Signatures Vol. XVI: Capleton

 

Sure. There's absolutely no reason to do a Signatures feature on Capleton. His music is so popular; he already has at least one official 'Best Of' album that I can think of off the top of my head (it's literally called "The Best Of Capleton" if my memory is correct) and that's not to mention all of the unofficial, fanmade and mixtapes that he's accumulated over the years as well. You could go on YouTube right now and probably find dozens --if not hundreds-- such compilations and that's fine, he deserves it. However, in furthering enjoying his latest release, the GOLDEN "Heights Of Fire", of course, I have found myself going back through one of the most powerful catalogues in all of Reggae music so... why not! Today we take a look at and honour, arguably, THE most explosive talent in the history of Reggae music. Signatures: Capleton

{Coming soon: Fantan Mojah}

1. 'Who Dem'

Slew dem. In keeping with our running habit of opening with the biggest tune, OF COURSE first up is the MASSIVE 'Who Dem'. Anything anyone can say about 'Who Dem' has been said and it's been said for decades but I do want to stress one thing, in particular. While Capleton absolutely SCALDS everything, everywhere it definitely helped that he came equipped with something that can lay a legit claim to being one of the finest riddims EVER. Ward 21's blistering Bellyas carries 'Who Dem' and, obviously, King Shango puts it to the fiery sword. 'Who Dem' is THE prime example of what happens when the Dancehall meets active Roots music. It has a message and it was also powerful. It was also just... THRILLING TO LISTEN TO and a damn action scene of a song. THE single best song of Capleton's entire career and one of the best Dancehall & Reggae songs ever made by anyone. PERIOD.

2. 'Bad Mind'

Envious ahgo mad dem. There is a certain EVIL kind of infectiousness behind 'Bad Mind' which, largely, has to do with the Fed Up Riddim in which it sits and its signature GROWL (the riddim literally sounds like it's pissed off at you!). If the riddim and the overall sound of 'Bad Mind' don't completely hypnotize you (and they might), well then, for you, is also a fantastic message of BEING HAPPY FOR PEOPLE. Instead of letting jealousy and envy run your thoughts when someone does well, congratulate them, wish them well and allow it to motivate you to do better as well. There's a whole lot of common sense behind 'Bad Mind' - A POWERFUL AMOUNT. 

3. 'That Day Will Come'

Nowhere to run. It was the EXCELLENT Hardtimes Riddim which carried Capleton's 'That Day Will Come' (in retrospect, the track probably didn't do as well as it should have but the heights of it, this song and I Wayne's 'Living In Love' were sizable hits in their time) and if you recall me saying that "Reign Of Fire" opened with another entry here, it should be said that, right after it, was 'That Day Will Come' (showing just how mighty that album was IMMEDIATELY). There was a certain.... BLUNTNESS (?) to this song to go along with the typical and expected force found in Capleton's work: If you consistently fuck up and just do... wrong shit, EVENTUALLY you will have to pay. THAT DAY WILL COME! 

4. 'Jah Jah City'

Bloody city, bloody town! Think about all of the antiviolence Roots Reggae songs you've ever heard in your life. It's an impossible request, I know, but I want you to think of just how prevalent they are in the genre. Now when you go about differentiating some and distinguishing them from the pack, that new lot you come up with will include 'Jah Jah City. The MAMMOTH Morgan Heritage produced tune can lay a significant claim to being the very best of its kind. It was a hit in its day and is still well remembered but, these days what is also apparent is that, lyrically, it was one of Capleton's finest performances ever as well and, given his history and his present), that is a giant thing to consider. 'Jah Jah City' was downright terrifying. 

"Dem ah tell mi how dem cold!

Big 45, it shoot out dem brother mole

Nuff ah seh dem cold like up a di North Pole

Seh dem shoot down di young, shoot down di old

Shoot down di puss and di dog and di foal

Every weekend dem get a next payroll

OUTTA MAN POCKET DEM SHOOT OUT BILLFOLD

DISS MARCUS GARVEY, NUFF HEAD HAFFI GO ROLL" 

5. 'Alms House'

Step up inna light. By far the oldest song I'm mentioning today, the nearly THIRTY-FIVE YEARS OLD 'Alms House' stands as a VERY significant song in Capleton's career as it stands as one of a few which, in retrospect, shows what was to come for him and from him. It, literally, shows the internal shift that was going on inside of him. If I didn't make this clear in the opening (which I haven't written yet), once upon a time Capleton was a star of the Dancehall. He was loud and boisterous and x-rated and cocky (probably a poor order to put those in) but even then, the man had morals and he had a mine that there was just too much foolishness going on in the business which led to 'Alms House'. The tune did have a slight Roots aspect to it in the lyrics later on but if you hadn't figured it out by then, 'Alms House' was a signal that maybe this guy had a little something extra to him.... and he did. 

6. 'Babylon A Use Dem Brain' featuring Sizzla

Be still. Capleton has collaborated with Sizzla Kalonji directly a few times through the years (it has been AWHILE) but the DIAMOND of the pair's work together has been, without a doubt, 'Babylon A Use Dem Brain'. Produced by the legendary Bobby Digital (on a riddim courtesy of the immortal Burning Spear), the tune would be featured on my favourite album of all time, Sizzla's "Black Woman & Child" and it's one of those songs that require, unsurprisingly, a bit more keen of an ear to get receive the absolute FULLNESS of because of how DAMN genius it is. Have you ever really listened to this tune? No no. I mean REALLY listened to it?? If you have, you know that 'Babylon A Use Dem Brain' was complete and utter lyrical ROYALTY. It was intelligence of the absolute highest caliber on a combination of two MOUNTAINS!

7. 'Tour'

Culture a di cure. 'Tour' is well over THIRTY years old at this point and, though it did have its day, I don't think that it has aged as well as its quality would have seemed to forecast. 'Tour' was absolutely BRILLIANT. The song was about Capleton leaving Jamaica to tour the world -- spending weeks and months away from home -- only to return and be... fully DISGUSTED by the way things had changed in his absence. Seeing this and having spent so much time spreading his word, "preaching, teaching the people fi sure", he realized that he had much work to do. Instead of giving to strangers and fans, he needed to give his words to his neighbours and his family and friends. The way this song is situated, alone, is attractive but I can't imagine that it didn't work out EXACTLY how everyone involved hoped as a best case scenario. And from the second I was mature enough to appreciate anything beyond the melody here, I was hooked. I still am. 

8. 'Sleep Ah Night'

Worry and fret. We can talk about all of these powerful, outside forces that you may have to answer to when you do wrong but there's one which may or may not be as powerful but is FAR MORE immediate and that's the one that I've always taken 'Sleep Ah Night' as a testament to. You know when you've done wrong and HE has put something in you called a "conscience" to remind you when things aren't quite going according to plan. 

