Signatures Vol. XII: Reggae Random

Okay so, I was working on a few ideas for what would be next on the Signature series (it is EASILY one of the most enjoyable things that I write as it, primarily, involves me going through a lot of old music that I really, REALLY love) and I had some good ones. While I'll tell you about a couple of the others in the notes for this (right down there ↓ in small print) the one I'm going on today is probably the most fun and less stressful to write. Today we get random: HERE ARE FIFTEEN RANDOM SONGS THAT I ABSOLUTELY LOVE. Signatures: Reggae Random

{Note: The only rule is that no one artist would be repeated}

{Note 2: If it works out right, there'll also be Dancehall & Soca versions}

{Coming soon: Bushman, Vybz Kartel & Destra}

[BOOM!}

1. 'King Selassie H.I.M.' by Tarrus Riley

Never before. I spend a great deal of time talking about people like Norris Man, Chezidek and others: UNCONVENTIONAL TALENTS. These are individuals who offer a very different style but one which is largely effective and downright stunning when at its best. However, with that being said, there is definitely room for.... refinement. "Refinement" would be someone like Tarrus Riley. If someone had a sound signifying that they had no greater purpose on this planet than to sing this music, it would be Riley and, arguably, the single greatest demonstration of this  EN skill would be in one of the best songs I have ever heard, 'King Selassie H.I.M.'. TEAR! You're likely to find similarly organized songs throughout this list (I know at least one because I've already written it) but you'll have a damn near impossible task in locating one -- on or off this list -- which was as PRISTINE & FLAWLESS as this diamond of a praise. 

2. 'I Have My Goals' by Anthem

Wicked ahgo fall. You remember this song??? Chances may be fairly high that, if you ever were familiar with a band (which may or may not still exist) by the name of Anthem from out of who knows where, you probably do remember 'I Have My Goals' over everything else they've done. I don't know if they still exist and, if they do, under what form. I don't recall where they were from (I want to say Connecticut, US for some reason) but full credit goes to the band for blessing us all with this SWEET uplifting and inspirational piece from many years ago now. Take a listen. 

3. 'Health & Strength' by Warrior King

My Father's work. My Father's work. TEARS! I can safely say at this point that I missed on Warrior King. He's made some fine music  but, to be honest, I expected him to enter a level of the music that he has not and, almost surely at this point, never will. A lot of those very high expectations were built upon the work that would go into his 2002 debut album, "Virtuous Woman" (I have a signed copy of that album around here somewhere and the second one too). While the title track there remains his biggest hit to date (unless I'm REALLY forgetting about something) what his actual BEST SONG has been is of even less question (and, in retrospect, that album had some SERIOUS songs on it alongside 'Virtuous Woman'. 'Never Go Where Pagans Go', 'Breath Of Fresh Air' ["ANYWHERE THERE'S LIFE, YOU KNOW MY PEOPLE WILL BE THERE!"], 'Love Jah and Live', 'Empress So Divine', 'JAH IS ALWAYS THERE'.... and I could go on and on) ('Rough Road', 'It's Been Awhile'). Song #14 on "Virtuous Woman" is the mighty 'Health & Strength' and that song, for me at least, puts "virtually" everything that Warrior King does well at its optimum. It is melodic and beautiful to hear and it also carries a high level of substance to it as well; this time combining the enjoyment of the lovely things the world has to offer with a sense of hard work and accomplishment. I don't find myself looking up much of WK's output these days which is too bad and that's too bad because of the skyscraper of talent this man has as is crystal clear by a song like 'Health & Strength'. 

4. 'Before I Lose My Strength' by Akae Beka

All for The Most High, Jah. Here's an interesting one. On the very first edition of this series, we featured Akae Beka and there were several REALLY difficult choices in tunes that I cut off from the final list (to the point where I may, someday, make a vol. 2 for Akae Beka, specifically, and it wouldn't be difficult filling with another 12-15 songs). One selection was DEFINITELY 'Before I Lose My Strength' from the "Jah Grid" album. I can distinctly recall hearing this song (and most of that album) at a stage in my life where the music of Akae Beka (then Midnite) was almost entirely lost on me and the contrast of what I hear these days is absolutely ridiculous. "Jah Grid" is a borderline Modern Classic in my opinion and its finest offering, 'Enter' was on the aforementioned Signatures: Akae Beka post. Its second best?? That honour is up for debate but it settles at the glorious 'Before I Lose My Strength'. Something that I think is unintentionally beautiful about this song has stuck with me: It is delivered in a way (that may, actually, make it one of the best SANG songs that Vaughn Benjamin has ever done. That was never a specialty of his) that directly coincides with its direction. Benjamin sounds... kind of tired, doesn't it? He sounds like a man who has given almost every last drop of effort that he has in his body and before that final spill has been exhausted -- before he is at THE end of his line -- he has something to say. 

"Before I lose my strength-

All of my breath, OH JAH

A joyful song, I sing

Today & tomorrow"

5. 'On My Way To Zion' by Turbulence

Seeking The Conquering Lion. I definitely considered doing a full Signatures feature on Turbulence but the slightest bit if you want to know the signatures of Turbulence's career,  just dig up the "Rising" album and you'll probably be about 80-85% of the way there. One of the exceptions is, arguably, the single greatest tune he's ever done in my opinion, the absolutely STUNNING 'On My Way To Zion'. If ever you've had the fortune of seeing him perform this tune live (and I have) you'll know just how much you can actually FEEL this song but even the studio version of it does a fine job in capturing its presence. I've definitely had my issues with Turbulence's output over the.... best of the last decade and a half or so (and probably longer than that) but, here, he put on a downright ROYAL performance; one befitting The King.

6. 'Black Coffee' by Anthony B

No sugar. No cream. The perhaps surprising standout from the self-prouduced 2001 VP released "That's Life" set, 'Black Coffee' was an absolutely GORGEOUS and SMOOTH tune giving praise and honour to the beautiful Black women of the planet ["Here's my token of appreciation"] from the great Anthony B. For as popular as he is (for good reason), coming across compilations of Anthony B's work isn't the most difficult thing but you probably won't find this true gem of a tune that has largely gone forgotten. That is most unfortunate because it easily ranks amongst the finest love songs of his storied career.

"BLACK COFFEE, NO SUGAR, NO CREAM!

