2. 'One More Time' [Don Corleone Remix] by Jah Cure
3. 'Don't Say You Love Me' by Aza Lineage
4. 'Soulmate' by Lutan Fyah
5. 'Open Heart' by Jah9
6. 'Nah Sell Out' featuring Kabaka Pyramid by Alborosie
7. 'Cyaah Done' featuring Iwaata & Country Hype by Konshens
8. 'MUGGER' by Intence
9. 'Happy Living' by Jahshii
10. 'Only Room For Two' by Gyptian
11. 'Gyal Dem Time' featuring TeeJay by Shaggy
12. 'It's Guaranteed' Remix featuring Bounty Killer & Busy Signal by Christopher Martin
Okay so, while we aren't too sure who's showing up these days and, if they are, when exactly they'll be arriving, I am damn pleased to say that we definitely are getting a shot of one of the most reliable compilation series in... in ever, as the latest installment of one of Reggae's most reliable sets, "Strictly The Best 63", is set to reach in just a few weeks' time. VP Records delivers as always in a time where "STB" remains quite consistent, having missed only one year in recent times, by my count [2021], despite one of the label's other large annual releases, "Reggae Gold" (which just may be the genre's most identifiable collection), being a bit more of a mystery in terms of scheduling these days. I took a quick look at the tracklist of "STB63" and a couple of things that I saw caught my attention and did so in a good way.
The first thing that I noticed was that they kept it simple. You get a dozen tracks and in those tunes (and the second thing that grabbed me) you get a very healthy mixture of artists and styles. Compilations and albums in general can be too damn long at at times and I was very happy that they chose to keep "STB63" on the more 'cozy' side of things. As for the sounds you will hear here, how about this: You get people such as the incomparable Jah9, Lutan Fyah, Alborosie, sitting Reggae Grammy holder, Kabaka Pyramid and Jah Cure, then we make room for the likes of Romain Virgo, Christopher Martin, Gyptian and Aza Lineage and not to be excluded, we'll also cover the Dancehall with Bounty Killer, Shaggy, Konshens, Busy Signal and Intence (or whatever they call that stuff Intence makes) ('Mugger' is not Dancehall. I don't care anyone says) (not saying it's bad, IT IS TERRIBLE, but it isn't Dancehall). So the vibes on this one are HEALTHY to say the least. "STB63" also boasts of four exclusive tracks, including efforts from the Fyah (a new Lutan Fyah tune??? Works for me!) and Aza Lineage as well as several selections which have never previously been available on disc (if you're old as hell, like me, and're still interested in prehistoric physical media) (just make a contraction out of anything. What the hell is "and're"??) (Andre who???). So, it seems as if they've taken great care with assembling this year's edition of the esteemed series.
How well does it work? Well, you can join me in figuring that all out when "Strictly The Best 64" releases on the 15th of December from VP Records.... but I can tell you it's probably going to be pretty good.
Next?? I'd like to think that I'm at least a little discerning so it doesn't happen very often at all, but if you look at the history of these pages, you'll notice several things. The first, obviously, is that I talk entirely too fucking much; another thing you might notice is that, every so often, I'll come across an artist and IMMEDIATELY become a fan of theirs and turn into one of their more vocal supporters online anywhere. Think back to individuals such as Messenjah Selah (an odd example, I know, but I'm still relatively confident in saying that no one has still written as much about his music than I have), the brilliant Reemah and, of course, Funky Comfort herself, Sara Lugo. Well, though it may have been a long time since last we encountered such an individual (or has it??? I should probably also include the likes of Vaughn Benjamin, Norris Man and Mark Wonder), I'm thinking that I've recently come across the latest example of someone whose music is going to be receiving a whole heap of my attention on these pages and already has, the incredibly interesting Khalia.
(....Yes, I know what you're thinking and I agree. She is stunning!) Khalia, in her best form for me, might make the most refreshing form of Lover's Rock Reggae music that I've heard in a very long time. There is a very smooth and organic vibes to her work and as someone who wouldn't describe themselves as the hugest of Lover's Rock heads, she's the greatest thing to happen to Reggae love songs, again, in a very long time. She isn't a one-trick pony either and Khalia will routinely touch the typical topics terrestrial to Reggae music (like that, didn't ya), but when the Jamaican born UK grown songstress makes a song about that special someone, she SOARS virtually every time and it caught me! So, you know what I wanted and while that full blown project remains something to wait for, Ineffable Records have done something wonderful and released "Stay True", the debut seven-track EP release from Khalia. Not only has she shown great promise on her own, but she's done so under the guide of one of the greatest maestros the genre has ever seen in Tony 'CD' Kelly whose handiwork is delightfully all over "Stay True". So just to recap: We have someone who is quickly becoming one of my favourite artists today working alongside someone who has long become one of my favourite producers of all time, doing a brand of infectious music which she is in the process of making her own. You know I'm interested and, if you've read this far, I think you might be as well. Let's talk about it a little.
1. 'Waiting On You'
The first tune on "Stay True" is probably its very single that I heard after learning that the set was forthcoming and with its captivating old school bounce, by its end, it sits as one of its highest of highlights and I probably have an even greater appreciation for the tune today than I did when I first laid ears on it a few weeks ago now. 'Waiting On You' very quickly finds a groove that it settles into that is in the STARS somewhere and Khalia maximizes it to its full potential. This track is unfortunately quite short but, if you think about it, it's really an exercise in patience as Khalia finds herself waiting on her special someone and, CLEARLY, the girl just got tired of waiting. BOOM!