"Can't sleep a night, a nightmare dem ah get

Get up overnight awash by cold sweat

All come outside, come sit down pon step

Wid hand pon dem jaw, dem nah stop from fret"

'Sleep Ah Night' was an energizer of nature's regulator and it was genius.

9. 'Who I Am'

And where I'm from. Along with the final tune carried here, I think 'Who I Am' is probably the least likely to appear on any other personal compilation like this one of Capleton's music but it's long been a favourite of mine. Coming through across Henfield's cut of the downright GRIZZLY Babatunde Riddim, 'Who I Am' was featured on a relatively obscure album called "One Mission" (literally wrote that review SEVENTEEN years ago) where it conquered everything in site with a TORRENT of sagacity as Capleton, seemingly, responded to critics wondering just WHO exactly made him so special. 

"Dem waan know, who I am and where I'm from

Who gimme di authority fi bun di evil man?

Must be The Conquering Lion 

Unuh fi overstand, seh mi live a Zion

Well, no spirit cannot manifest without the flesh

Inna di north, and di south, and di east and di west

Mi bun dem and mi go bun dem yet

Mi dun dem and still ah bun dem yet

Well nuff a dem, mi tell dem go think and check

From di north, to di south, to di east, to di west

And mi hail King Selassie I as The Highest

Nuff a dem they gwan laid to rest

But righteousness haffi manifest!

Ghetto youths hold up yuh head, babylon get upset

Dem ah reject, wid dem internet

Dem technology, weh dem come fi tek

Well nuff a dem a di least

This seh dem a di less"

10. 'Cooyah Cooyah'

BUN EVERYTHING! It is a song like 'Cooyah Cooyah', specifically, why we associate Capleton with fire and call him the King Of Fire and all of these other titles he's accrued throughout the years. There is a stretch right in the middle of 'Cooyah Cooyah' where Capleton lyrically burns EVERYTHING and EVERYONE he can reach with his words. EVERYTHING! The song has become something of a legend over the years and one of Capleton's most popular tunes of all time.

11. '40 Suppn'

SUMN AHGO HAPPEN TONIGHT!! I haven't worked out the running order for this list just yet but I do know that I am planning to put the TRULY RIDICULOUS '40 Suppn' right behind 'Cooyah Cooyah'. Why? Because what 'Cooyah Cooyah' does in that one unforgettable stretch where he torches absolutely everything and everyone (including You & I) is pretty much the entire song '40 Suppn'. The whole damn thing! '40 Suppn' is an overkill. It's intentionally done with too much intensity and too many flames and the results were downright unforgiving. 

What needs to be said between both of these songs is the fact that they feature such an extremely high level of intelligence and sense-making to go along with their severity. This isn't... a kind of blind euphoria (although it most certainly is euphoric). There is a message (after message, after message, after message, after message) within this powerful torrent of words and it is what Capleton does at a level that I don't think anyone else can. HYPE is something that is not rare but MOST HYPE + MOST INGENUITY = Capleton. 

12. 'Death Row'

Sudden death. There is a word that describes 'Death Row' perfectly in my opinion and that is EFFORTLESS. This song, placed in the hands of someone else, might come off as having taken years to compose and to get the delivery just right... but Capleton just plough's right through it and does so from multiple angles. If you REALLY tune in this one, you, like me, migt just come to the thought that 'Death Row' ranks as one of the finest lyrical performances of Capleton's entire legendary career as it is brimming with wordy gems, primarily aimed at those who're not living righteously and have much to be ashamed of in their behaviour. 

"And all di wrong trumpet Rastafari go catch dem ah blow

And all di wrong boat, wi all go catch dem ah row"

13. 'Jah Is My Everything'

Hail The King! The immortal Bobby Digital was the maestro behind the MAMMOTH 'Jah Is My Everything' which absolutely clunked the listener over the head at the beginning of the "Reign Of Fire" album. I can remember hearing this song for the first time on that album and literally feeling overwhelmed and it's remained on my mind (obviously) twenty-two years later (almost exactly. Album released in August of 2004). There may be better songs on this list or song which I favour ahead of it but I will say about 'Jah Is My Everything' is that, for what it was, it was PERFECT. There is nothing wrong it at all. NOTHING. It was lacking in anything at all and, again, it just brings up such wonderful emotions for me; I now get dashes of nostalgia along with just the general feeling that what I'm hearing is something truly special as Capleton put on a praising performance for the ages. 

"There is no problem He can't solve

So inna certain things no bodda get involved

Well Rastafari is the ultimate and He, alone, can get all these problems resolved"

14. 'Hard Again'

HARD NOW! By far the unlikeliest song you'll find here (and the newest), it was just six years ago when Capleton called down some of the hottest and harshest fires of all for Payday's thumping Hard Again Riddim. Surprising to absolutely no one at all, Capleton went HARD on the riddim and it stuck in with me (and you think about everything I didn't put on this list in favouring it) (I could do a couple of sequels for this one RIGHT NOW if I wanted and it wouldn't be that difficult at all). Surely not the only one of its kind but if you looked down this list and thought you needed something to just... punch you straight in the chin, this one is for you! Man probably left his voice in that studio making this tune. 

Completely Random Thoughts: Vintage Sizzla??

Okay so, I had tons & tons of fun putting together the Sizzla 50, a list of fifty random songs in celebration of Kalonji completing his fiftieth year on the planet. Putting that together fairly quickly (I don't know if it took more than two or three hours) was a BEAUTIFUL dosage of nostalgia and, despite the fact that I had so much room to work with, I still left out quite a few tunes that I had originally planned to put on the list (such as the entire "Ghetto Youth-ology" album, for example). It was a fun journey back through the classics and, on one hand, it made me miss them, while on the other it made SO appreciative of how well we had it back then.

Typically, when we talk about Sizzla Kalonji at his absolute best, the discussion centers around the work that went into a pair of albums, "Praise Ye Jah" and "Black Woman & Child", which is completely fair. Those two releases have reached a legendary status and that's fine. They're deserving. The latter is the single greatest album I have ever heard in my life to this very day and, all these years later, I still find myself running into new things that I hear on "PYJ". I wanted to take a little look at some of Sizzla's earlier work that didn't/doesn't get as much attention, in retrospect, as "Black Woman & Child" and "Praise Ye Jah" but definitely are big demonstrations of a supreme level of skill. 

The biggest example of this is probably "Royal Son Of Ethiopia" for Greensleeves, from way back in 1999. There used to be a fairly strong contingent of individuals who maintained that "Royal Son" was every bit as strong as "BW&C" & "PYJ" and although I do not agree... the album lays a serious claim to being the solidified #3 out of his catalogue. The very first song on the album, 'As in the Beginning', was literally PERFECT (probably in the top ten of my favourite Sizzla songs altogether) and although it was the highlight of the album, it was the brightest of stars in a sky FULL of them. That set was absolutely LOADED and other standouts included the likes of 'Eastern Mountain' with Luciano, the intoxicating 'Burn Dem Turf', the blistering 'Ripe Leaf' ('Ripe Leaf' was PROBLEMS!), 'A Wah Dat', 'Break Free', 'Babylon Homework' ["Who dem go fool seh Black man a monkey? Black man, Black woman a di first monarchy!"], 'Break Free' and I could go on and on. 