BLACK WOMAN MI A DI KING, YOU A DI QUEEN!"

7. 'Ganja Farmer' by Marlon Asher

Stinkin rocket launcher. Undeniably one of the finest ganja tunes in the history of the music, Marlon Asher left an impact on Reggae music over twenty years ago when he dropped 'Ganja Farmer' which can still be felt to this very day (typically I say it doesn't seem THAT long ago, 'Ganja Farmer' does seem twenty years old at this point). A strong case could also be made that it is the single biggest tune Trinidad Reggae has ever produced (and there're a few strong candidates but it is definitely in the conversation) and that has an even greater reach; it probably helped a number of Asher's peers get their foot in the proverbial door and who knows who we're listening to TODAY that we may not have been exposed to were it not for this tune. And as for this tune... 'Ganja Farmer', as effortlessly as possible, burned a giant hole in the minds of anyone lucky enough to get a taste of it, courtesy of a rocket launcher. 

8. 'Rub-A-Dub Market' by Luciano

Living legend. You come to expect certain things from certain people and when they kind of break that level of expectation and confidence, the results typically aren't very good...  but that isn't always the case. When 'Jah Messenjah', the great Luciano, broke the norm with the title track from his remarkable 2011 album for Irievibrations it was wholly unexpected but NOT AT ALL unwarranted. The man has (and had even fifteen years ago) attained a level of respect and accomplishment in Reggae music that is beyond reproach. We all knew that at the time but he'd never really expressed that, musically, until 'Rub-A-Dub Market'. 

"THEM KNOW THAT PAPA LUCI IS A LIVING LEGEND"

His place already secured, Luciano would even take a next step and criticize some of his less storied peers who are not willing to work but full want to reign.

"DEM AH GWAN LIKE DEM A DI ROOT BUT DEM A DI BRANCH AND STEM"

The tune was spicy, out of the norm and a gorgeous highlight within Luciano's LOADED catalogue.

9. 'Upper Room' featuring Empress Cherisse by Anchants

No need to wonder. I don't remember much these days about Empress Cherisse and the band Anchants. I THINK she was from Trinidad but I don't remember where they were based out of by the time they sent out their 2003 project, "Merkaba". I may've lost the stories of their origins but I do know that, barring some type of dementia, I'm not going to forget their actual work because one of the songs carried by "Merkaba", 'Upper Room', has been a personal favourite of mine from the very second that I laid ears on it. 'Upper Room' is... hypnotic. It is a.... CAREFUL EUPHORIA almost reminiscent of something you get from an ultra-tuned in Dezarie and I have gleefully lost myself in it. The biblically armed track is one with at least one foot on terra firma as, in a very relatable way, Cherisse tells us that there're many things that are questionable -- literally an endless line of them -- but there is something or SOMEONE who is above it and there is no need AT ALL to wonder about HIM. 

10. 'God Bless' by Junior Kelly

Anointed & Appointed. Buried on a long forgotten (but SPICY) album from nearly a quarter-century ago by the name of "Conscious Voice" is simply one of the single greatest songs I have ever heard from anyone, Junior Kelly's DAZZLING 'God Bless'. For anyone who has this kind of rigid archetype of what Roots music is, I'd point you in the direction of this most malleable giant. 'God Bless' had its purpose and it served it. Before we get lost in the stars, the track also deserves a giant lyrical credit as well:

"Yeah, though I walk through the Valley of Death, I man will never fret

Cause Jah is by my side and HIM ah guide mi footstep

Stood firm inna mi faith

Cause Jah is very great

So why you choose to fight man and don't appreciate?-

The vibes a weh mi fling, uplift mi race and thing

BADMINDED PEOPLE DEM DON'T WORTH A THING CUZ-

They would like to see you wear a frown everyday

They would like you throw your dreams all away!

But I'm anointed and appointed by Jah

Dem ahgo fi si mi face on ya!"

With that covered... LISTEN TO THIS THING! 'God Bless' sounds GORGEOUS. It's never failed to put a smile on my face in the last twenty-three years and, apparently, Kelly knew precisely what he had on his hands because he literally observes the moment:

"CAUSE A WI GOT THE GIFT FI MAKE HEADS ROCK AND SHIFT"

Yes, sir. Yes, you do. 

11. 'Volume Of The Book' by Ras Shiloh

The whole earth shook. Veteran vocalist Ras Shiloh is probably best known for two things: The first is his massive hit, 'Are You Satisfied', while the second is the similarity of his voice to the legendary Garnet Silk and that's just fine. I would argue that the single best song that he's ever made (even over 'Are You Satisfied'), is the literally inch-perfect 'Volume Of The Book', which appeared on his 2007 Bobby Digital produced set, "Coming Home", for VP Records. I'll put it to you like this: Shiloh is known, as I said, for being very similar, vocally, to Garnet Silk - if 'Volume Of The Book' were placed somewhere in the catalogue of Silk, it would still rank very highly in my opinion. There're songs that I like more than 'Volume Of The Book' in which I will acknowledge the existence of certain flaws which may even add to their appeal but that isn't the case here. If such a thing is possible: 'Volume Of The Book' was PERFECT. There is absolutely NOTHING wrong with it. 

12. 'I Wanna Go Home' by Alborosie

Island in the sun. I am not a fan of Alborosie's. I never have been and I almost certainly will never be. For some reason, his brand of music has just never appealed to me and though, once upon a time, I definitely did give it a shot I can honestly say that I haven't listened to much of his work, period. Something new coming from Alborosie will likely not get much of my attention. HOWEVER, with that being said there is one exception to all of this within Albo's catalogue, the complete and utter JEWEL that was 'I Wanna Go Home'. The song was just so easy and it was one of those magical times when the vibes of the tune so perfectly match the actual nature and focus of what is going on, lyrically. I wouldn't be surprised if I never found another Alborosie tune that I even kind of like but a big for 'I Wanna Go Home', he has earned and will always have my respect.