2. 'Didn't I'
I'm pretty sure 'Didn't I' was a completely new song to my ears and... the things that it does to my ears.... DAMN. What a truly GORGEOUS creation 'Didn't I' is. For me it establishes itself as the clear winner here early and though it is chased by some excellent work, by the end of "Stay True", it reigns supreme. The song also fully captures what I meant when I said that Khalia had a "refreshing" take on Lover's Rock as though I don't think anyone is going to find it as revolutionary or something they've never ever heard before, there's something so delightfully and comfortably MODERN about 'Didn't I'. My absolute favourite Khalia song is one you won't find here, the Collie Buddz produced 'High', but 'Didn't I' is definitely in the process of making a challenge to it.
3. 'Tings & Times' featuring Mortimer
The first of a surprising four combinations finds Khala linking up with Mortimer (who, at least at times, sounds a bit like Serani) and doing so in an ever so slightly different tpe of tune. At its core, 'Tings & Times' is surely a love song but, specifically, it's one about persevering through hard times and maintaining the love and the relationship. It also, at least for me, has elements which seem to reach between a romantic relationship as you could very well apply these concepts to.... friendships or family ties as well. It's just about DEPENDABILITY. However it sizes up for you though, I think we'll all be able to agree that 'Tings & Times' is also EXCELLENT.
4. 'Double Trouble' featuring Shaggy
If you were going through the first three tunes and came to the conclusion that maybe you needed a little BITE to the vibes of "Stay True", Khalia pulls in the great Shaggy for just a bit of spice on the all kinds of fun 'Double Trouble. You should know what to expect here, you've heard it dozens of times before but, as is the case here, when songs like this are done WELL, they are damn catchy and infectious and I would expect 'Double Trouble' to be one of the, if not THE most listened to selection on "Stay True".
"Worries and problems again
Yeah we make good lovers but we're terrible friends"
5. 'No Answer' featuring Tanya Stephens
There are very few bona fide geniuses in music --or in anywhere else in the world-- but Tanya Stephens is definitely one of them. The longtime Dancehall veteran lays claim (EASILY) to being one of the most intelligent minds the genre has ever come across and, even on paper, a combination between Stephens & Khalia is a big deal. In actuality it did not disappoint as the two come together on a GORGEOUS social commentary where they seek explanations for the way things are and, ultimately, come away empty-handed with 'No Answer'.
"Everybody know seh wah yuh fertilize di most have di highest probability fi grow
So why dem investing in crime and ignoring education?
Khalia, ask dem.
Wi waan know"
The vibes of the song are also top notch with a 'dramatic' scene painted around an old school set and what we end up with is definitely amongst the heights of "Stay True".
6. 'Stay True'
The severely R&B/Pop infused title track isn't a favourite of mine, but I won't completely dismiss it because of the message behind it. I'm going to tell you what to do if you hear this track on a superficial level and don't love what you hear; just do one thing. Go back and listen to the second verse on 'Stay True'. Listen very carefully and then cast your judgment on it. I don't think the tune is going to reach a lot of heavy Reggae heads (it won't) who'll not give it a chance, but when you skip it, you'll be missing out on a little lyrical gem (somewhat reminiscent, coincidentally, of Tanya Stephens' tune by the name of 'Do You Still Care', where you have a message built on different stories), but you do what you want.
7. 'Go' featuring Blvk H3ro
I also don't see 'Go' tapping too many people who come here seeking Reggae and Reggae all the time but, to its credit, it's even better than the title track in my opinion. This song, which features the helping hand of Blvk H3ro, is an inspirational trip which kind of grew on me a bit, especially during its middle portion. Khalia and Blvk H3ro deal with all the things they've grown through to reach their standings in life and how they still have to struggle to maintain it and to set a proper example for others who are to follow them. Again, I'd tell you to not just take what you hear on the surface before passing through 'Go'. It isn't a GREAT song, but there is DEFINITELY substance here and, should you give it a chance, you will find that substance damn hard to shake.
SO! I really hope you enjoy Khalia's music because if you hang around these parts (you have hideous taste in reading material, you're probably [you are] going to be hearing about her work quite consistently and you already have. This set gives a nice little bite of very impressive talent and one who we will surely be keeping an ear on in the future. "Stay True" is available right now on Ineffable Records.
Okay so, I wanted to quickly tell you about a tune that I had meant to from a little while ago (and because I didn't finish my next review, now seemed like the perfect time), but if it's flown somewhere off of your radar, you probably want to check out 'Double Trouble', an all kind of fun new track from the flaming Khalia, alongside the legendary hot shot himself, Shaggy. The song is the latest single from the former's forthcoming EP, "Stay True", which is set to release later this month and like much of the work you're likely to come across from Khalia, it comes courtesy of the equally certified Tony 'CD' Kelly. To date, the Jamaican born, UK raised Khalia has dropped a variety of different songs, but she's recently struck with some of the Lover's Rock she's done such as the 'Waiting On You' and personal favourite, the Collie Buddz helmed 'High' (which is probably one of the best tunes I've heard this year altogether) and I damn enjoyed how 'Double Trouble' brings in a bit of a different vibes. At times, it flames:
"It's nice to pretend and it's nice to be friends
But who wanna be sittin in that zone all again?
OUTTA FIVE, IS A TEN
Fire light, mi ah send
Di passion weh wi have, nobody can comprehend"
And, just in general, the song is very infectious and catchy (pretty much like everything Kelly produces), the Khalia & Shaggy make for a wonderful duo and it got me to thinking that maybe we're getting to a point where an EP from Khalia just isn't enough. Until then, however......