As I said, "Royal Son Of Ethiopia" was Sizzla's Greensleeves album for 1999, if you go and look at what he was doing for VP Records around the same time, you don't see anything quite impressive, singularly, but you see a group of albums whose best represent some of the finest work of the entire genre at the time. Lumping together the three VP albums of 98-00 -- "Freedom Cry", "Be I Strong" & "Words Of Truth" -- when you take THE best that they had to offer, in full... BOOM! For its part, "Freedom Cry" was FUN. It leads into a point that I'll probably end this post on so I'll save it for a minute but it was a really good time of a Roots Reggae album of its time. It's very melodic in tunes such as 'Saturated', 'Long Journey', the kind of funky 'Rain Shower', 'Ancient Memories', 'Lovely Morning' and even 'Till It Some More' to a degree. Take that and combine it with the class of the album, 'Real', 'Love Amongst Me Brethren' ["To Sizzla, that is heaven"] and 'Dem Ah Try Ah Thing' and you have an album which may not represent the chanter at his absolute zenith but PAINFULLY close to it. While 1999's "Be I Strong" wasn't as fit as "Freedom Cry" it, too, also served up some unforgettable material on its highest side and it had a certain 'levelling' quality to it (which makes no sense at all but I'm going to explain it). The two signature tunes, at least on paper, from "Be I Strong" were the title track and "The Vibes" which featured Capleton. Neither one of those songs are amazing. They're pretty good and there's nothing wrong with them but there was far better material to be found there and most of it is gone. You don't remember damn near BRILLIANT Dancehallish Roots tracks like 'Powerfull', 'Men & People', 'No Chance', 'Stop Violate' and 'Love Is All' very often. And that's what I meant by "levelling". "Be I Strong" hit a certain level of quality and, for the most part, it just STUCK there. It never went too far up or down and, if you enjoyed that sound, listening back to it today shows a different side of what came before it in sound but one still honouring the downright monstrous talent behind it. Then there was "Words Of Truth" which kind of sits out on an island of its own because of the fact that the album came accompanied by a second disc which was a live performance of Sizzla's (which was and remains a VERY cool addition by VP). That fact will probably always keep this album not too far forgotten but, perhaps, we do tend to overlook what was going on with disc #1 a quarter of a century later. 'Enemies Are Confounded' ["Babylon! You're a dirty bastard!"], 'Them No Good', 'Attack' [BOOM!], 'Love Ah Di Way', 'Step Up' and the GORGEOUS opener that was 'Lift Mine Eyes' were EXCELLENT tracks present on "Words Of Truth". Again, they weren't his best but they weren't galaxies away either and they represented fine, collective, next steps and expansions on his sound in my opinion. 

What Kalonji would do with VP in the next two years isn't worth discussing because it's been talked about ad nauseum (and if you do need more, check HERE and HERE) and deservingly so; both albums were fantastic (and I just thought of a cool conclusion to this, so I'll bring up one in a minute). But let's go back and see what the next two years had in store for Sizzla on the Greensleeves side. In the year 2000, they'd push out the absolutely FANTASTIC "Bobo Ashanti" which, for me, is a top ten level Sizzla album (and it isn't eighth, ninth or tenth) and would've been a Modern Classic were it not for the fact that it missed the cutoff by a year. "Bobo Ashanti" is headlined by a tune, 'The World', which is one of a very few in the conversation for being THE single greatest song I've ever heard from Sizzla altogether and what followed were SUPREME winners such as 'Strength and Hope', 'Wicked Naw Go Prosper', 'Grow U Locks' ["....and wear yuh turban. Pon di disobedient di fire burn pon!"], 'Attack', 'Courage', 'Do Good' and others still. Charged with following "Bobo Ashanti" was an album which, although it didn't reach those levels, admittedly, has WELL become a personal favourite of mine, 2001's "Rastafari Teach I Everything". Highlighted by a downright GLORIOUS ode to Mother Africa, 'Beautiful', I think "Rastafari Teach I Everything" is, arguably, THE most underrated release of Sizzla's entire career (I'm REALLY biased if you haven't figured that out) as it is STOCKED with excellent tracks and no one remembers! 'Better Make Sure', the THUMPING 'Stay Clean', 'Energy', even 'Give Her The Loving' was solid, 'Escape From Prison', the title track, 'Revenge' and, of course, the all sorts of fun ganja tune, 'Yes, I Get High' ["Rastafari a who we are. Identify me now - BY MI SKIN COLOUR, YOU KNOW THAT I'M A STAR!"]. Always at least solid, over the course of the past decade or so, "Rastafari Teach I Everything" has become special to me and, again, it fits so wonderfully into the type and the QUALITY level of work that Sizzla was doing at the time. The Sizzla & Greensleeves releases would lose their way shortly thereafter with albums such as "Rise To The Occasion", "Soul Deep" and that other one whose name I can never remember and don't feel like looking up (Street or Ghetto SOMETHING) ranging somewhere between awkward and awful; before righting the ship somewhat with "Life" and COMPLETELY with fine albums "Waterhouse Redemption" and "Ghetto Youth-ology", making way for the MAMMOTH "I-Space" in 2007. 

And, before we do end, I'd also be doing you a disservice if I didn't mention another pair of albums from the time, "Good Ways" & "Liberate Yourself". The former is the followup to "BW&C". Produced by the brilliant Bobby Digital, "Good Ways" featured a very loose but old school type of vibes and it carried some serious HAMMERS such as 'Bless Me'... I was about to go down and list a heap of tunes like I've been doing thus far but fuck it.... pretty much the entire album was a HAMMER! I would point to one song, specifically, that was an excellent dose of what was to come on the Dancehall end: Sizzla's cut of Jazzwad's WICKED Riott Riddim. It was aggressive, POSITIVE and uplifting music which would soon become a giant staple of his output. Like "Words Of Truth", "Liberate Yourself" came with a wildcard. It also came alongside a second disc; this one a straight compilation with the likes of Bushman, Kulcha Knox, Terry Ganzie, Prezident Brown and even the legendary aforementioned Garnet Silk and Luciano, amongst others. As for the actual album, while it most certainly was NOT great (and that opener... probably turned more than a few people off from listening to all that came after it) ('Inna Africa' may just be Sizzla's WORST time from the period altogether), it was saved from total quality oblivion by 'Forever Be Strong', the striking 'Waan Go Home' (probably the best song on that album), 'Fire Fi Bun', 'By Your Words' and maybe one or two others. While "Liberate Yourself" may lack (it does) in overall strength and levels, it does give you glimpses CONSTANTLY of the brightness of its source. Generally speaking, LISTEN to the work Sizzla was doing. I point out in certain individuals -- whose music I absolutely LOVE -- such as Vaughn Benjamin and Lutan Fyah, who I regard as being bona fide masters of the spoken word with some of the things they're capable of doing, lyrically; but aren't necessarily the most gifted at making melodies. Benjamin, for his part, often doesn't even seem to give a damn about the riddim behind him, while Lutan Fyah (although he's better than he was earlier in his career) can come off as being somewhat rigid and less malleable). Sizzla was positively BRILLIANT with his words AND he made a brand of modern Roots which was WHOLLY ENTERTAINING and gratifying to the ears. He could glue himself to a riddim of several different types and do so with a poignancy virtually without equal. Also, he had a way of writing which combined both the spiritual and tangible worlds effectively. You did not have to seek His Majesty to find clarity in his words and, at his absolute best, he spoke to EVERYONE willing to take the time to listen and, again, listening wasn't labourious. You did so willingly!

