain things when there is a significant moment or occurrence tied to them. If I were to ask you what you remember about some random year that you lived through, perhaps you'd have something specific to say or perhaps not, but if I then reminded you that it was the same year that someone you knew died or that someone else was born, then maybe it might bring back waves and waves of specific instances that you could suddenly recall... because you now you have something in particular to give you a timeframe to attach them to. For example, do you remember 2002?? Musically speaking, in particular? No?? Okay. 2002 was the same year that Capleton and VP Records shipped "Still Blazin'" and had as all wondering if it were some kind of disrespectful to say the album was POSSIBLY as good as or even better than the album which preceded it, the all time great "More Fire" (over twenty years later, it wasn't disrespectful at all). Bring back any memories? No?? Okay, later that year Sizzla Kalonji would put to bed any rumours of his musical demise by giving us "Da Real Thing", providing a hint that the genius behind "Black Woman & Child" and "Praise Ye Jah" was alive and well and still burning. And just in case you needed anything more from the 2002, there was also an album released called "Dutty Rock", which would go to find its star, Sean Paul, and a few of his peers, taking over the entire world for a nice amount of time. There are periods like that which we live through and are fortunate for it but, even more interesting, there're also longer lasting stretches where.... things are just SO DAMN GOOD that it is important while you are in the moment to appreciate what it is that you have because you have enough life-experience to have lost things that you long for, that YOU KNOW are never coming back. Last year we reviewed an album which would go on to be one of the better of 2023 by the name of "Ah Mi Yard" by Achis Reggae favourite Perfect Giddimani. That set was excellent, although on the shorter side of things (had fourteen songs but really just seven with dubs for each one making the second seven) and, looking back to it now, it has aged quite well. A year on, there are two tunes in particular which stand out from "Ah Mi Yard", the title track (normally the case. Just like in the premise of this review, if I asked you what you recall about 'Ah Mi Yard", you're probably going to start singing 'Ah Mi Yard') and another one called 'Give Me My Flowers'. The latter of those two will likely always stick with me because I absolutely LOVE the sentiment behind it of giving someone their credit and their due WHILE THEY ARE AROUND TO APPRECIATE IT! That song and that album, and probably a dozen more or however many more and the one we're dealing with today have lead me to think that maybe it's time to give someone their flowers and not just for one sweet year that they gave us. It's been a really long time coming.
"Ah Mi Yard", like pretty much everything Perfect does these days, came partially via his own Giddimani Records label but this time it was in association with the actual producer of the set, I Grade Records and the Zion I Kings. I'm not going to attempt to run down the list (well I am, but I won't bother you by writing it out) (I'll do it in my head instead), but I have written SO MANY reviews, previews, re-reviews and other features on ZIK released material (and even about IGR prior to their linking with the Z and the K (more on them in a second) or at least prior to my knowing about it) (.... now that I think about it, I also wrote about the Z and the K before I knew about the collaboration as well) (you know what else came out in 2002??? "Culture Dem") over the years. Even with all the time we took off, between dealing with all of the various Akae Beka sets (still have one on my front page to finish, one of these days, for 'Mek A Menshun") and various other things, I don't know if there's anyone else on the planet who has written more about the ZIK than I have - especially given the way I usually write. I absolutely LOVE their work and it has been every bit as influential on what I write as the golden years of Xterminator which would birth the likes of Sizzla Kalonji which really got me interested in writing in the first place. CREDIT is due and I have no problem continuing to pay it.