"Stay True" by Khalia is available on the 27th of October via Ineffable Records
Divergence. Time waits for no one and were I ever of the thought that I was in any way special and an exception, each and every day it becomes more and more apparent - my anciency. Sure, it takes a bit longer to get out of bed in the morning (the internal conversation I have with myself is hilarious at times as I attempt to convince myself to do something as simple as STANDING UP) but you expected that to happen; what does come as a larger surprise, however, is that your taste on certain things 'change'. Well, they don't actually change it's more like everything else changes around them and they kind of stay the same so, at least in some cases, what you remember as being 'right' or 'standard' (whatever the hell that means), becomes dated or "old school" (....which is simply a more genteel way of saying... dated). Obviously one of the most consistent ways in which you are forced to encounter this old drift that you go through is in various forms of entertainment such as.... oh I don't know.... let's just say music for today! I've been writing about music for a very long time and I've been around long enough to have experienced more than one generational shift. There were and still are sounds that I pick up on and when I hear them I will give them a certain designation so that my reader will know that what they should expect to hear is an echo from an older generation of making music. It's always been like that and if I'm still writing in another twenty years, It will STILL be like that. HOWEVER, in my unawareness and naivete I don't know that I ever envisioned what was coming for me as particular PRIME sounds that I once just cavalierly wrote about and perhaps took for granted have gone missing to a large degree. Like wha... DANCEHALL! My beloved infectious BOUNCE (Roots Reggae has that charming one-drop. Dancehall has (HAD) that two-drop and you know exactly what I'm talking about) that was and remains CANDY to my damn ears has seemingly been banished to a land very, very far away and if anyone can find it, please let me know. I'd like to go and live there before the end of my days. I could give you certain examples (literally EVERYTHING) but I don't want to and it's more fun today to give you a very perplexing 'anti-example' because what we take a look at today is something from someone who has reached a level in [actual] Dancehall music which has been virtually untouched by all but a supremely gifted select few. Had you told me that the year would be 2023 and the great Sizzla Kalonji -- still my favourite artist of all time -- would be at his norm in steadily releasing albums still but they would be largely devoid of actual Reggae music, I wouldn't have cared because I wouldn't have believed you. Had you told me that the same year would see a release from the Dancehall's longtime reigning monarch which would be extraordinarily light on [actual] Dancehall music, I may've believed you and it probably wouldn't have bothered me that much because I would have expected its followup to be forthcoming soon.
Well folks, that ain't the case. It's been SEVEN years since the legendary Beenie Man dropped a full new studio album (2016's okay "Unstoppable") and I think it had been another seven years prior to that one. I don't feel like doing the math, but we're at a point where the artist has done just two or three albums or so across the better part of the last two decades. So the moments when he does, at least for me, are VERY big deals and I'll go into it more in just a second. Furthermore, of course Beenie's name will always be connected to that of one Bounty Killer and I don't even want to begin to get into the depressing history of Bounty's new album releases, so when either of these two PILLARING artists of the genre give us the opportunity to celebrate them, that is exactly what we should do and do so in full bloom..... but damn I wish they made it a bit more familiar.
Beenie Man now brings forth his own long announced and eagerly anticipated latest creation, "Simma". If you're like me, the very first time you heard just the album's name it got you very excited because it reminded you of an older era (it reminded you of 'Who Am I') and the thought popped in your head that it may be a set with a focal point looking 'back' to that time, musically. Any hopes of that were destroyed when I heard it mentioned that "Simma" would be coming with a more 'worldly' or 'international' vibe (or however they described it) but I was still sitting there thinking HOW THE HELL CAN YOU NAME AN ALBUM SIMMA AND HAVE IT NOT BE A DANCEHALL ALBUM! I know that's ridiculous and maybe it's just me, but that was my thought process. "Simma" comes through Beenie's own MD Music Group, a first but not an unexpected one. Previously, his non major work came courtesy (in some way) via VP Records. Even "Undisputed" was a project distributed through VPAL but, at least as far as I can tell, the label has had nothing to do with this one (although I'd actually be a little surprised if I'm NOT wrong about that one, eventually) and it's all been left to Moses Davis and company. If you recall, there was also a 357 Records, which did "Undisputed" which was also Beenie's but has, at least presumably, made way for MDMG. Of course, Beenie is afforded some of the finest maestros in the game and production on the new record comes from some of the genre's greatest creators including the likes of Tony Kelly, Suku, Walshie Fire and others, including even Jeremy Harding. Along with that, something we'll detail out in just a second is the TRULY RIDICULOUS number of featured vocalists "Simma" features. By my surely incorrect count, five of its tracks feature Beenie and only Beenie, alone; that leaves FIFTEEN which find some form of accompanying artist joining Beenie Man on the tune. It's not something that I love and it is a practice which, for some reason, I most closely associate with Hip-Hop but, as I said, apparently they didn't have me's in mind when putting "Simma" together. Also not unexpected and GREAT to see has been the anticipation for this one ahead of its release date. I don't know who started it and I don't care enough to look it up, but you're doing a disservice to "Simma" and Beenie Man's enduring popularity if you do not mention the 'Simma Challenge' which found people walking up to and calling others and simply saying "Sim simma" to see if they could finish the timeless lyric -- "who got di keys to my bimma" -- and, as far as I can tell, the success rate was extremely high with only, predictably, much younger people failing the challenge (nothing wrong with that). That was lovely to see and I also saw that news of the challenge had reached Beenie Man and he was very excited about it and hoped to see it continue and it has. It's been very nice to see this album receive this level of attention ahead of its due date because it also speaks to the level of lasting fame and the reputation of the critically acclaimed Davis. That reputation has been earned, however, and all of the work which has gone into building it is done - it speaks nothing to the quality of what comes after it and this is the portion of the review where I come up with some cool way to say I'm about to talk about the actual music and here is me spending the next ninety minutes or so talking about the twenty songs which comprise "Simma".