There is an elephant in this room which I alluded to but did not mention outright when it comes the "vintage" level or "PRIME" of Sizzla Kalonji and that is "Da Real Thing". Despite coming years following "Praise Ye Jah" and "Black Woman & Child", "Da Real Thing", arguably, has had even more influence on the genre and played a greater role in bringing new ears to the flock (given just how outwardly popular it became) (and remains). The title of that album is significant because, if I recall correctly, its maestro, the aforementioned Bobby Digital, insisted on it. The story was that Sizzla, himself wanted to name it "Thank U Mamma", after its best (in my opinion) track but he relented and it became "Da Real Thing". There's an obvious connection here but I think that, given the fact that someone SO DAMN responsible for supplying much of the ammunition which we recognize as Sizzla's finest output wanted to, ESSENTIALLY, declare another album to BE part of that. It was just three words but they included an album into a certain level and also excluded it from one (<that being more of the Dancehall oriented and controversial material that Sizzla was doing around the time). That is VERY POWERFUL coming from who it's coming from. It sounds like something You and I would do, as fans. So, while we look at two very large pillars as being THE examples of a level that remains Sizzla's finest after all these years (and do so fairly enough), perhaps that thought is INCOMPLETE; because when we examine the entire general era, in full, what we find is that the genius seeped into other areas, whether we realized it or not. Combine that with a level of [over]activity that may be unmatched and where you end is at an EXTREMELY robust catalogue - particularly LOADED with diamonds at the front. 

SIZZLA 50

50 rotations of the sun

50 completely random big tunes

Distinguished: A review of Endeavors by Spragga Benz

Heavier. As is the case with virtually anything else, when it comes to music, respect is a thing that is earned, first and foremost. Whether or not it is lasting in any particular case is another question but when you receive the respect and the deference and the adoration of fans and your peers, you have to be doing something right. On one scale, we could look at the status of a 'one hit wonder' who could, conceivably, attain a level of immortality via one big tune (and you could probably think of songs from... fifty years ago now, which are eternally linked to the name of one individual). That is a type of respect: You made a giant song and it made a lot of people feel good - THANK YOU! Going beyond that, we can look at individuals who, while they aren't amongst the absolute biggest of stars in any certain genre, they have achieved a level of acclaim and distinction which, again, has made them unforgettable in the eyes of many. Not too long ago, we did a Signatures feature on Jah Mason and he's a pretty good example of that. I was prompted to write that feature in reaction to seeing someone refer to the Mason as a one hit wonder (insanity) but when you really get into the rest of his career, you realize that he's been SO MUCH MORE than just one massive tune and his been a very consistent soldier of Reggae music for a very long time. I look at several of Jah Mason's Roots geared peers such as Bushman, CHUCK FENDA, the late Determine and others in the same light. These are long-tenured artists who have given us endless enjoyment through the years and while they have peers whose names are more widely known, their contributions are not to go overlooked or underappreciated. As I have discussed in the past, on a personal level, there are those who, for one reason or another, have charted a very high level of appreciation and reverence for me and not just on the strength of their music (though primarily) and another, still, whose names just carry a lot of weight with me. Aside from the lot that you're expecting (i.e. Mark Wonder, Norrisman, Queen Omega...), I'm thinking of people such as the fantastic General Degree, Mad Cobra, Ras Batch and I've come to realize that Spragga Benz is definitely amongst these. 

2019

These're artists who may not be very active for the most part (in the case of Degree and Batch, not hearing a single thing from them over the course of an entire year is not a rarity at all) and that surely helps; but I find myself so damn interested in hearing what they're up to when they do finally reach with something. Their names carry such a weight with me and I'm just HAPPY to see them attached to some project. Gone are the days when the Dancehall heads amongst them would hop on any riddim (I don't know how old Batch is but Degree, Cobra and Spragga are all sixty within the next four or five years) and, of course, the genre has changed to a large degree in that aspect; so I appreciate when they're out and contributing. On top of that, as you might expect, I don't get to write about any of them very often, so I also stay looking for opportunities to do so in order to celebrate what they've given us previously but are also still currently up to. 

2020

Taking a look at these specific cases: I THINK the last time Batch made an album remains 2017's "Rootz & Kulcha" (need to do something about that), I haven't a clue when the General's last studio project released (I THINK there was an EP maybe a year or two ago) and Mad Cobra's last album is probably STILL be "Snypa Way" which is damn near twenty years old at this point and was likely one of the first reviews I ever did on this blog (and it was not completely new even then). Spragga Benz, on the other hand, has been downright prolific, by comparison. Spragga's most recent album release was 'just' five years ago in 2000's very well received "The Journey Chosen". That set, though very varied (what!) was SOLID, fun and featured guest spots from the likes of Kymani Marley, Konshens and Wayne Wonder. The year prior to that was "Chillagon" which was even more diverse and though less of an album than "The Journey Chosen", was an okay set and did a decent job of showcasing Spragga's talents, albeit in spurts. What is Spragga Benz good at and how did he earn his stripes over the years?? I'd make the case that what really draws me to his style is just how FREE it is when he's at his best, with this LARGE, beautiful voice. Spragga has this way of... doing damn near anything that he wants, lyrically, without falling too far away from the subject at hand. It's very loose. For contrast, take General Degree. He's very SHARP and to the point and CLEAN (Degree's music is awesome. It's just so damn fun to listen to), and I would also include people like Beenie Man, Buju Banton and the likes who, if ever there was a school of delivery, they attended and were the top scholars. Someone else who would fit in there BUT has a hint of something else is Agent Sasco who took a grand amount of inspiration from his mentor, Spragga Benz and, at least for me, Assassin is one of THE most gifted lights the Dancehall has ever produced. PERIOD. You do hear that kind of spontaneous and rough-around-the-edges approach from Sasco though on occasion and I owe that to Spragga. If you remember Mega Banton and how BRILLIANT that an could be but it never sounded too well situated or planned out, that's always where I've put Spragga Benz. Whatever it is, it's worked for him, historically, and it's still working for him as 2025 sees him on a new project, "Endeavors". The album comes via Red Square Productions [DUH!] as well as Lamar Reynolds who handles production via his LMR PRO Productions outfit. As has been his norm in recent times, "Endeavors" is a blend of several different styles and had I written this review a month or so ago, it probably wouldn't have been this positive. As it is, while I do not LOVE everything I hear, it does prove to be a compelling and colourful piece by its end. Not doing anything at the moment?? I'd love to tell you about it. 