In the midst of the Akae Beka albums and others from Perfect and a few other wonderful artists (some of whom we will be talking about today), the Zion I Kings have maintained a riddim album series which has been both plentiful and fruitful (both of those probably mean the same thing, I don't feel like looking it up to confirm, but what I'm trying to say is that the series has supplied both quantity and quality). With the very first installment arriving in the summer of 2013, eleven years later we're now at number ten! There have been some BEAUTIFUL drops along the way with that number one, the Songbird Riddim, being amongst the standouts. The Lifetime ["Put a fyah in deh!"], the Perfect Storm, the Mash Down, H.I.M. Teachings.... I could go on and there's ten (technically nine, because this is number ten), so I'd probably end up mentioning SOMETHING from them all and justly so. They have given us, fans of modern Roots Reggae plenty to be happy with in the series over the years. The most recent entrant of the series, the Mash Down from 2021 which I just told you about, came via the "Kings", Lustre Kings Productions, and they have been very successful in alternating the label behind the actual releases (which sounds like such a healthy way to do business between three different entities) and in 2024, next up is "Zion", Zion High Productions, who carries the bat for the brand new Full Bloom Riddim, volume ten of the Zion I Kings Riddim Series. I hadn't been aware that this set was even in the offering and it came as a very much welcomed surprise. Norris Man, Ras Shiloh, Etana, Ginjah and now the ZIK all do brand new albums within a week of one another (and I'm going to tell you about someone else, who appears on this one, also having a new studio album out on the very same day as the Full Bloom). This is a FINE time to be fan of modern Roots Reggae and it is only getting finer. Of course, as is the case with any compilation, one of the most interesting aspects of the Full Bloom Riddim is the artist selection. Here, we have a roster largely of artists who frequent the ZIK itinerary (probably a poor usage of that word, but I'm keeping it!) with one or two surprises along the way and some very unique blends of styles jumping from one name to another. They also, delightfully, cover the critique of mine which would have been - 'I wish they would have had this type of an artist'. They're all covered and what results is..... well, it's exactly what you expect. They've been doing this for a really long time. Let's get into it!
Just as important as the names voicing it is the riddim, itself. It's pretty damn difficult to have a good riddim album without a good riddim (you know I'm now going through my mind, trying to think of a riddim that I didn't particularly care for but, somehow, made for a good album) and that is not an issue here at all. The Full Bloom is typical, mellow and ultra easy brilliance from the Zion I Kings which makes for a more malleable and versatile backdrop for its vocalists to shine across (and we'll talk about that more, later). Surprisingly, I'm going to make the case that NO ONE shines brighter than Imeru Tafari, who opens matters on the Full Bloom riddim with the absolutely SHATTERING '1930'. TEARS! You may or may not know Tafari from his famous bloodline and he is living up to his heritage and more with a song like this. I use the phrase 'praising tune' to describe songs like this, generally and that is just what this is, but this is a PRAISE of the HIGHEST POSSIBLE CALIBER! Along with the historical facet it puts on brilliant display, '1930' also brings in present, modern-day application for what history has taught us and puts on a lyrical performance which is not to be missed!
"Haile Selassie give mi di mission and di battlefield
And Empress Menen give mi di formulas and strategy
No lose yuh sanity cause His Imperial Majesty-
Will help you overcome yuh trials and di travesties
MY MISSION IN LIFE IS NOT ONLY TO SURVIVE
DISGUISE DI TRUTH DEM IN LIES
I WANT YOU OPEN YUH EYES
THE KING AND THE QUEEN DEM WAAN FI DIVIDE
HAILE SELASSIE A LIFE"
When I heard this tune, it gave me the core idea for this review. There have been SO MANY times like this where I listen to a tune from the ZIK and it just... it floors me! I can go through albums full of them for the sake of nostalgia and just spend hours and hours HAPPILY enjoy the trip back. '1930' has just been added to that itinerary going forth (think I used it right that time). We go from The King of Absolutely Everything to The King of Fire as Capleton blesses the Full Bloom with the outstanding 'Hold Your Head'. Nowhere near as active as he once was (and that's perfectly fine), these days I don't take appearances from King Shango for granted and he makes it very easy not to because he is as dependable as ever. I don't think this is 'officially' the first time Capleton has worked alongside the ZIK (he was actually on "Culture Dem" but that was probably before ["CYAH EVEN SI DEM, WHOLE A DEM AH HIDE!"]) but it just may be and, regardless, I would LOVE if he made it a more frequent stop of his, even these days. Capleton has long been one of those individuals who has something which, perhaps, overshadows his talent. The ENERGY that man has brought Reggae has been unrivaled but, anywhere even remotely near his best and he's one of the most lyrically gifted lights the music has ever produced. Things stay easy here (for the most part, he does give us a bit of spite, here and there) on a big inspirational vibe which worked excellently for me and it still is. Micah Shemaiah is certainly no stranger to the works of the Zion I Kings and he returns to also have a bit of the Full Bloom via the infectious 'Dis Ya Rockers', turning back the clock to a sweet era of the music and doing so on a very fitting platform. Along with paying homage to yesteryear, 'Dis Ya Rockers' also does a great job of something that can be very powerful: HE MAKES THE LISTENER FEEL GOOD! 'Dis Ya Rockers' is soul food. It's really pleasing for the senses and it isn't in this kind of vacant way, either. There is substance here as well and I ended up coming back to this one quite often (and I still do), for good reason. Very soothing.