I intentionally kept alluding to something from very early on here next to something that I stated clearly. On one hand, as I said, the sound of "Simma" is extremely varied and 'worldly'. It's not what I was looking forward to and, for me, that's unfortunate. HOWEVER, with that being said, just listening through the record - Beenie Man is in a pretty good form. He has not lost a step at all lyrically or in his delivery despite recently hitting half a century in age. I should also mention that, at twenty tracks and seventy minutes in length, obviously "Simma" is entirely too damn long regardless of how good it is, but I can honestly say that "boring" is not something I associate with it despite the album's obesity. The first CHUNK of Beenie Man's brand new album, "Simma", is our title track which has to be one of the most disappointing from my point of view, although the actual song is pretty good and one of the finest on the record named for it. I thought, at the very least, 'Simma' would be this magical old school Dancehall and it wasn't, of course. What it is, instead is a very smooth, kind of R&Bish/Poppish type of vibe and it isn't a bad tune at all. I may even go in fact to say that it is one of the finest songs on the album altogether, but you know where my head was on this one. I may've had similar hopes on the second tune, 'King', briefly, but when I saw who was on board on that one, such feelings quickly disintegrated. The very first combination here features contributions from English trio, Ms. Banks (who I do know), Backroad Gee and Teeway (neither of whom I'm familiar with). This is a VERY heavy and aggressive Hip-Hop tune and, for the most part, I don't like it at all. HOWEVER, as I alluded to, what you will find throughout "Simma" are demonstrations of Beenie Man being at the height of his powers and the first blast of that comes roaring through on 'King'.
"I am the man with the plan
Hit song long time before Wu Tang Clan
Long before Red Man & Method Man
Inside di studio mi ah set di gameplan
Smoke weed like Cheech & Chong
Lyrics inna mi brain and book inna mi hand
Days pon toppa days mi ah write hit song
So di whole world give mi a brand dat
[I'M DI KING!]
Mi a di man
Longtime mi ready fi every woman
Gyal dem ah bawl for di wickedest slam
Dem waan di strong, no weaker man
Properly sexed and di money be done
Dem gal yah nah waan no Christian
CLOSE YOUR EYES AND CLASP YOUR HANDS
YAH GIRLFRIEND GONE WID BEENIE MAN"
It comes off with force (virtually everything in the tune does), but effortlessly at the same time. He could have done this well on his way to sleep or the first thing in the morning and it is gorgeous. The next track up had me far more interested in the accompanying voices as 'Sharpshooter' brings in Nigerian artist Patoranking, the talented Giggs and the always compelling Busy Signal (who is one of my favourite artists these days and has been for the better part of the past decade or so, despite the fact that we do not talk about his work very much). 'Sharpshooter' is fun and it fits somewhere more firmly in the spectrum of Dancehall than its two predecessors. It also features some solid wordplay as you would imagine with such a lineup of lyricists. Rounding out the first batch of songs from "Simma" is a pair of impressive pieces (for different reasons) which feature our star all alone (and only two such tunes can be found in the album's final fifteen offerings). The first, 'Chop Suey', was rather strange the first few times I heard it (and it stil is, yep) because it almost sounds like two different songs going at once because the chorus changes so much. I do enjoy the odd vibes of this one though and as it goes on, particularly during its latter stages, Beenie absolutely shines. The second of these, 'Up Deh', hits for another reason. The sound here isn't anything special (I'd probably call it another one as Hip-Hop; although being more on the lighter side than 'King', easily) and even lyrically it isn't ranking amongst the best of "Simma", but I've convinced myself that 'Up Deh' featured very little in the way of preparation on the part of Beenie Man and he just vibed his way through it and even if the man, himself, told me differently, that's what I'm sticking with! In that regards, 'Up Deh' (for what it is) is nearly special.
Of course you didn't think we'd get through this album (or seemingly any other one that I review) without an appearance from Stonebwoy and he joins the fun, along with a returning Backroad Gee for 'Zimm'. If I'm 'Sharpshooter' "fun" then I need to come up with a stronger adjective for 'Zimm' because I've had a lot of damn good times with this one and I'm sure I'm not the only one. 'Zimm' rests easily with the class of this project and it's probably one of the best tunes with Stonebwoy's work that I've heard to date (which is saying a lot considering how often we run into him) (incidentally, if you're interested, Stonebwoy set forth "5th Dimension", his own brand new album for 2023, back in April) (more on that in just a second). Longtime Beenie Man collaborator, American R&B songstress, Mya, makes her presence known on another tune with a title which got me excited when I first saw it, 'Docta'. The first time these two linked, several hundred years ago, was for a remix of Beenie's classic 'Girls Dem Sugar' which has gone onto be a classic in its own right. 'Docta' doesn't reach anywhere near those levels to my opinion but it was nice to hear these two vibe together again and I wouldn't be at all shocked if they ran it back at least one more time in the future. Dexta Daps (who, coincidentally, also appears on the aforementioned "5th Dimension" from Stonebwoy) lends a hand on the relatively dirty 'How Deep' (which is about exactly what you're thinking it might be about) ["When mi ask her 'how deep?' Bout nine inch long. She seh 'don't dweet'"] and.... what can I say? I don't hate this song. I like it a little largely on the strength of just how extremely BASIC it is. It isn't Dancehall at all in sound, but there's something very familiar about it that my ears grabbed on to; but I'm not going crazy with it. There are far better tunes on "Simma", but 'How Deep' has stuck with me, at least for the moment. One of the biggest guests, the oft-devastating Shenseea lights up 'Fitness Instructor', which also pulls back Ms. Banks. Pretty much everything I said about 'How Deep' applies to this one, although, from every registerable angle, 'Fitness Instructor' is considerably better. As I've said in the past, you may see and hear Shenseea and come away thinking one thing about her, but that woman is capable, at her best, of HUMILIATING the spoken word. She toys with it! It is to the degree that it comes through in almost everything i hear from her and, for her part, Ms. Banks also sits on a hill of talent which is more pronounced here than on 'King', in my opinion. When I ran through the tracklist of "Simma", my eyes gravitated toward 'Hel-eva Bumpa' moreso than in the direction of any other offering. Over the past few months my ABSOLUTE favourite two songs have been 'Hard Fete' and more recently 'Entering Greenzland' and what they share in common is that they are both works of the incomparable Bunji Garlin who once again links with Beenie Man on this song. Previously, this pack of prolific poets paired on a couple of tunes to my knowledge with the high-water mark being the remix of Bunji's 'Plenty Gyal' ["DANCE MUST HAAAAAAAAAAVE, PLENTY GYALLLLL. IT'S NOT A MALEBOX! NOT AT ALLLLLLLLLL!"]. 'Hel-eva Bumpa' isn't on that level, but it is all sorts of entertaining and it reaches a place which befits the two MONSTROUS talents starring on it atop Suku's GRRRRR riddim.