13. '50 Push Up' by Spectacular

Hundred skip. I'm probably more open on the heels of his wicked latest release, "Stay Up", from last year but that album didn't represent the first stroke of genius made by the scathing Spectacular. Way back in 2005, the Kingston native served up his debut set, "Find Yourself" and the lasting track from it maintains its STRENGTH to this very day. '50 Push Up' was a song stressing HEALTH & FITNESS of the highest caliber. You're well familiar with Roots music singing about the importance of keeping one's soul and mind in-shape by focusing on the proper things and, of course, praising His Majesty. You'll also hear the occasional offering talking about things such as living a more natural life and putting healthy things into your body. All the more rare is what '50 Push Up' does (as its title DIRECTLY suggests).... it's still necessary for you to break a sweat sometimes to keep your body in shape and to build muscle. There's a certain simplicity to this one, beneath everything, that really helps it along and made it a favourite of mine. Time to get off your ass and do some work!

14. 'From The Beginning' by Lyricson

The powers to sing. Though I may've (I did) beat up on Lyricson's most recent album, "African Dream", I actually did so because I've been witness to the mountain of talent on which he rests his head when at his best (and he's had an EP since then called "Zodiak Vol. 2", I didn't love that one either). Demonstrated amongst his earlier work on albums such as "Keep The Faith", "Born 2 Go High" and "Messages", the incredibly gifted Guinea born vocalist's  talent can be amongst some of the very best in the entire genre when steered properly and WITHOUT A DOUBT the best example of this would come on that "Messages" set from 2012, 'From The Beginning'. WITHOUT QUESTION, 'From The Beginning' is the single best piece of music that I have EVER heard from Lyricson (there exists a chance that he's made something that I haven't heard that I would rank higher but I HIGHLY doubt it) and you could drop it into the catalogue of a handful of others with more storied careers and that would still be the case. 'From The Beginning' was FLAWLESS. 

15. 'Manifess Joy' by Arkaingelle

JOOOOOOOOOY! I may have bad news for you, if this song does not bring a smile to your face. I regret to inform you that your ability to smile is GONE! It's found something else to do with its time and it's spending most of its time at someone else's house. For the rest of us, however, the Arkaingelle THRILLED! I've spent nearly twenty years singing the praises of the SWEET 'Manifess Joy' and with good reason: It's simply one of the best songs that I have ever heard... with no qualification at all (not one of the best from Arkaingelle, from Guyana or during a certain time period. IT IS ONE OF THE BEST SONGS THAT I HAVE EVER HEARD!). I should also do something that I'm not sure that I've ever done and give credit to a beautiful background singer who almost serves as a duet partner as much as a backing vocalist (...and may just be Malika Madremana).

The Best Reggae Albums Of 2025

Let's do it! 

{Note: No compilations, no Soca}

#10. "Dub Of Serenity" by Marcus Gad & The Zion I Kings [Lustre Kings Productions]

I was debating on whether or not I would slap a review on this album prior to placing it on this list and I ultimately decided against it (although I did start to write it, so you may get it at some point in the first few months of this year) because I thought that it would speak more to the overall quality of it were (like one more entry here) the VERY first time I ever said a word about it declaring it one of the best albums of 2025. "Dub Of Serenity" is a dubbed out version of a five year old album ["Rhythm Of Serenity"] that, to be completely honest, I wasn't thrilled with. It was OKAY but absolutely nothing that I would call special or anywhere near special. HOWEVER, "Dub Of Serenity" STUNNED. Some of the music on this album was flooring and it's gotten to the point for me that "Dub Of Serenity", on the rare occasions when I'm not really listening to anything, is WHAT I'M LISTENING TO. If I need noise - this is it. It shouldn't come as a surprise, given the fact that the music comes via the lock-reliable Zion I Kings (who you'll see again here at a very high position), but what they were able to do here, with Marcus Gad's old album has to be considered some of their finest Dub work to date. You won't see this album on any other such list (and, normally, I exclude dubs and instrumentals from my list as well but I HAD to include this one), of that I'm sure, but I don't give a damn. This thing was gorgeous. 

#9. "Sibusiso [Blessings]" by Perfect Giddimani [GIddimani Records]

Much like the first entry on this list, the MUSIC on "Sibusiso" was fantastic and it, too, would spawn a Dub version (literally, like a couple of weeks later) and with good reason. The Sinky Beatz guided set spoke nearly as much to the power of its producer as it did to the most unusual gifts of its most peculiar star, Perfect Giddimani. The presences of top notch peers, Lutan Fyah (may or may not be hearing from him again, later) & Anthony B only added to the soaring vibes of "Sibusiso", as did Perfect reaching with tunes such as the fantastic opener, 'Another Marcus Garvey', 'Jah We Pray', 'Selassie White Horse', 'Him Presence' and the MAMMOTH, ALL-CONQUERING 'Africa Mother Land' ["Mi chop off di chain but mi nah cut di African link"].

#8. "Treasure Self Love" by Lila Iké [Ineffable Records]

Unless I'm really overlooking something here, Lila Iké's full debut release, "Treasure Self Love" would have been the most purely popular album featured here and that's no surprise. It's star has proven to be a compelling story both in and out of the studio and then there's the matter of the actual music... "Treasure Self Love" GLOWS. Iké's style, inherently is one that makes for a certain beautiful sound (I'm convinced she can probably make pretty much any type of genre and her results would be of high quality. Her singing in the shower is probably better than a few honourable mentions for this list). She did manage to incorporate a few different styles throughout the album but it never drifted too far away from Reggae. A FINE example of this would be 'All Over The World' which featured Protoje (who produces) and 'He Loves Us Both', with H.E.R. They were not alone on the high end. I don't know what the hell 'Sweet' was but it GOLDEN, so was 'Brighter Days' which is probably the best song on this album, 'Scatter' and the delightfully nostalgic 'Romantic' which brought in Masicka and Patra whose 'Romantic Call' was remade sorta/kinda to a towering effect. 

#7. "Star Of The East" by Yeza [Rorystonelove + Black Dub]

I semi-alluded to "Star Of The East" previously in talking about "Dub Of Serenity" because I THINK its appearance here will mark the very first time that I've ever mentioned it but the lyrical CLUBBING that Yeza gave to us all on "Star Of The East" was unignorable. Yeza channeled Jah9 (and did so, coincidentally, with Rorystonelove who also helped bring Jah9 to prominence) but turned up the aggression just a little. In doing so, she provided  2025 with its punch in the face. She kicked us all about a bit and we did not complain at all. The fairly straightforward project, basically, served as a platform for which Yeza to display her often devastating talents on and, in that, "Star Of The East" was almost perfect. Yeza SCALDED listeners with the title track, 'Road Runner', 'Ism Schism', 'Piss Up' ["Hotflashes like menopause"], 'Preacher Man' and 'Real Heavyweight' but she also cared for us a bit with 'Edge Control' and, in a strange way, 'Rude'. Yeza announced herself here to stay with "Star Of The East" and it's time we all got used to her being around. 