The Full Bloom Riddim carries tunes from four of my favourite current lyricists today and neither of them disappoint and turn up with big winners. First in, appropriately, is GRAMMY AWARD WINNING Kabaka Pyramid, with 'Start My Day'. I didn't recognize this track my name but when I got the very first taste of it, I started singing along with parts of it ["Besides you is the warmest place"]. It may've been the first sample of the forthcoming Full Bloom that we received when it dropped earlier this year. With seemingly the easiest of efforts, the Pyramid spends stretches of 'Start My Day' positively DAZZLING the listener. I'd call this one a love song, it basically is, and it's relatable as can be: 'Start My Day' is a song about the realization that you have found your PERSON and all of the wonderful feelings that comes along with it. Whoever they are and wherever you are with them, that's the person you need to be with and Kabaka Pyramid made a great song about it. If you've spent any time at all hanging around these parts, chances are more than decent that you know that I have been a looooooongtime staunch supporter of the lyrical prowess of Lutan Fyah as well and he's given me decades now of ammunition to show why. Here, he teams up with veteran Little Roy to push the SMOOTH 'Jah Can Count On I'.
"Like thief in di night, when all at rest
Everything calm and no one expect
JAH CALL AND DEM NO READY SO DEM WASH WID COLD SWEAT
And when di heavens declare, The Most High mek a step"
There is a BEAUTIFUL blend of MOODS on 'Jah Can Count On I'. The chorus, arguably the most intoxicating on the entire riddim, is so easy and relaxed but then the Fyah does kick in occasionally, bringing in a nice amount passion, giving the tune such a strong dynamic. Easily one of the strongest selections here as Lutan Fyah & Little Roy prove to be a MAMMOTH pairing (and forgive me for a second for being a giant nerd, but the ZIK have a history of bringing together very interesting styles on tunes for combinations and this isn't the only time it happens on the Full Bloom Riddim). My expectations went straight through the roof when I got to track #10, 'Greatest Thing', as the name behind it is another longtime favourite of ours and someone who has shown herself capable of downright DOMINANT lyrically, VI wizard, Reemah. On this track, she's simply giving thanks for waking up another day and being able to enjoy life. The song is a very basic (not really) CELEBRATION OF BREATHING and the artist, once again, continues to fuel rumours that she is.... either from another planet or from another era where they have time machines because this shit is just not normal:
"When I wake up inna di morning time
I grateful that I si di sun shine
GIVE THANKS FOR EVERY BIRD, TREE AND VINE
Count up mi blessings and a di more I find
Know that life is a precious design!
Coulda never unda none di dollars and coins
STILL APPRECIATE EVERY HILL WEH I CLIMB!
AND LIFE IS A GIFT FROM DIVINE!