Hoodcelebrityy lends Beenie a hand as he attempts to 'Let Go' and does so in a really strong way. This one lays claim to being one of the most Dancehall (definitely of a NEO variety, but that KNOCK is infectious courtesy of a master in Tony Kelly) of any on "Simma" IN SPURTS a quality which, alone, got my attention. It is also impressive on the lyrical side and has a bit of actual substance - all of which help see 'Let Go' ranking very highly here. 'Put It On Me' grabs up Relevant and the very gifted Jahfrican but it's kind of average for me and a set whose absence would not have hurt "Simma" on any level. It's nice to listen to, but there're more pleasant spins and it doesn't really bring anything different for me. Beenie goes solo for the first time in quite awhile on another mediocre (and possibly slightly below) piece, the Seanizzle helmed 'New Money'. Another rather strange sounding track, I'm thinking in a few months I may not remember much about 'New Money' at all and, again, you knew just by looking at it that "Simma" was carrying too much weight and both 'Put It On Me' and 'New Money' are examples of that. They aren't bad and if they were just singles released on riddims no one would pay them much attention (and they may actually do better than likely getting lost on an album), but appearing here they both feel like FILLER. The proverbial ship is righted ever so slightly with a good look from co-captain Cee Gee during 'Heavy On The Grades'. The riddim on the record doesn't do anything for me and it gets lost during matters here, but the back-and-forth between Beenie Man & Cee Gee is, at times, exquisite, which highlights it, easily. You almost wish they tried to do more as 'Heavy On The Grades' is the album's shortest track... I could listen to this again. When I saw that Shaggy (who was also on "5th Dimension") was also on board "Simma" I got an idea of an easy type of vibe between two legends and.... the sun even shines on a dog's ass occasionally, because I got one right. That is precisely what 'Good Like Gold' is. You can't rightly call such a song "filler" due to the level of name value such a piece brings, but 'Good Like Gold' isn't very good and it isn't some super combination that you may have been hoping for either.
The final quintet of tracks from "Simma" features a few more very large names aiding 'the docta' and it also features my single favourite tune altogether here. That distinction does not go to the decent giving of thanks that is 'Blessings'. It's almost comical (and dirty) what Beenie takes a moment to give praises for but to each their own ["Wi come yah so fi mek some money and f**k some p***y and dweet pon our own time. You love Fadda God and bun badmind - sing di punchline"]. I grew to enjoy 'Blessings' but it took some time and I'm thinking it will actual succeed in finding an audience, but we'll see about that. Fittingly following 'Blessings' is 'Prayer' which gives us both Charly Black and Louie Culture (always love to see the Ganga Lee on a new tune) which I LOVED. This one DEFINITELY did hve some old-school vibes circling around it and Beenie Man & Louie Culture were perfect for the moment and Black shines as well. 'Prayer' is stellar and a fine way to end things (nice contribution from the great Dean Fraser as well). 'Fun In The Sun' most certainly is not 'old-school' at all and it finds Beenie Man coming through with those who have NEXT (or NOW) in Popcaan and Dre Island. If you follow the course (this is my way of saying that i should have written them in order and I'm almost done so I don't finish going back and changing it) with this one leading onto 'Blessings' and then 'Prayer' you have a changeup trio at the very tail of "Simma" with all three bringing in some very necessary substance. 'Fun In The Sun' may just be the strongest lyrically of all three as it says to take advantage of what we have and stop bring negativity of all varieties into otherwise potentially beautiful situations.
"But if wi all work together wi can help each other
A nuh dem, alone, wi fi tell 'BLACK LIVES MATTER'
Wi no racist, mi no believe inna colour
A di hard work you perform mi admire
Every rich ghetto youth fi yo ghetto you be a pillar
YESTERDAY YOU WAS A KILLER BUT TODAY YOU IS A PILLAR"
Sean Paul not only lends his vocals to 'Supa Star' but his Dutty Rock Productions also takes production credits for the tune that also calls upon the smooth voice of Anthony Red Rose. This one mines a classic riddim and respect goes to both Beenie and Red Rose but Sean Paul threatens to steal his own show completely here courtesy of his thrilling offering. When at his best, Sean Paul has this almost robotic type of delivery (which used to draw frequent comparisons to Super Cat back in da day) that never misses a beat and I've always enjoyed and still, obviously, do to this day. I got the feeling that there was much chemistry between these three as well and while I don't think they did (seems unlikely), I would hope that all three got a chance to spend a little time around one another in recording 'Supa Star' (how crazy is it that Sean Paul is actually a little older than Beenie Man??). And I've saved the best for last to give myself time to change my mind because I thought that I might. I've never been the biggest fan of Morgan Heritage for some reason I either can't or just don't feel like explaining but at least for the three minutes and twenty-eight seconds of 'Dem Want More' they've made a fan out of me as has Tony Kelly (he didn't have to work very hard though. He never does) (Man's a genius). I'm tired of writing so what I will say is this: You listen to this song.