Along with being well respected amongst fans, Spragga Benz has also made a name for himself with his peers and he's able to pull in three huge ones to feature on "Endeavors", including one VERY special guest.... so we might as well start there! There is an all kinds of interesting tune here by the name of 'Shoot Down That Drone' which features the late, great Calvin Scott, bka Cocoa Tea who we lost earlier this year. The tune has been billed as the final recording of Cocoa Tea and I've even seen it suggested that the tune may've been done via AI. Cocoa Tea doesn't sound his typical self in the vocals (I've also read that it may've been recorded (or at least partially) from his deathbed), Spragga, on the other hand, is absolutely dominant in one of the finest displays on the whole of "Endeavors". 

"Countering system weh wi call Drone Killa

Wi need some dung a Tivoli and need some up a Villa

And send some fi mi thugs a Trinidad & Anguilla

So wi disrupt every signal weh dem fly ova di hill yah

Haffi link up Raggamuffin, haffi link up Gongzilla

Cause di ting is like a little monkey vs a gorilla"

The anti-surveillance (or is it pro-privacy???) track stands as a legitimate highlight here not only for its background circumstances but also for its quality as 'Shoot Down That Drone' makes a heavy impact in its brief time. On the very next tune up, the very THICK praiser 'Teach Them', things go even higher as joining Spragga this time is Sizzla Kalonji. BOOM! You may recall a couple of albums from a year that I don't feel like looking (had to be almost twenty years by now) up, by a label called Drop Di Bass (didn't have to look that up) - "Prototype" & "Addicted". I think they were both released on or around the same day and they were full albums from Spragga Benz and Sizzla Kalonji, respectively ("Prototype" was average and "Addicted" was horrible, if I recall correctly. "Addicted" is probably THE worst album Sizzla has ever done in my opinion, even still). Both of those albums featured two or three combinations between the two and none of them were noteworthy and they've had at least one other song together and you've surely seen them on stage more than once as well; so, obviously, they're very good friends. 'Teach Them' is the best song they have together in my opinion and, by the slimmest of margins, it's also the best song "Endeavors" has as well. While Spragga remains on top of his game ["And when mi use mi weapon Jah Jah gimme a reward. But dat weapon yah no kill you, but it help. DI WEAPON YAH CAN MEK YOU FIND DI GOD INNA YUHSELF"], Kalonji also shows flashes of the brilliance that you know is still somewhere in there (just wish he'd bother digging it up more often than he does these days) ["Judge mi by my character and that is all. Cause me and the devil ain't no friend at all. This can't be duplicated, I'm not easily manipulated. Rastafari you're the greatest, we ever stand tall. And mi seh now would be the right time: Turn from evil, change yuh lifestyle. Stop hurting people when a night time. Praise Rastafari with a bright smile! Don't you sell your soul, you've got an option. And don't you go mix inna corruption. Better stand firm at the junction, cause babylon system ah malfunction"] making for a GORGEOUS display and one which well draws you in to this release. A lot happens in what turns out to be a relatively short time at just south of three minutes. The star power continues on the lovely 'Believe In You' where Spragga taps Tarrus Riley to beautify the vibes and, of course, he serves that purpose to near perfection. Perhaps it's getting redundant to say how well Spragga performs here (BOOM!) but both reach similar grounds (high, WAYYYY up in the hills) on the inspirational/praising offering. Along with pushing names like the Rileys, Sizzlas and Cocoa Teas, of the world, Spragga also shines some light on some names that, perhaps, you should begin to get better acquainted with, such as that of the sweet singing Lucian, Ashley Skerritt. Skerritt has a VERY interesting voice it's... hypnotic... it's Sade-esque. She's very chilled but has an excellent way of conveying emotion in her tones and is just SO nice to listen to. She leands her infectious talents to a song which is a bit stronger than I originally gave it credit for being, 'You And I'. You already know what this one is about and in what direction it goes and I'm not going to blow it up and say that it's amazing and one of the album's best but don't just run through it thinking that there's nothing to see there because it's better than you're probably thinking. The other combination aboard "Endeavors" finds Spragga linking with a couple of his own artists, Bittah Sosicka & loooooooong time spar (who I THINK might be related to Spragga, actually) the talented Briggy Benz who all come together on a very intense (and clever) social commentary, 'Monsters On The Run'. You typically hear these songs in a done which is saying that it's best to change your ways before The Almighty comes but 'Monsters On The Run' goes on the attack (they literally say, "God may forgive you piece of shits but we won't") and it is a very nice change of pace from the norm because I was clueless as to what to expect from this one based on its title.

Quickly, I saw a clip of a review that Spragga Benz did to promote "Endeavors" and he mentioned that there were "no gal tunes" and the interviewer (who had done his homework), corrected him by saying there were a few (there're three, technically, if you include the aforementioned 'You And I'). It speaks volumes that Spragga forgot them and when get into them, 'She No Happy' & 'No Ordinary Girl', you see why. Both sound similar to one another, both are horrible and that's that. He didn't remember them and you shouldn't either.

Sans those two songs, while Spragga is on his own throughout "Endeavors", he puts on a strong show.... shit, pretty much the entire album is some kind of decent besides 'She No Happy' & 'No Ordinary Girl'. Check the towering opener, 'Mountain'. Despite its rather awkward beginnings, the tune hits its zenith fairly quickly and becomes something DAMN impressive. It's a dual meaning here with it kinda/sorta being a ganja tune of sorts but also one that serves as an inspiration (therefore, discussing two different types of HIGH-NESS). When I saw (heard) what was going on with 'Mountain' and the lumbering 'uniqueness' began to grew on me, the lightbulb over my head popped on and I realized that we had something special there. Lagging not too far behind at all -- figuratively and literally -- is the album's second selection 'Busy Like Bees'. There's something really GRIMY about 'Busy Like Bees' and though it does have somewhat of a dark edge to it, that isn't quite what I mean. The song never seems to FULLY consummate the marriage of riddim and lyrics (they just don't perfectly lock up) but it comes very close and the fact that they DON'T sync up is almost an attractive quality here. Spragga is enjoying his status and all that he has managed to achieve and, to some extent, in an almost ghoulish way, 'Busy Like Bees' seems to be a celebration of that. Spragga basically chooses to SING his way through 'Brotherly Love' and, by its end, it's clear that he chose properly. It isn't the first time he's done such a thing. On one of my favourite Spragga Benz tunes, 'Sleep With Angels' [TEARS!], he does the same thing and 'Brotherly Love' may not have a seat at THAT table, it is a very nice song that grew on me after awhile. Here, the artist openly wonders what has become of a certain way people used to treat one another and it comes through on a tune that has this GIANT sound that doesn't sacrifice melody or any general appeal (it's pleasant to listen to) that it has at all. Sizable of a different kind (only quality) (the most important kind), is later tune 'Them A Chat'. Hundreds of years ago, Spragga once had a song of the same title [basically] ("them" = "dem") on the Amharic Riddim, which was ridiculous in every single way and I mean that in a great way. This one isn't quite up to those lofty levels but it isn't lagging too far behind either. A swipe at jealousy and envy, 'Them A Chat' is on point, entirely focused ["All weh dem do is watch another doing what dem caan do. Chat people business from dem limited angle"] and it is ACTUAL DANCEHALL music. It's a Spragga Benz specialty and it's mere PRESENCE on this album makes "Endeavors" better, in general and far more fun as well. 