Life is di greatest gift weh I know
AND LOVE IT A DI SEED AND THAT'S WHAT I SOW
So watch it and grow bigger than silo
Yeah, mi spread it from di UK down to Cairo
You no si a life - dem ah waste it
And when it gone, wi could never replace it
STILL AH SMILE THROUGH DI STRUGGLES WEH MI FACED WITH
AND IF A LOVE, WITH OPEN ARMS WI EMBRACE IT!
More life and a dat wi embrace
Haffi mek a choice and wi cannot hesitate
MINDSET AND OUTLOOK, A DAT FI RENOVATE
But it begin from within, so that first fi elevate
Got to focus on di positive
Cause life is there to teach, no matta what it is
YEAH. AND WHEN I LAY DOWN ALL MI BAGGAGES-
I SEE LIFE IS JUST BEAUTY WRAPPED UP IN DIFFERENT PACKAGES
Wi know life is di greatest thing
And I am grateful for the joy it brings"
WHAT! PARDON! EXCUSE ME MA'AM! Again [!], give thanks that you live in a time where you're able to hear 'a person' (or whatever she is) who is capable of doing things like this. Off the top of my head... I can't recall the Zion I Kings doing a full album for a female artist (there was an EP by someone who we'll be talking about in just a minute), if/when that time was to come, surely Dezarie would have to factor into that, but so would Reemah. A sharper pen in any genre of music that I listen to simply does not exist. Unsurprisingly, also making an appearance on the Full Bloom Riddim (he and Lutan Fyah have been on each and every riddim in this series) is St. Thomas supernova, Pressure Busspipe, checking in with the towering 'Ever Need'. Wayyyy back on the aforementioned Songbird Riddim, now nearing eleven and a half years old, there was a tune by the name of 'I Know' by Danny I (biggup Danny I). The very first words spoken on that song, "WHEN I HEAR THE SONGBIRDS, I THINK OF YOU", for obvious reasons, provided that track with its SIGNATURE moment for me. When you speak of the Songbird Riddim (or even if I just hear the WORD "songbird", in some other capacity), I instantly go in my head and start singing 'I Know'. I bring that up here because I'm not surprised if, a dozen years from now, someone says "full bloom" and I'm thinking:
"Jah love is all I ever need"
In its complete simplicity, Pressure lands what may just be the single mightiest blow on the Full Bloom Riddim; and thankfully (and predictably), the line is surrounded by typical brilliance praising His Imperial Majesty.
"This moment, I've got to say-
Life is amazing, it's what you make it
Every morning I meditate, so doing some good, as much as I could
I'm grateful for everything
We thank you, Jah, for restoring life
His mercy endureth for i-ver and i-ver
In His name, I rejoice
Jah love is all I ever need
The war and crime bring misery
Jah love is all I wanna see
Inna Zion, there is no poverty!