I've spent this review whining and complaining about the absence of something which is found in abundance on 'Dem Want More' and I never thought it would have come with lift with from the Morgans and they're right... I do want more. What a sweet, SWEET sound!
Overall, "Simma" is just too damn long. It just is but besides that, though it isn't very much of what I was hoping to hear; in an effort to just judge it by what I hear, it most certainly isn't BAD by any means. It's fun! There are so many interesting musical moments found throughout this release and, again, just based on what it is here (and ignoring what I was hoping for) lovers of many different genres and styles will find something to appreciate and, potentially, LOVE from "Simma" and you just KNOW a Grammy nomination (and potential win) is forthcoming as well. We find a certified legend in Beenie Man still in a wonderful form and showing no evidence of slowing down. Still, in my ridiculous old-agedness I can't help but think that, regrettably, when I think back to this album years from now what is likely to stick with me isn't so much what it was, but infinitely moreso what it WAS NOT..... damn I miss Dancehall.
'Rebel Time' by Sean Paul & Beres Hammond [Dutty Rock Productions]
"Rub-a-dub, it never feel like that"
First up this week is DEFINITELY a pair of legends linking up for one sweet piece of tune as Dancehall burner, Sean Paul, and the coolest man on the planet, Beres Hammond come together for 'Rebel Time'. Call this one unexpected but welcomed as these two deliver precisely what you'd expect from such a big union. 'Rebel Time' is just a vibe! There isn't a lot going on in terms of direction (although it does exist should you care about such a thing here (and you probably shouldn't)), but it is such a NICE piece and you knew it would be.
"In The Mood" by Shaggy [VP Records - 2023]
Speaking of legends, I'm also taking quite a few happy spins through "In The Mood", the latest EP set from international star, Shaggy and VP Records. Apparently (like everyone else with functioning ears), Shaggy caught the Soca bug in 2023 and he's done a project in observation of the moment. I have to say that the very first time I saw "In The Mood", just the fact that it existed made me smile. THIS IS A GOOD IDEA! It also helps that, in putting things together, Shaggy also taps reigning Soca royalty as the likes of Kes, Bunji Garlin, Patrice Roberts and even Skinny Fabulous (grrr!) all make appearances alongside the 'It Wasn't Me' singer. Still, a case could be made that the single finest moment on 'In The Mood" comes with Shaggy all alone as he mines GOLD with the syrupy sweet Groovy effort, 'I Love Her'. What a lovely song that is! If you too have personally charted a bit more Soca music this year (shit, even if you haven't), you may want to check out "In The Mood".
'High Grade' by Sizzla Kalonji [Pandemic Records & Entertainment - 2023]
Okay so, not too long ago we told you about some music from the great Sizzla Kalonji that was.... something other than stellar (new album, "Run Tingz", out now) (You don't want to hear that), so of course I've been attempting to rinse it from my mind and I've settled on this recent big tune from the artist and Pandemic Records, 'High Grade'. This one isn't rigid at all, it's very flowing and dynamic and just a very nice vibes and it shows that, although I may typically favour a version of Kalonji which is more 'traditional', that the man can touch in almost any style and make an impact with me. 'High Grade' is a boom!
"Bring it Anu" by Tamera [Ron Benjamin Music]
Something which has probably been on my radar for.... the better part of a couple of months or so that I'm just now telling you about (been busy, sorry!) is this wonderful EP courtesy of one Tamera (who used to go by Hempress Divine) and the great Ronnie Benjamin from Midnite fame, "Bring It Anu". Let me tell you something: THERE IS SOME GORGEOUS MUSIC ON THIS RELEASE. Tunes like the title track, personal favourite 'Free Your Mind Soul Body', the thumping 'Rememba' and 'Atm' absolutely soar on a set which you'll do yourself a mighty disservice if you choose to ignore it. This one I can definitely recommend to fans who have grown accustomed to.... that beautiful HEALTHY VI Reggae sound which is present throughout (and I hardly ever mention it in that way, but it stands out here so vividly).
The Jah Rise Riddim [Machete Records - 2023]
Also on deck these days is a big new riddim courtesy of Machete Records (every time I see the word 'machete' in any relation to Reggae music I immediately think about the WICKED Steve Machete), the GORGEOUS Jah Rise Riddim. With the first half of the year nearing about six weeks from its end, I have to say that the Jah Rise ranks fairly high in terms of the best compositions that I've come across in 2023 thus far. For such a beautiful creation, the vocal talent is top notch as well with several big names taking their turns on Machete's gem. Yaadcore is the least known of the lot, but he turns in a stellar set with 'Concrete Jungle' and is joined by the likes of Sizzla Kalonji, Ginjah, Lutan Fyah, Richie Spice and the reclusive Warrior King who probably provides the Jah Rise with its single finest moment, 'I-Niversal Light', which is damn near STUNNING! BOOM! Not that there are a lot, there aren't; but literally every tune on this riddim is at least very, very good, without exception.