I don't love 'Best Friend' but, who cares what I think because the tune was actually chosen as the album's most recent single as far as I can tell. It's kind of an R&B song without the singing (in terms of its sound and subject) and though I don't dislike or think it bad (it is farrrrr better than 'She No Happy' and 'No Ordinary Girl'), it's just kind of average and I think that even if it was your goal to capture the attentions/affections of a non traditional Reggae audience, there was at least one better choice to be made (called 'You And I'). Finally (one of the easiest to write reviews I've had all year. I had started it a few weeks ago and put it down but just picked it back up YESTERDAY and here we are) is the title track (when's the last time that happened??) which might be another choice as a future single if you're looking at reaching a broader audience. 'Endeavors' didn't work for me initially so I poured some time into it (probably have listened to it more than any other selection here) and I never arrived at a place where I can say that I actually LIKE it totally -- the sound is kind of strange and it just doesn't work for me -- but LYRICALLY, it has its moments.

"Let's talk about manners

Some seh 'wah dat?' all dem know a just dollars

Love take hits and ah boast just for others

TAKE TIME, SCROLL FIND SOMEBODY FI FOLLOW"

I can appreciate something like that ^ anywhere I find it and even if I'm not crazy about the package that it's been wrapped up in (and I'm not), it is noteworthy as, again, Spragga Benz takes a look at those who have their priorities kinda fucked up.

Overall, I don't want to overrate this album and you can skip ahead to see the number grade I gave it to confirm that I am not but "Endeavors" is just an interesting and COLOURFUL release. If you do not love it, that's fine (neither do I) but I think most fans of Reggae will find something here that is enjoyable. For the most part, as I said, it catches its star in a fine form and, furthermore, Spragga has enjoyed a pretty good year in 2025. Earlier he reached with a tune by the name of 'Hallelujah' which did some damage for him and was probably one of his biggest hits in recent years. You would have thought it would have been on this album (would have made perfect sense) but even in its absence, "Endeavors" manages to hold its own. While you won't find Spragga Benz at the height of his esteemed powers here, "Endeavors" does showcase a talent still well intact after allllll these years and one well worthy of your time and respect historically and, clearly, presently. 

Rated: 3.25/5

Red Square Productions + LMR PRO Productions 

2025

UNDERSTOOD!: A review of Upliftment by Derrick Sound

Convinced. Back in da day such an occurrence was all the more frequent. You'd have a very Reggae-centric situation where you'd have twenty artists jump on one riddim and some of them would get lost in the proverbial cracks IMMEDIATELY and then you'd do some sifting of your own, whether you realized it or not. My delightfully nostalgic point of reference takes me through names such as Hollow Point, Jagwa, Zumjay, Calico, Desperado.... Alley Cat... Icecold [!] and a number of others who'd have songs on tracks which would go consistently overlooked. They weren't amongst the biggest names in the genre and, barring the occasional hit, you might not pay much attention to their work. Still, they were popular to a certain degree (and most of them are probably still at it) and, obviously, favourited by producers of a certain era of Dancehall. There was also some serious talents in there as well. Desperado had a very interesting LOUD quality to him and, at his best, Hollow Point was literally off the charts with what he was capable of (and he still is). So, who knows what we may've missed out on (some of those people should have been much bigger stars than they were... but that's a different discussion that I'm sure I'll have one day) through not paying as much attention as we probably should have been. The point here is that, regardless of how good something (or someone) may be, even if you are attentive and are proactive to go out outside of your usual patterns, you can't keep up with EVERYONE. It may take some impetus to help you get started in giving someone a chance and for everyone that I named, I could name others who you did give a shot. The vouching of someone by someone who you respect can go a long way. Baby Cham, for example, had the backing of an actual GENIUS in Dave Kelly driving his career and was able to develop on some of the finest production the genre has ever seen. Vybz Kartel had a similar run across Don Corleon's riddims and maybe Spragga Benz lifting up Assassin gave him a solid basis to start out on (and I bring up those instances, specifically, to stick with the times that I had previously started into with my initial examples). Were those not the cases, who know! Maybe we'd be looking at Baby Cham or Sasco as talented underachievers (I don't think so, but it's possible). There are any number of things that can get you to open that door for the first time and MAYBE never closing it.

Maybe even an album would do it.... but then again, maybe not (it might take two of them). Today we're going to take a look at someone who just, all of a sudden, one day seemed to pop up and whose music I've written about, fairly consistently, without truly digging into what they were actually up to. Perhaps (no way), we may even get into addressing WHO THE HELL IS DERRICK SOUND? Again, I can search these pages and find myself writing about them, directly, as far back as a couple of years ago now in regards to working with longtime favourite of ours, Cali P. HOWEVER, a bit of research reveals that the players at work behind Derrick Sound, Mr. Nico & Inspecta Derrick are the same ones behind the ULTRA familiar Evidence Music from out of Geneva, Switzerland, whose releases I've been writing about for about a dozen years (dating all the way back to the Dancing Machine Riddim) and that shine you see coming from this page is the lightbulb going off over my head (... and don't even get me started on Little Lion.... who knew!).