#6. "Just Giving Thanks" by Glen Washington [Tad's Records]

Certified and verifiable VETERAN Mr. Glen Washington essentially did what he always does with "Just Giving Thanks".... he just gave thanks, made some love songs, slapped a cover on it and called it an album and WE LOVED IT! His next album will be exactly the same and so will the one after that. If it ain't broke... "Just Giving Thanks", for as basic and expected as it may have [it was] been did a wonderful job of putting on a full, vibrant display of precisely what Washington does best. You won't find smoke and mirrors on winner such as the title track, 'Heart Attack', 'Dreadlocks Conqueror', 'Square One', 'Seeking Jah Love' and, of course, 'Oh, To Be Like H.I.M.' What you will find instead are quintessential and vintage vibes from one of the greatest to ever do it and someone who has earned their own stripes and, obviously, enough for more than one generation. One of Glen Washington's best albums EVER. 

#5. "Worthy 2 B" by Jah Myhrakle [Gold Den Arkc Records]

If Belizean chanter, Jah Myhrakle piqued my interests with his contributions to what  turned out to be the second best compilation that I heard last year, "Heart Of One", he full-on made a fan out of me with his album, the weighty "Worthy 2 B". This album, in retrospect, has two very large things in its favour. The first of them is also its most identifiable quality (for me) and that's the fact that it is, EASILY, one of the finest WRITTEN songs of 2025. Myhrakle has a very clever and colourful way of making his points. He takes the proverbial "scenic route" in his writing and absolutely EVERYTHING is available for the sake of analogies so we, as listeners, are best off having some form of knowledge before going in (and he clearly expects that of you, otherwise much of Jah Myhrakle's work probably won't make much sense to you). The other thing that you notice on "Worthy 2 B" that really sets it apart is that there is something SUBTLY and CAREFULLY important sounding about this music. The best of it sounds like exactly what you would think it is: Music for a King. 

#4. "Andromeda: Sign Of The Times" by Sydney Salmon & The Imperial Majestic Band [Irie Sounds International + Imperial Majestic Productions]

I'm going to reference #7 on this list in regards to how an album can have such an open and inviting sound to listeners. In that particular case, Lila Iké did combine a few different genres beneath the umbrella of Reggae music. Sydney Salmon & The Imperial Majestic Band, on the other hand, accomplished the same results without stepping a foot 'outside'. On "Andromeda: Sign Of The Times", Salmon & Co. charted a sound which was entirely Roots Reggae of a modern and old school variety - no question about it; but I'd make the case that, as a result, they also made one of the most OPEN and APPEALING albums of the year. Maybe I'm biased (I am, there is no "maybe") but I have a very difficult time imagining how someone is incapable of appreciating something on this album. This is what I would think most people set out to make when they embark on making a Roots album these days: For it to end up sounding like "Andromeda" and being able to find an audience amongst fans of the genre, new and old, and if someone who isn't at all a fan just happened to come into contact with a clip of it in some way, they'd also want to hear more. 'Africans Alive', 'Blessed', 'My Banner', the TWO eponymous tracks... I could go on and on. The entire album is brimming me with BEAUTIFUL 'best case scenario' Roots Reggae music.

#3. "Stay Up" by Spectacular [Carabeo Records]

When everything is finished and all of the scores have been tabulated, I'm not expecting to see Spectacular's "Stay Up" on too many lists such as this one, despite that I'm ranking it so highly. This album has a large and glaring issue and to ignore it would be irresponsible, AT BEST. "Stay Up" is too damn short. It just is. It's nine track and not even forty minutes long. So by the time you REALLY fall into it... that's about it. You've already heard the entire thing. What it manages to achieve in its brevity, however, is... yeah. It's spectacular. Spectacular's style can be one that's somewhat difficult to adjust to. He can be aggressive to an almost overdone degree at times (I'd reference UT Ras but there is no way in hell you're familiar with UT if you don't know who Spectacular is) (Jah Thunder would be another one). He can be HARSH but when you find a vibe that suits him, like the Forward Ever Band does throughout "Stay Up", you can mine gold! Try the brilliant opener, 'Jump Ina Fyah' or the downright exhausting 'Justice' ["I play Nyabinghi inna di middle of the street. Play Nyabinghi because it sound so sweet!"] (or both of them) as FLAMING examples of this. Want more? 'The System' might do it for you and so might the SMOOTH 'Hardcore'. More still, Lutan Fyah (who dat???) and Lymie Murray show with contributions and I haven't even mentioned 'Bag A Weed', which is the album's single finest tune altogether.... ALL OF THAT IN JUST NINE SONGS. Were it just a bit longer, no position on this list would be outside of the reach of "Stay Up" but that's just my opinion. 

#2. "Guardian" by Dezarie [Dezarie]

Dezarie brought her spellbinding and dazzling form of Roots music to 2025 in the form of her brand new album, "Guardian", and accordingly, awakened her legions of most passionate and loyal fans and certainly made some new ones as well. "Guardian" was as THICK and HEAVY as you knew it would be but, despite also being a relatively brisk (and for the sake of comparison, "Guardian" is one song and one minute longer than "Stay Up" and it is rated ONE spot ahead of it), this album has the feel of a much longer release. In my opinion, even scratching the surface of the gifts "Guardian" has to offer requires at least three or four listens, on the lowest of ends. If you want to receive EVERYTHING?... I'm still working on that and I'll let you know if I ever feel like I've accomplished it (I will not). Tunes like 'Back To The Future', 'Criminal', the EPIC 'Immortal Combat', 'Lion Is Lion', the title song and several others (I say "several others" after naming five songs on an album with only ten) (....so pretty much the entire album) develop more and more as you tune in what Dezarie is actually saying. In 2025, Dezarie demanded that we all step up our game and if you did, you realized the absolute GEM that she left for us in "Guardian". 