"Standing Ground" by Akae Beka [Fifth Son Records - 2008]
Lastly (not really because I have to go back and write up Tamera's piece), I've also been listening to quite a bit of Akae Beka (as usual) and these days I'm well focused on the GEM that was the double disced set, "Standing Ground" from Fifth Son Records back in 2008 (I've also been on quite a bit of "Momentum" as well ["DON'T ACT LIKE THE DIAMETER IF YOU'S THE RADIUS"]. The double attraction to this release has always been the same and, all of these years later it remains the same though even further buttressed with HUGE tunes such as the intoxicating title track, 'Chant Out', 'King of Kings', 'King Ting', 'Medi', 'Spruce' ["He's the holder of the principle to do right"], 'Adon-I', 'Splendence' and so many others. What got your (or at least mine) attention initially, however, was certainly the fact that "Standing Ground" was a double set (and I think it remains alone in that fact at least as far a studio album from the Akae Beka/Midnite catalogue) and packed with so much wonderful work (over an hour and half of it) and there was also the little matter of it carrying.... simply one of the greatst songs I have ever heard from anyone, the INCOMPARABLE 'Ever Was So'. Like much of the output of the legendary Vaughn Benjamin, "Standing Ground" has recently seen a re-release, this time reflecting and respecting Benjamin's shift to "Akae Beka". Absolutely not to be missed.
Okay so, we gave you a brief taste last time, in saying Happy New Year, with what HAS to be my current favourite tune this season, 'Come Home' by Nailah Blackman & Skinny Fabulous, but there're a few other early tracks sinking their teeth into me at the moment. I'll likely come back later and do a big wrap up (maybe a top ten, don't think I've ever done that) but, for right now, here're.... let's say FIVE Soca songs getting Carinval Season 2023 off to a GORGEOUS start.
'A.C.T.A [Across The Stage Again]' by Bunji Garlin [Smiddy Smith Music]
I've never actually seen the very popular show "Stranger Things", but when I saw that there was a riddim, made by Smiddy Smith, clearly based on it I was very curious as to just how derivative it was and, now listening to it (for the very first time right now), Smith actually did a very good job in my opinion in Soca-fying the sound. The best usage of the Stranger Things Riddim, unsurprisingly, comes via Bunji Garlin who puts it through its paces with 'Across The Stage Again' with what is sure to be a familiar them this season with things returning to a more 'in-person' forum after a few virtual years. Mrs. Bunji Garlin also does quite well with her tune, 'Stage Is Yuh Name', but we'll hear from her a little later with something even stronger.
'Party Time' by Fay-Ann Lyons [Bad Beagle]
Why not do it right now?? Garlin also does an excellent job on the Dramatic Riddim from Slip Into Greenz with his 'Lift', but I think his wife actually outdoes him in this case because her track, 'Party Time' is RIDICULOUS! She's had her eye on you since you walked in the place and she's not liking what she's seeing out of you
"I put the F back inside di Fete and like you doh want to party
I bring di energy fi yuh sweat and like you doh want to party
Yuh energy just make mi upset and like you doh want to party
Is best you didn't come in this fete cuz like you doh want to party
It seems so incredible, never could understand
How you could bear to come in di fete and stand up like is a fan
YUH HEAD ONLY MOVING SIDE-TO-SIDE LIKE IT'S SCANNING DI BAND
SO NOW THAT YOU KNOW YOUR HEAD IS WORKING, WHAT HAPPENED TO YUH HAND?
Artist come after artist and they giving mad energy
10,000 PEOPLE INSIDE THIS FETE, TELL ME WHY I SEEING THREE
Hands in di air, alone, somebody tell me man could it be
THE 9,997 WAITING ON ME?!"
She isn't crying or whining. She is DEMANDING your participation.... and you will give it to her.... NOW!
'Pieces' by Patrice Roberts, Problem Child & Super Blue [Problematic Music]
As is her norm, already shining early this season is Patrice Roberts who is doing it, particularly, via combinations. Tunes alongside Alison Hinds and Kes have demonstrated an almost early-Patrice/Machel level of accuracy and she's also done well on the solo side. MAYBE her finest effort thus far, 'Pieces', comes alongside Vincy vet, Problem Child, and the legendary Super Blue (who is the father-in-law of her cousin - so what does that make them?). This one breaks [EVERYTHING] no new ground at all, but what it does is to amplify the fact that sometimes you just need to BREAK SOMETHING and sometimes, when you do it, it can have a very nice melody. Check this one for a great example (and notice everything going on in the background on this song. It is SO detailed).
'Welcome Home' by Machel Montano, Voice, Agent Sasco & Travis World [Monk Music]
Come on now.... You know I was CONTRACTUALLY OBLIGATED to include this tune. You knew it! Stop it.
'Mood' by Shaggy & Kes [VP Records]
And lastly (I think this is a pretty good way to end, even though i have two more to write... and I'm not sure what one of them will be right now), is a HUGE combination as Reggae star, Shaggy, links with one of Soca's most consistent lights, Kes. This tune is just COOL! It is COOL as hell and, with the names on board, you could probably have arrived at that conclusion on your own. I didn't have to tell you that. It's also damn infectious and I am currently listening to my Daughter singing along with it (her father's joining in too). You play this video and you'll come in as well. Apparently (though unsurprisingly), VP Records have taken an interest in this one (after a year with neither Soca Gold or Reggae Gold) and will OFFICIALLY release it on the 13th of January, but you need not wait until then to enjoy what is certain to be a highlight of this season - it already is.