2024

"THIS CHANGES EVERYTHING!". "MIND BLOWN!". Evidence Music has pretty much worked with everyone. Along with a few of the wonderful people we're going to talk about shortly, they've also done work with the likes of the incomparable Queen Omega, Tiwony, Micah Shemaiah, Addis Pablo, Skarra Mucci and a mightily impressive line of others. They've had their hands in many pots over the years and continue to these days. Why I'd never known the specifics is probably because I was content to enjoy the music of Derrick Sound in the fairly frequent times that it popped up on my radars and I had yet to actually review one of their projects. This was due to POOR planning as, in early 2024, they gave me a RIPE opportunity to do so via what stood as one of the year's strongest compilations by its end, The Fight Again Riddim. As I said, I'm going reserve the heaviest of my ammo for this new project but the Fight Again was CRUCIAL and carried contributions from Cali P, Shemaiah, Tiwony, LMK [BOOM!], even Hollow Point (remember him??) alongside Chico and it was just a GORGEOUS composition with a very light sound but strong core to it. The Fight Again got up everyday and did its crunches! Derrick Sound made it nice and easy for me and I should have reviewed the Fight Again Riddim album (and its beautiful cover) but I didn't... because I'm old as hell and tired but they're giving me another shot! 2025 now brings us another compilation which I cannot keep my eyes off of, "Upliftment". When I saw the tracklist for this one and saw what else they had forthcoming (more on that in a second), Evidence suddenly got my WHOLE, ENTIRE attention for the last part of the year. ON PAPER, we had what amounted to a potential compilation of the year contender and just a DAMN RIDICULOUS collection of vocal talent aboard "Upliftment". The compilation appears to be built with tracks from, primarily, 2025, although I did find one or two which date back to last year or year before (which is just fine) and it stands a powerful display and catcher-upper to exactly what Derrick Sound has been up to. Let's take a look! 

I have to say something about that cover (I am contractually obligated to do so). When I first saw it, I thought it VERY cool in a lovely, nostalgic, old school kinda way and I was delighted to see in the press notes that it read: 

"With Upliftment, Derrick Sound delivers a true homage to the reggae of the late 1990s and early 2000s, a pivotal period that also marked their beginnings as DJs. The project recreates the energy and atmosphere of those years, drawing inspiration from legendary producers such as Fatis Burrell and Bobby Digital"

They absolutely NAILED it with that cover and its early 90's feel. It goes on to talk about paying homage to the golden age of Reggae music and, when you get into it, they're doing SWEET on the musical end as well. Perhaps none are sweeter than the opener and title track which brings together a favourite of Evidence's, Bugle, and the brilliant aforementioned Agent Sasco. 

"Nuttin no negative, so wi no deal wid minus

Wi blessed and multiply, so they cannot divide us

Oh yes, wi give thanks to di blessings dem weh Jah provide us

Whoi! Dem cannot stop wi cause a Jah ah guide us

AND YOU CAAN DRAIN WI ENERGY, GO DRAIN YUH SINUS

You no si - badmind ah get dem, yes, dem catch di virus

Di crab dem inna di barrell, dem no waan you climb up

MI POSITIVE OF DI FACT NEGATIVITY TIME UP"

I can recall when "Assassin" was coming up and it was him and Vybz Kartel being compared to one another, they were 'classmates', in terms of time. Kartel was a martian. He had lyrics from outer space and he had so much HYPE based on his skill that it was reminiscent of very few people the Dancehall had ever seen prior to him (thinking of someone like Papa San) (Papa San can probably still just rhyme ALL DAY LONG if he wanted to). Assassin was different. He was far more straight-forward and there was more of a... development to him. He didn't start from so far along but what this man has become lyrically is ABSOLUTELY STUNNING and he puts nary a damn syllable out of place on 'Upliftment'; destroying his initial verse, only to return later and say some shit like:

"Yeah di massive, ah si positive

POSITIVE INNA WI NOUNS, WI VERBS AND WI ADJECTIVES

REAL & GENUINE SO NO PRESERVATIVES, NO ADDITIVES"

HUH?! WHAT?! Not to overlook Bugle's contributions to the finest tune you'll hear on the album named after it but Agent Sasco absolutely burns the place to ash in the name of positive with a simply PERFECT performance. Given the most unenviable task of following the opener is someone who is up for and capable of the task, as the highly skilled Lutan Fyah makes the first of his two HUGE appearances on "Upliftment" with 'Blessings'. If you want to  hear a song that does absolutely NOTHING in the way of breaking new ground and is pure and simple, straightforward Roots music but is EXCITING and thrilling to listen to, hear 'Blessings'! The Fyah is joyous for what he's received in his life and for the opportunity he has to praise His Majesty and I won't write them out because I just did it on the previous song but he drops some BEAUTIFUL lyrical gems here, as is his norm... like this one.

"Late at night, before I rest, Jah is my company 

SELASSIE I. NOT PERHAPS OR PROBABLY!"

BOOM! That being said, perhaps you could make the case that Lutan Fyah goes even harder on his second track on the album, 'Bla Bla Bla', his cut of the previoulsy mentioned Fight Again Riddim. It was one of the best songs on that riddim and it's one of the best songs on "Upliftment" as well. Lutan Fyah is tired of hearing the bullshit and 'the company line' over and over again and he's found a SWEET way of making that known. As one of two artists to appear here twice, Lutan makes the most of both opportunities with powerful displays of his considerable skills. Speaking of "considerable skills", if everyone on this album were at their absolute best, I think the CONSIDERABLEST is the star of 'Jah Is Always Near', Sizzla Kalonji. He hasn't been in a fine form over the past few years, however, which makes it all the more interesting and noteworthy when I do hear something good from him and his offering here, though not on even the same planet as his best, is decent. The song is done in that kind of odd wailing that Sizzla used to get dual criticism and praise for. I've never felt much for it either way but it works on this song which is, obviously, a praise. There're other points where he changes things up (like a really nice one at around 2:20 in) and moments like that helped this song grow on me. Also of note is the beautiful riddim underpinning 'Jah Is Always Near', which is allowed to shine on its own at times as well, making for a very well done complete musical display (and I just finished writing that at the exact same time the tune ends!). Have some more! Chezidek is also here with a tune I know quite well from earlier this year, the GORGEOUS 'Jah Is In Charge', which finds the singer relying on the Highest strength in existence ["All mi troubles and mi fears, Jah Jah cancel. Obstacles inna mi way ah get  trampled"] when he needs a helping hand. There is something SO appealing about the way 'Jah Is In Charge' is sung. Chezidek has an unusal voice and that's often the focus when you listen to him but have you ever notice how VERSATILE his delivery can be?? He can pull it back slightly or tone it down more and when he does you get GEMS like this one, delightfully registering somewhere between singing and chanting - and excellent on both fronts. A huge tune. Let's have a quick conversation about a guy named Turbulence. Many years ago, Turbulence seemed to make shift where he found joy and some success making love songs and since then (literally, like the last TWENTY years!) he's been far too focused on them.... and they aren't very good for the most part, in my opinion; and it's kinda pissed me off to be honest. Turbulence's combination of legit TOP FLIGHT singing voice with several different styles of impressive chanting can make for outstanding Roots (and even Dancehall, at times) and who knows what we've missed out on over the years with him pursuing his obsession with love songs (check a recent piece of Roots, from a few weeks ago, called 'Who Are We'. It's outstanding). HOWEVER, given the fact that I've been critical (heavily sometimes) of him for making love songs, then I should be the first one to give him credit when the planets align just perfectly and..... Turbulence makes a love song that is actually good!