#1. "Strength & Resilience" by Lutan Fyah [I Grade Records]

It's the Zion I Kings who are bookending this list with Marcus Gad at #10 and crowning it with the second album they've done with the great Lutan Fyah, "Strength & Resilience". CLEARLY something is happening here as the first time artist and producers collaborated for an album, on 2017's "Music Is Life", the results were also special (and likely would have been the best album that year from us, were we not on hiatus at the time) but I'd argue that they even outdid themselves there as "Strength & Resilience" reached and IMMEDIATELY headed for the stars. I'm partial and biased in both cases. I've been a fan of Lutan Fyah's from, basically, the first time I heard his music and I've also enjoyed the work of the ZIK, collectively and individually for maybe even longer (coincidentally, the first time I heard the "K", Lustre Kings Productions, was probably on a compilation album by the name of "Culture Dem" and WHO HAD THE VERY FIRST SONG ON "CULTURE DEM"????) ["All man on earth should know, who is King Selassie I!"] (BOOM!) and I don't want to overly-dramatize the matter but years and years of chemistry was crystal clear throughout "Strength & Resilience".

Two guesting artists being two of the greatest of all time for me certainly didn't hurt things either, Queen Omega lent her monstrous talents to 'Days After Summer', while the immortal Vaughn Benjamin added to the infectious BOUNCE of 'Just The Time' ["BUT I CAN FEEL IT NOW!"]. Also present was a gentleman, in a very good form, by the name of Chronixx who delighted on 'Freedom Sound'. The album also featured extremely high caliber instrumentation (DUH!), which goes without saying on a ZIK release but (I have a point I'm making so give me a second. It'll all make sense) I don't know that I can recall a single album where the music was as.... all-encompassing as it is on "Strength & Resilience". There is a genre here. This is truly modern Roots Reggae music; but there isn't a centering sound, necessarily. It covers EVERYTHING. It's moody & brooding ['Pieces of Broken Soul', 'Strength & Resilience', 'Tomorrow From Today'], it's vibrant and lively ['Protect Your Energy', 'African Children'] and it's also everywhere in between ['Drain The Swamp', 'Leader Before Me']. In terms of an actual artist's album and not a Dub album, which they're very fond of making (as we've already established today), "Strength & Resilience", MUSICALLY, may be the single greatest piece of work that I have EVER heard from the ZIK, in retrospect. 

For his part, Lutan Fyah meets and matches the might of his maestros with a magnificent lyrical display (DUH AGAIN!) and, again, you have to qualify that because he's ALWAYS in a fine form, lyrically, for me (the standing critique of Lutan Fyah is that he doesn't have the greatest command of melody -- and he does not and he never will -- but his craft with words has long been beyond question for me) (not REALLY, if he started speaking nonsense, I'd say so). What he manages to do on this album, however, as a complete body of work has a seat at the table in the conversation of being his greatest performance as well. "Strength & Resilience" was also THE greatest performance from anyone last year and THE BEST REGGAE ALBUM OF 2025.... and all negativity banish from within. 

Breakthrough: A review of Stay Up by Spectacular

Preparations. As I'm sure you'll agree, one of the greatest things about being a consistent fan of music is the wonderful surprises that it continuously provides. Be it a big song from an unknown, a comeback of some sort, a shocking collaboration or ANYTHING, music, like life in general, has a wonderful way of keeping us on our proverbial toes when we pay enough attention to it. Given the nature of Reggae, where the point isn't usually building towards some album or complete project and singles run the show, for the most part, when you do come across that surprising album, it can be a special thing and you know, for someone like me, the first thing on my mind to do is to come and tell you wonderful people all about it. Today I'm going to tell you about such a release from an artist who has CERTAINLY shown a level of talent throughout what has been a distinguished yet, perhaps, underappreciated, career (GENUINELY underappreciated, not in the crazy, overused way Reggaeheads usually talk about), but is also someone who I've mentioned quite a bit throughout the years because he's remained active and prominent. He has very much been someone whose time in the music has seemed to be a GRIND and, in some ways, he seems to have enjoyed the fruits of his labour but, hopefully, more is to come. Of course I'm talking about the Kingston born, heavy voiced chanter, Spectacular who has provided us with some excellent material over the years. When his name comes up, the first thing that generally goes through my mind is the productivity that the link with label Irie Ites. Along with a small handful of others such as Chezidek, Ras Mac Bean, King Lorenzo and someone else who I'll tell you about later (I'll give you a hint, it rhymes with Hoot & Syah), Spectacular has become a favourite of the France based imprint and artist and label have made some truly brilliant material together and, presumably, will continue to do so, going forward. Apart from that, Spectacular has found the true source of his popularity (again, like a few others) on Reggae-crazed European soil, working with, amongst others favourites of ours, Oneness Records, ReggaeLand, Little Lion Sound and the once mighty Minor7Flat5. Earlier, his developmental years would see him drawing the attentions of big Jamaican labels such as Xterminator (crazy tune Spectacular had for Fattis called 'Blast Dem') and Buju's Gargamel.

You would have thought (and you'd think it still that Spectacular's opus would likely come via Irie Ites. Were they ever to work on an album and include both old and new material, that would surely be a big project and would be a legacy enhancing type of release, potentially. However, such a thing has yet to materialize and, after all of these years, one would presume that is unlikely to (GO AHEAD AND MAKE A FOOL OUT OF ME, IRIE ITES!) (I DARE YA!). Instead, the first two albums of Spectacular's career have come from two different European outlets. His debut, 2005's "Find Yourself", came via DHF from out of Germany, while his sophomore set, "Salvation" from eleven years on, was delivered via Carabeo Music who, like II, operate out of France. It was the first of the two which was his strongest in my opinion; carrying, amongst others, the OUTSTANDING '50 Push Up' ["DO FIFTY PUSHUPS! HUNDRED SKIPS!"], which is one of my favourite Spectacular songs still (and in the conversation for being THE best, actually). 