Also check: 'Remedy' by Destra, 'Long Live Soca' by Voice, 'Pump' by Skinny Fabulous and 'Drones' by Miss Alysha
Okay so, we look up and the calendar tells us that it is that wonderful time of year again when people like you and me take a look at the news and attempt to make entirely inaccurate predictions about what is coming as, recently, the nominees for the 2023 and 65th Grammy Awards were announced and today we, do what we always do and take a look at the nominees for Best Reggae Album and, again, make predictions which have NO chance of coming true.
Last year, there was a bit of controversy as US band, SOJA, beat out five different Jamaican acts to take the award and many fans (and others) had a problem with them winning. This year, no such thing is even possible as all five nominees are Jamaican based artists. The list also includes three former winners (one of whom has won twice) and a previous nominee as well. I will say that I was somewhat surprised not to see Shenseea given a nod for her debut "ALPHA". I'm also thinking that it's somewhat surprising not to see Horace Andy get a mention for the extremely well received "Midnight Rocker" collaboration with Adrian Sherwood. But,, as for those who DID get the call - let's do it!
"The Kalling" by Kabaka Pyramid [Ghetto Youths International & Bebble Rock Music]
I'm sure it's happened, but it is very rare that the album which I feel is the best of the year is even observed amongst the nominees, much less actually wins the Grammy. Because of that, I was VERY happy to see my current favourite (and likely winner, unless someone does something TRULY stunning in the next six or seven weeks), Kabaka Pyramid's "The Kalling" listed here and, though I feel he has the least chance of winning, getting his name into the mix can be a very good thing going forward. For as talented as the Pyramid is, however, he will struggle mightily to eclipse what he set forth on "The Kalling" which was, in retrospect, probably one of the single greatest displays of a tangible SKILL that Reggae has seen in a very long time..... at LEAST.
"Gifted" by Koffee [Promised Land Recordings]
Meet Koffee. The rapturously delightful artist who took home this award in 2020 with "Rapture" will likely have EVERY SINGLE ALBUM SHE EVER MAKES, EVER, be nominated for a Grammy. Though she's still just twenty-two years old and to say such a thing is truly ridiculous - it is the complete truth and you know it. She made the absolute best of her opportunity to demonstrate that with her EXCELLENT 2022 project, the aptly named "Gifted" which, as it stands (unless I am REALLY forgetting someone) is the second best album that I've heard this year. Koffee is the only woman and the youngest person to have ever taken home the Reggae Grammy and she's really just a breath of proverbial fresh air. Diversity can be such a powerful thing, particularly here as she's become a household name in the genre and one whose style and persona has no bloodline. Truly one of a kind.
"Scorcha" by Sean Paul [Island Records]
When Sean Paul makes an album, it gets nominated for a Grammy: It's just the way of the world. 2023 will find the 2004 winner celebrating not only his SEVENTH honour from the Grammy's, but his second consecutive following "Live N Livin' from this year. "Scorcha" was not quite as potent as its most immediate predecessor, but it would go fairly well received and it's absence from this list would have been a much larger shock than its inclusion. "Scorcha" was fun and, thought it did have more worldly ambitions, somewhere in its midst, fans could piece together a relatively decent Dancehall effort. Looking back now, it may've been just a touch stronger than we gave it credit for being and Sean Paul has, wonderfully, grown to become someone who always seems to have the best interest of the music at heart and "Scorcha" was certainly no exception.
"Third Time's The Charm" by Protoje
In 2019, Protoje's "A Matter Of Time" would be nominated (and lose out to the next entry I'm going to tell you about) and that is a GOOD sign this time around in my opinion. It means that whoever is in charge of voting for these things are likely familiar with his work and, of course, it also helps that the extremely gifted artist has seen a general raise in profile across the last half decade or so, which is saying a lot because I could say the same of the previous five years as well. Also, history suggests that, at least when it comes to Reggae, the winners in this category are artists who were previously nominated more often than not. While I didn't LOVE "Third Time's The Charm", I was well in the minority in that opinion and even I would have to admit that it was quite good. It carried a tune in 'Incient Stepping' which has become one of my favourite songs from anyone this year and, though this year remains a question, I am DAMN confident that, be it in 2023 or beyond, Protoje will win the Best Reggae Album Grammy at some point in his career - no question about it.
"Com Fly Wid Mi" by Shaggy [Mr. Luva Luva Inc]
In terms of sheer firepower, it's harder to get more arsenal than "Com Fly Wid Mi" which is an album featuring two time Best Reggae Album Grammy Award winner, Shaggy, singing Reggaefied versions of legendary singer, Frank Sinatra, with another legend, Sting, serving as producer (coincidentally, it was Sting, himself, linking with Shaggy on "44/876" which took this prize in 2019). Simply because of those circumstances, you shouldn't be at all surprised if "Com Fy Wid Mi" were to win this time around as well. As for the actual music, while it was clearly geared towards a certain type of crowd of which I am not a member, the album was not without its moments as the opener, 'That's Life', 'Witchcraft' and definitely 'Luck Be A Lady' all registered as significant highlights in my opinion with a sound somewhere right between Reggae and Big Band (....should have called Sara Lugo, Sting).
AND THE WINNER IS................
"Gifted" by Koffee
When I first SAW it (meaning before I'd heard it), I was of the mind that "Gifted' was going to win the Grammy (a month and a half before it released, I congratulated Koffee on her win). Of course, I did not know what the competition would look like at the time, (I probably at least knew Sean Paul would be doing something at the time) and though I'm not as confident today as I was then, I'm still giving Koffee the nod. The sleeper pick would go to Protoje. As I said, I see him winning it at some point and maybe 2023 is the year....
Of course with me saying it like that, that means that your likely winner of the 2023 Grammy Award for The Best Reggae Album is Kabaka Pyramid. WHO KNOWS! Find out on the 5th of February, 2023.