'Knock Knock' caught me with my hands down, chin in the air and off-balance. I'm used to these things. I've been here probably hundreds of times at his point (and will probably be there a hundred more) but it rarely (if ever) sounds like this. It doesn't SOUND like it at all but in terms of how its written, 'Knock Knock' is somewhat similar to Junior Kelly's classic 'Love So Nice' where Turbulence is addressing an ungrateful former flame. The chorus is lovely and infectious and will glue itself to some part of your memory, it's beautifully sung and it has a point to it. You can't ask for more than that and I have no problem at all calling it amongst the greatest of its kind that Turbulence has EVER done. 

coming soon

Okay and now let's talk about another guy, named Eesah, who is the other artist featured on "Upliftment", along with Lutan Fyah, to have more than one tune.... and he also has something else going on with Evidence Music in a few weeks. His first is the poignant social commentary 'Change We Want', going exactly where you think it is. Take a deep listen to 'Change We Want' and you'll notice how well it goes as it reaches a point, at its second verse, where it levels up. It becomes even stronger (after a start that isn't bad either) and blooms into something kind of explosive at times.

"You haffi give up the good fi the great

A wise man will change his mind

And a fool will never si di sign

Look like seh di government blind

So wi, seek knowledge and break dem chains

Until yeah, wi start si change

Eternally fyah gwan blaze

Try fi open yuh ears

Let's si Reggae music free di mind of di people 

Evidence nah go deliver dem evil

Have a voice so wi speak to di people

Step forward: In the ground

Or take ten steps back, into safety

Every four year wid di same plan and trick politician dem come to play wi"

Grrrr. Eesah's second tune is also the album's second and final combination. 'Badda We Badda' features UK stalwart, Brother Culture in a very open and just COOL style. With that being said, however, the main attraction here is the sickening chorus. It is "sickening" in the same way that eating too much candy is sickening... meaning it will make you feel bad for enjoying it so damn much. For example: I was writing this review and had 'Badda We Badda' on repeat. I took a break to wash some dishes and what was going on in my head the entire time I was doing the dishes? Yep! The chorus for this song. 'Badda We Badda' is catchy as hell and it will plant a flag in your brain that you will not be able to remove, no matter how far you dig in there. In other news, Eesah and Evidence Music have other works in the pipeline as his sophomore album, "Success" is set to release in just a few weeks from writing this review. Both 'Badda We /Badda' and 'Change We Want' are included on an the album that MIGHT prove to be the final big Reggae album of 2025.

The remaining list of names present on "Upliftment" represent a tremendous run of names and top talents. The album's oldest tune (I THINK), comes from the late Peetah Morgan as his cut of the Indian Casino Riddim, 'Can't Break Our Souls' is here. We lost Morgan in early 2024 to a rare disease but he, along with the rest of the members of the famed Morgan Heritage, left a powerful legacy. 'Can't Break Our Souls' is a beautiful track from 2014 where Peetah speaks to the indomitability of the children of His Majesty. This song, probably even if you don't care much for it, is going to make you smile and feel good! It brought a smile to my face and it also has points where it sounds like Peetah Morgan is smiling while he's singing (if that makes any sense. Sometimes you can actually hear a smile) which is always a fascinating sound on a tune. Biggup Peetah Morgan and biggup Derrick Sound for including him here. Given the description from the press materials that I quoted for "Upliftment", I'm going to presume that Derrick Sound got ALL they wanted and more from the legendary Luciano when he blessed them (and the rest of us too) with 'Old School Rule'. The Messenjah pays homage to those who came before on the tune and teaches all to follow course in not only honouring those individuals but the ideas and methodology of the times as well. This version of the tune is billed as the 'Extended Mix' which comes with an ending where the clean riddim is featured and allowed to do its thing. As I've said in the past, I think this can be a very nice touch to add on and it was a really good notion had in this instance because this riddim, for as simple as it most certainly is, is also a DIAMOND and we get it for nearly a minute and a half completely sans vocals. CAPLETON (I told you the lineup on this album was crazy) is all fed up and also tired of the bullshit on his 'Tired Of The Drama'. Supposedly, Capleton was set to launch a new album in 2025 (would have been his first in a century or two), "Heights Of Fire". Coincidentally, that album is/was also an Evidence Music release so hopefully we get that in the new year but until then, the King of Fire is building... and he's building with very strong material such as the common sense saturated 'Tired Of The Drama'. Jah Mason EASILY has one of the strongest offerings on "Upliftment" with his scathing 'Rumours Of War'.

"Nuclear weapons are deployed

And dem ready fi destroy

Wid dem weapons of destruction

Get yuhself employed, whether girl or boy

Dem ready fi go start up di action

Who will survive?

Tell dem a di fittest of di fittest

Set up yuh grounds, mek sure that you legit

Sorry for those who just can't resist

LIVING INNA ZONE WHERE DEM DON'T HAVE NO LIMIT

Mi nah know how it start, so how it ahgo finish?

Should be making that paper

Stocking up yuh spinach

If a war dem come wid, a no my image

NO, DEM CAAN GET MI TIMID!"

The Mason absolute scorches on this anti-violence set. Hopefully it does not go overlooked on this album because 'Rumours Of War', is also one of his best tunes in recent times in my opinion. "Upliftment" also ends on a very high not in the form of Fantan Mojah's 'Double Standard'. Mojah poses the question, "Why is there a place for you but not for me?" to the powers that be in the midst of serving up a lyrically impressive social commentary and SIZABLE ending to this album. I also have to mention the riddim on 'Double Standard'. It is SO GOOD! The version on "Upliftment" is the 'Horns Cut' and you hear the horn come in initially right before the three minute mark and just generally enhance what was already a fantastic piece of music.

The only critique I have of "Upliftment" is that I wish Derrick Sound would have gotten a tune from Queen Omega... or any other female.

Overall, EXCELLENT. As i said, when I first took a look at just who was involved with "Upliftment" my expectations of what I was about to hear went square through the proverbial roof. In an era long gone, even if I were to see such a lineup on some random riddim it would have been very impressive (at such a time where it happened at least semi-regularly) and i is even more the case in a format such as this one. Also, a big, full credit goes to the producers and players of instrument who work their magic so finely. When you have a more typical compilation such as this one (meaning one without the same riddim on every song), you have an opportunity (when you do it well) to really impress musical, particularly when put in the hand of such gifted vocalists. "Upliftment" is FUN Roots music that sacrifices nothing in the way of hitting its marks, ideologically, in the name of boosting the entertainment value. So, while it may've taken me an embarrassingly long ass time to make the connections of exactly who Derrick Sound was, with what I hear on "Upliftment", there isn't a chance that I'm going to forget anytime soon. THE BEST REGGAE COMPILATION OF 2025. 

Rated: 4.75/5

Evidence Music

2025