2005 & 2016

Apparently, the link with Carabeo has remained quite strong in the nine subsequent years since "Salvation" because Spectacular & Carabeo now bring forth the former's third studio release to date and something I have really wanted to tell you about since I laid full ears on it, "Stay Up". When I heard this album and started to figure things out and work on it in my head, I was HAPPY for Spectacular. That was the dominant thing on my mind. I was so happy for him because of its quality and I look at him as someone who could surely use that type of a big and breakout release and I don't think "Stay Up" is likely to have much reach in terms of introducing to him such a giant new fanbase but I am DAMN confident that those tried and trusted lot of us who came to listen (because we ALWAYS do) will be thrilled by what is here. So, maybe in Reggae circles (and ONLY in Reggae circles) (and then again, maybe not), "Stay Up" can have that type of resonating impact with the masses. Along with reuniting with Carabeo, the new album also finds Spectacular working alongside the Forward Ever Band from Spain (great name). As far as I can tell, there's is a relationship that dates back half a decade to 2020's 'Seat Tight' which was a very nice single on the Modern Times Riddim and they've also made music with Luciano, Earl 16, Jah Mali, Loyal Flames, Ras Tewelde and even Gappy Ranks! So if the FEB is a new one to you, their credits prior to "Stay Up" says that  they've more than earned the opportunity. Actually hearing it sends you off.... somewhere else. I did not get very far AT ALL into "Stay Up" before I realized that I was listening to something extremely strong and, again, as someone who basically CHEERS for Spectacular (and I cheer for just about everyone) - DAMN DID THAT MAKE ME HAPPY! I did, honestly, hesitate in reviewing it because, as small as it is, "Stay Up" is kind of EP-ish but... shit, I make the rules around here, I can do what I want! LET'S TALK ABOUT IT!

Since I just alluded to it, let's get the biggest critique here out of the way right now. Comprised of just nine selections, spanning only thirty-eight minutes, "Stay Up" is too short. It just is. Even just one or two more songs of the same quality as the first nine would have went a considerable way in adding to things but, just judging it for what it IS, "Stay Up" is fantastic. Getting us up and going is what is EASILY one of the album's finest offerings altogether, 'Jump Ina Fyah'. BOOM! The opener is POWERFUL! 

"Nuff a giant

Nuff a dem a dwarf

Nuff a whale

Yow, nuff a shark

Some act like dem tough

Wi know seh dem soft"

The song is fairly broad and pretty much all over the place but it serves as the PERFECT opener, just to grab attentions and make sure you're well paying attention. Charged with holding your attention is the also very free-flowing 'Hardcore', with its golden bounce. I'm pretty sure Spectacular planned this song out and rehearsed it (or whatever he typically does) - it does not sound like something he just came up with off the top of his head and went with, but it almost has that type of feel of it (none of that makes any sense, I know, but I think you sorta/kinda get what I'm trying to say). 'Hardcore' is, effectively, a musical celebration where Spectacular declares that he has his style ["Mi gi dem it HARDCORE!"] and pays respect to those of us who have ears to hear it and the ability to receive it and IT is EXCELLENT (and we appreciate it!). The album's first of a pair of combinations is in next, the title track, which brings in respected veteran vocalist, Lymie Murray. Murray is one of those people that tend to have more of a dedicated fanbase than you probably give him credit for. His releases, as far as I can tell, tend to garner a fair amount of attention and you'll be doing something fine for yourself in laying a bit of yours in the direction of this wonderful tune. 'Stay Up' KIND OF practices what it preaches and I mean that in a good way: The VIBE of this one is subtly infectious. It is a track about staying persistent , staying the course and keeping a good attitude during challenging times but 'Stay Up' is not, AT ALL, what you'd call a happy song; it also goes through the struggle and, in its pacing, acknowledges that what it is asking of you is most certainly not easy. Later on, is 'Farmer Man', the album's other song featuring another artist. This time, Lutan Fyah joins Spectacular on a, upful, hard-working effort that is sure to get head bobbing and fingers tapping. The two also came together on the heavy 'System Dread' from the aforementioned "Salvation" set (and that was not their first tune together. Spectacular was even on "Justice", seven years before "Salvation" and more than fifteen years ago now) and have, obviously, been around one another quite a bit through the years. The result, unsurprisingly, is a lot of musical chemistry being developed which is crystal clear on 'Farmer Man'.

For all intent and reasonable purposes, 'Stay Up' is the best song on the album named after it but.... something else catches my ear and earns top honours from me as our obligatory ganja tune, 'Bag A Weed', is downright addictive.

 

"Mi no si nobody love weed like mi

When you si mi, you call mi di Weed OG

I wanna tell yuh something about this tree

Mi know seh yuh bound fi agree

I tek a seed and mi guh put it inna di soil

Water and when it grow, mi nurture it just like a child

Groom it up, prune it up, so it no grow wild

MEDITATION STYLE!"

This tune is brutal! It is tough as all hell to shake (not that you'd want to) and it grabbed me and has yet to let me go! Of course, such pieces are in a ridiculous abundance in Reggae music, but Spectacular's 'Bag A Weed' is one of the finest ganja tunes that I've heard in the last five years or so - without question! Having ticked off one compulsory section, Spectacular later deals with another one in 'Mama Proud' and he definitely does his mama proud. The song is surprisingly on the heavy side and it is the vibe of such an offering that signals any type of individuality (it can be strong lyrically as well (and it is) but it's pretty difficult to make a Reggae song about MAMA incredibly unique) and everything clicks with 'Mama Proud' to my ears. It goes both broad and direct and is a LOVELY song for the most powerful person on the planet. Speaking of vibes, check the DAMAGING 'Justice' which absolutely SOARS!

"Then by the bullet, or the ballot or the gun

One way - dem seh justice haffi come

Pass mi mi kette, mi bass and mi fundeh drum

Gimme mi shake, and mi shake dem dung

Run injustice, mi seh justice ah come

Wisdom, knowledge, overstanding di words from mi tongue

Free up di bank, mek good water run

Now clear di way and mek Jah Jah, HIM, touch down 

I play Nyabinghi inna di middle of the street

Play Nyabinghi because it sound so sweet

Play Nyabinghi because it was ordered-

By the Honourable Marcus Garvey

Then mi tired of dem ism, schism

And all dem socialism

And all dem capitalism

And all dem racist-ism

Yow, a pure ism, schism

And all dem pirate-ism

Dem ah fight over gold and oil

Kill off di people dem and ah laugh and ah smile"