Got to live a little
With the life Jah give you
HAVE ALL THE CASH AND, WHEN IT GONE, CAN'T TAKE IT WITH YOU
Do so everyday, freedom is the only way
The negative will get you caught in the middle
DO SOME POSITIVE AND THEN YUH BLESSINGS TRIPLE
LOVE AMONGST THE PEOPLE NEVER COST A NICKEL
Fi yuh owna happiness, yuh responsible"
The highlights continue to roll through the Full Bloom Riddim and from many different directions. Certainly one of the most (and maybe even THE most) curious comes in 'Too Dread', a giant combination bringing together a pair of ZIK vets, Arkaingelle (will always give a massive credit to Arkaingelle for dropping one the single greatest tunes I have EVER heard from anyone, 'Manifess Joy') and Jalifa, as Guyana meets Trinidad. Back in 2020, Arkaingelle would release "Nuh Watah Down", a beautiful album (which would make for a really nice Vault Review someday), courtesy of ZHP and two years on, Jalifa would do the same with her EP, "Incient Ras"; so neither being here comes as a shock at all but it doesn't seem like an obvious combination at all and whoever had the idea is showing a bit sagacious planning behind the scenes, themselves (same person was probably responsible for pairing Norris Man & Pressure back in 'da day ["WHEN YOUR TIME IS UP, DON'T CRY TO ME! YOU WERE WARNED ABOUT THIS!"]) because 'Too Dread' is as sublime as it is colourful. What I took from this one is the importance of standing up for what's right, no matter the circumstances and if it 'invites' negativity from some others, or if some take "offense" to it, then so be it. I'll refrain (as much as I don't want to) from transcribing anymore lyrics in this review, but Jalifa BLAZES throughout, especially during her final verse ["Don't call yourself a lion. You're a frog"], while the Arkaingelle keeps us grounded. I wouldn't expect it to happen again -- I didn't expect it to happen this time -- but if these two.... wanted to make another tune (or two or three), you wouldn't get a complaint out of me. Earlier this year, Peetah Morgan from the famed and GRAMMY AWARD WINNING Morgan Heritage made his transition, but he has left us with years and years of works to go through and enjoy and dissect and his latest creation, 'Who Run The World', is a golden social commentary on the Full Bloom Riddim. Questioning the genuine 'super powers' of the world, Peetah suggests that IT isn't necessarily he or she is loudest of most visible (or who "hold a glock") but is, instead, someone keener on keeping a lower profile while things play out on the forefront. Peetah has (not had, he HAS) a very interesting voice. It has a really large PRESENCE to it and his music, inherently, stirs up some type of emotions in his listeners and when you put it together with such a well written and structured composition as you have in 'Who Run The World', the results are damn impactful and biggup Peetah Morgan.
The album for the Full Bloom Riddim released officially on the 19th of July, 2024. On that exact same day, another album by the name of "Feeling Irie" also launched on LTK20 Rechordz (now why would you spell it like that???). Besides a genre, both share the talents of the great Glen Washington. Here, the ever present ZIK fixture ["The joy! That Jah blessing brings"] stands up for everyone, everywhere and gives us 'Rights For Everyone'. I loved the way this tune starts combined with where it ends up:
"Open your eyes and see what Reggae music is doing for me
People are out on the floor, saying 'pull it up' and 'play it some more' "
[Last time, I promise] The Clarendon native goes on to speak about several different topics but the one I think that brings them all together is the idea of speaking up and speaking out when things are not right. That's what Reggae music does. That's what you do to bring honour to His Majesty. You don't allow corruption to exist and not say a damn thing. You make songs like 'Rights For Everyone' and if you can't do that, then you play it for anyone who will listen... or you write giant reviews and suggest that others take a spin. If you missed out on Kabaka Pyramid's 'Start My Day', then maybe the first time you laid ears on the Full Bloom Riddim came courtesy of Jesse Royal on the absolutely GORGEOUS and quite clever 'Love That Don't Change'. Do you have someone in your life, WHOEVER IT MAY BE who you know that you can just depend on, regardless of the situation. If you need any type of help they're there for you without question. 'Love That Don't Change' isn't a song about honouring that type of person or thanking them (though you should do both of those things. Right now and every chance you get). It is about BEING that type of a person for others. Being dependable and caring about your loved ones and demonstrating it at every opportunity. 'Love That Don't Change' is also golden. Along with the sentiment, it just SOUNDS divine. 'African Pride' also sounds nice (the song and just in general) as its star, MediSun, delivers a very slow and easy BURN in the name of the African Diaspora. MediSun also appeared on the Mash Down Riddim (with the blistering 'Hands Off') and if you've been paying attention to his output in recent times, you've noticed that he has been enjoying a FINE form over the past couple of years or so (and it continues. He has a couple of other new tunes, 'Extra Heavy' and 'Mek A Sound' which are also top notch). Still, with that being said, 'African Pride' ranks healthily alongside his very best as MediSun continues to prove himself someone difficult to ignore. 'African Pride', as someone of African descent, just hit me in so many nice places and I spend the vast majority of my time listening to it with a smile on my face as my default position. A definite highlight on the riddim and were it not for the fact that I've already put entirely too many lyrics in this review, I'd have no problem including blips from 'African Pride' as well, but here's a paragraph break so you can actually hear the tune for yourself.