'Justice' comes through as a call to action and you will feel like activating SOMETHING while listening to it! If it does not move you in some way, I regret to tell you that you probably passed away somewhere along the way. WE HAVE LOST YOU! BOOM! The song is also the longest on "Stay Up" by more than forty seconds as a golden chunk of it is given primarily to the Forward Ever Band who DAZZLE musically with the riddim... and I am now heavily reconsidering my choice of my favourite song on this album. Also, big credit goes to the delightful backup singer/s who really add another facet to things on 'Justice'. There's a track here that I'm going to pay its respects in a different way by the name of 'The System'. It is, essentially, a social commentary (to be expected from the title) and it is EXCELLENT. Were you to pluck if off of "Stay Up" and drop it on "Salvation" or "Find Yourself", 'The System' instantly enters the discussion of best tune on either one of them. It is that good. HERE?? It ain't even close! I hear at least four songs that are stronger and I could probably make the case for another one! That's how strong "Stay Up' is; when you listen to a selection like 'The System' and fully LOVE it but are ranking it CLEARLY in the album's bottom half. The closer, 'Heart Mind and Soul' is somewhat of a changeup, given its direction but it compliments some of the other sounds you'll find here very well. It is almost entirely spiritual (which Spectacular doesn't do too often, actually. I find that he usually tends to hit the tangible in some way in his lyrics) and in a good way, with the riddim behind it being this lumberingly LUSH vibe. It did take awhile but, like pretty much everything else on "Stay Up", after awhile, I was hooked.

I do want to, very quickly, revisit something of Spectacular's style of writing, in general, which is one a thrilling display on "Stay Up". I write these reviews and I like to give a lot of credit to good writing and usually when I do that it's in appreciation of artists who're largely very specific and detailed in what they do. Spectacular deserves an immense amount of praise as well even though (and maybe even because) he thrives on being more broad. He'll talk about three or four different things on a single song and sometimes he'll tie them all together and sometimes he won't even bother but the level of writing he displays when he's at his best -- and he is at his VERY BEST here -- is POWERFUL. When you combine that with his typically fiery delivery, I give a level of respect to this set LYRICALLY that I typically reserve for artists with styles much different than Spectacular's.

Overall, as I said, if only "Stay Up" were a bit longer.... as it is, it nearly reaches the lofty levels of the name of its creator. To my opinion it is, far and away, THE finest display of his talents thus far and if someone were new to the music of Spectacular, I'd set it up as a PERFECT entry point to get familiar. "Stay Up" is fantastic and it comes from someone who was just DUE to have such a release. I'm not saying that it's "landmark" or "life-changing" or anything of the sort, but it is of an obviously higher level than what he's done to this point, which is saying a lot. "Stay Up" figures to be the best case scenario for Spectacular. It is an outstanding, albeit brief, showcase of someone that may have been overlooked by too many up until this point. HOPEFULLY it informs us all as to exactly WHO we're dealing with as one of the genre's 'fittest' talents shines like never before. OUTSTANDING!

Rated: 4.75/5

Carabeo Music

2025

FLASHES!: A review of the ASAP Riddim

Up again. I think we've done at least a respectable job in our return on these pages, but while we were away there were definitely some changes that occurred and are, seemingly, here to stay. Some things have changed for the better in terms of the general experience of listening to music -- music, in general, has never ever been more accessible than it is now -- and others have changed for the worse in my opinion, but that change has been widespread and much of it is still in transition. Along with the expected and appreciated new faces (both artists and those behind the scenes), there's also been a direct musical shift in Reggae music to my ears. As I've said, while it has been in 'development' over the past decade or so, what we now regard as Dancehall music is something that I don't recognize at all under the genre. For me, much of it is Hip-Hop music done with Caribbean artists. The addictive Dancehall BOUNCE is largely a thing of the past, save for rare occasions in the hand of an increasingly selected (but wholly CELEBRATED by me) group of producers. Taking that a step further, there were a couple of individuals, veteran Dancehall artist Red Rat and producer NotNice who openly spoke on the nature of the change of the Dancehall in particular as far as, not only the sound being different, but the fact that a great deal of the genre is done in single songs. You virtually never see that one, potent, big riddim jump up anymore because very few people do them anymore and many of the younger artists won't touch them anyway. That makes me... SAD. I can't even put it better than that. I'm saddened by that change, coming from an era not too long ago where it was a chore to keep up with even the biggest riddims (going to call that the 'Riddim Driven Era'). Fortunately, Dancehall seems to be  the only genre with  that situation, in full. While I will say that Roots music (and even Soca, actually. More on Soca shortly) probably has not produced the same amount of big riddims in recent times than maybe a decade or so ago, the sound itself, THANKFULLY, has largely remained the same. Aside from, again, being placed in the hands of a larger variety of newer names in some cases, much of the foundation that was laid in the generation of people such as Marley and Tosh is still intact in 2022 but.... DAMN I have to say that I kind of miss the excitement of the moment of hearing a genuinely big riddim and then what follows in wondering exactly who else the producer has turned it over to. I can recall having full arguments with more casual heads and non fans of the genre who referred to the practice of having multiple vocalists taking on the same one track and they as lazy or a demonstration of a lack of creativity, but we grew up on it and, to this day, even the PROSPECTS of a truly impressive and well supported big riddim will definitely get my attentions. 

I cannot possibly be the only one who feels that way. Even if I am, amongst fans, clearly the labels have something else in mind and if we were to rewind the clock back a few years ago  to when we were very active (I used to WRITE MY ASS OFF on these things!) and even before that actually, and definitely one of the most impressive and CONSISTENT of outfits making big Roots riddims and remakes was one Irie Ites Records from out of France. Even before we get into their tracks, I can sit here and think of full blown albums for artists that II has done throughout the years that have stuck with me from the likes of King Lorenzo, the great Mark Wonder and, going wayyy back, Ras Mac Bean ("Pack Up & Leave", big underrated, under-known gem of an album), but despite working with names like those and even the likes of King Kong and Perfect Giddimani (more on him later), the label is probably best known still for dropping a very impressive string of big riddims. With a history dating back to the early 2000's, nearly two decades in, despite all that has surely changed around them, it appears as if things're as they normally are at Irie Ites.... and that is a great thing. 