"Like di lions in foreign cages-
Dem send di missionaries out to miseducate us
500 YEARS OF DI WHIP COULDN'T BREAK US
NOT EVEN DI ATROCITIES WI SUFFERED ON PLANTATIONS"
[I couldn't help myself] Swiss chanter and another returner from the Mash Down Riddim, Ras Teo, stops by the Full Bloom Riddim as well to teach us about 'King Lalibela' with a song that should have probably come with a warning of sorts. Teo's music, at least in my opinion, has an extremely straight-forward charm to it. For the most part, he seems to keep it relatively simple and when you have actual talent (and he does) and you make a sound like that, I think that it provides your music with a very OPEN dimension to the point where if you were to ask me which tunes on this riddim I would recommend for more casual listeners of Reggae, 'King Lalibela' would definitely be in that lot. The warning it would come with would be at the chorus. It is so simple and so nice but it will GLUE itself to your brain and it will not remove itself. It just won't. When you dig into the actual verses, you'll come to notice that much of the rest of the song (pretty much all of it) is also just as hard to shake as 'King Lalibela' is just one SWEET sound and it also has depth to it as a lovely. Speaking of lovely, also included here is 'Full Bloom Dub' and I'm not going to insult your intelligence by explaining what that is directly, but I will say that I always enjoy clean versions of tracks on riddim albums, particularly ones from the ZIK. I lack the musical education to explain exactly what I hear but I will say seems to be a staple of theirs is the amount of detail that goes into their work. I know that sounds ridiculous but what I mean is that when you listen to a clean track from the Zion I Kings as opposed to it with vocals (although sometimes you'll hear it there as well), the thing just BLOSSOMS. IT BLOOMS! It develops and reveals itself to be something more than you noticed originally. In this case, what always stands out is this lovely horn which is ever present but not domineering and when you take it in sans vocals, I'm now fixated what I presume is a drum (meaning it most certainly is not a drum) which almost sounds like a heavy-handed clap to my ears. You knew it was in there -- it's Roots Reggae music, it's always in there -- but DAMN does that thing grab you when you remove the vocalist as does the guitar work. I don't have credits for this one but biggup all of the producers and players of instruments who also do excellent work. I also want to mention that, when you do add the vocals, there seems to be a BOUNCE And I think here is a nice spot to give credit to the artiste as well. The cover art here so nicely fits the material. The Full Bloom blooms EVERYWHERE! It blooms on the countryside and it blooms in the ghetto!
Overall, unless I'm REALLY forgetting something (and there have been some very good ones in there) (.... like pretty much all of them, but some of them have been smaller) the Full Bloom Riddim is now my favourite installment of the Zion I Kings Riddim Series. From beginning to end, literally EVERYONE, performs wonderfully. There are some MIGHTY performances to be found here and I think this set does what a great riddim album (and just a great compilation, in general) should do, in my opinion: It makes you want more. It gives you an impetus to begin looking up some of the artists you may be un/under familiar with and, when you see the "Vol. 10" on the cover, you're probably going to want to see what was up with the first nine. The first nine were all superb but #10 is something a little more. The Full Bloom Riddim is exquisite, they always are, but its album is downright immaculate and it is so good that it lead me down a road to thinking of all of the wonderful times we've had in covering the music of the Zion I Kings. They have spent the entire time of their existence making a level of music that has very little in the way of actual peers. The Full Bloom Riddim album is the best compilation of Roots Reggae music I've heard in a long time and MAYBE the best the ZIK has done since "Joyful Noise". AMAZING!