2006

A quick look back at the vault of riddims produced by Irie Ites shows reveals some STELLAR releases. Largely working with the legendary UK duo, Mafia & Fluxy, II has delivered farrrrrrrr more than their fair share of big tracks over the years. Standouts have included the Borderline ["It's time fi reach di borderline! No need fi hesitate, cause I don't really wanna be late!"], Zion ["Mi haffi hail di King, King! A pure love man ah bring, bring!"], Only Solution ["Only my Jah can save the world"], the Strange Things and several others... I could really go on and on (the Rocking Time!) (HUGE  underrated song on the Rocking Time that never got its push, 'Who I Am' by Chezidek. You stop reading this and go listen to it right now!) (back? Okay, let's continue). They put together an outstanding catalogue of music and, if you've been a consistent fan of the genre from the turn of the century of so, chances are quite high that you've ran into the works of Irie Ites in one way or another whether you've realize it or not.  If you haven't perhaps 2022 is a good time to become more officially acquainted with the work of the label. Just late last year, Irie Ites would curiously re-release the aforementioned Zion Riddim and now they are back with a set we have very much been looking forward to over the past month or, the ASAP Riddim (....seriously, that Chezidek tune on the Rocking Time Riddim is RIDICULOUS! CANNOT stop listening to it). Over the past few weeks or so, Irie Ites has sloooooowly crawled out the riddim, bit by bit, leading now into the full release. On one hand, it was frustrating as hell becuase not only were they peeling off big tunes, but they'd also established a roster of who had voiced the ASAP so, I don't know about you, but I had a running list of what I was looking forward to hearing most and we just had to wait! Dammit! Well the wait is now over as the ASAP Riddim was released, in full on the seventeenth of June and it has me thinking of old times. Not only is II known for churning out quality material, but they also, CLEARLY, put a lot of effort in marketing and publicizing their work. Riddim albums and compilations, in general, for the most part just aren't going to receive as much attention as projects from single artists (if they did, can you imagine how much money VP Records and Greensleeves may've spent (and MADE) back in 'da day when their respective overactive series were at their peaks???), but apparently no one ever told Irie Ites as they go all in on putting their projects together and then bringing great notoriety to them. The ASAP may be one of the finest in that regards as, like I said, quite a few people have spent quite a while waiting on it and, though the competition isn't great these days, one could well make the case that it is IMMEDIATELY one of the biggest riddim albums/Reggae compilations of the year thus far. That's even before you dig into the music and once you do, you'll soon come to see that notoriety isn't the only thing that the ASAP has in common with many of its older siblings. It's been awhile (and I don't feel like looking it up to see exactly how long it's been) but, once again, Irie Ites shows themselves to be amongst the very best when it comes to dropping a TRULY big riddim.

As I said, one of the most fascinating aspects of any riddim is just who the label has assembled in terms of vocal talents for it. Any outfit with any length of tenure has already shown that they have favourites, and Irie Ites is no different. The mix of artists on the ASAP is interesting because, although they do bring in a few ultra familiar names with whom they have previously worked, there's only REALLY a pair of names that I (PERSONALLY) most associate with Irie Ites present here. So it definitely has its surprises. On top of that, previously, as I mentioned, while much of II's work was done with Mafia & Fluxy, for their latest offering they have teamed up with French band, The Ligerians - best known by me for having been behind an album from a couple of years ago, "Timeless", which... I really need to review, because it was excellent, by someone who I've already told you about and will do so again, briefly. As it gets started, Irie Ites Records' latest creation, the ASAP Riddim puts one of its best feet forward (WHAT?!) in the form of 'Raggamuffin' by Anthony B (I was about to call it "previous single" out of habit, but... damn near every song here is technically a previous single). This tune, I've been on for the better part of a month and a half or so and I'm convinced that it was a vibe, at least to some degree. It does have kind of a loose direction, but 'Raggamuffin' also goes in so many other areas and does so quickly, that I just get the feeling that Anthony B heard the ASAP and constructed this wonderful and FUN tune around what he heard. The results are, easily, amongst the biggest winners here and should you think it was THE biggest song, well that's an easy opinion for you to backup because it's outstanding. UK veteran Brother Culture is always working hard and this time it is his intent to 'Build up a House', courtesy of the ASAP Riddim. This one kind of surprised me a bit because I listened through it a couple of times and just enjoyed its old school Dancehall appeal (which is just Brother Culture's style) before I really began to tune it in and when I did, what I found was a rather clever repatriation tune.

"Build up a house, Jah mek mi build a house

Build up a house, build up a African house

Build up a house, Jah mek mi build a house

Build up a house, build up a rootsman house

Cah first thing mi do, mi set di foundation

Then mi fill it up with concrete, mek mi house stand strong

And next thing mi do, mi go an fell timber

Then mi use good timber to plan di structure

Then mi go and hire cement mixer-

And a contractor and two labourer

Mi build up mi room dem one-by-one

Then mi roof it make out of corrugated iron

Round back yah fi mi house mi woulda build a goat pen

Keep one dozen goats and a hundred chickens

Di house yah weh mi build is gonna in Africa

In di front room mi want a air-conditioner

Wi waan some lawyer, construction worker

Wi want some doctor and hard worker

CAUSE EVERYONE TOGETHER'S GONNA BUILD AFRICA"

BOOM! Culture has it all worked out and he brings it through in such a delightfully SIMPLE way that you find yourself wondering... yeah, why can't we do this???! Brother Culture's is certainly a name we've run into over the years and he's almost always impressed, but it hasn't been consistent on our end (because he's definitely been active) and, hearing him here, I'm very exciting on the prospects of seeing exactly what I've been missing out on; and I suspect I won't be the only one thinking that after hearing 'Build up a House' (a situation which isn't rare on these type of sets, actually). And rounding out the opening of the ASAP Riddim is a tune which I was well looking forward to hearing and is one, I think, that they saved for the album's release date as the mighty Chezidek blesses us with 'The Game'. Chezidek is not only one of the two artists appearing on the ASAP who I most associate with Irie Ites (of the ones I just listed, he voiced all of them; the Zion, Borderline, Rocking  Time, Strange Things and Only Solution riddims, respectively), but his album was "Timeless" with The Ligerians, so there's an IMMENSE amount of chemistry at play here and you can hear it. Chezidek, for me, has been one of the  genre's finest and most reliable stars over the past decade or so and his effort on the ASAP sees him rolling right along at a typically very high level.

"Said it's all in the game

There's no loss, there's no gain

Sometimes laugh, sometimes cry, joy and pain

Said it's all in the game

Take it all, don't complain

Whether dry, low or high, is the same

Hello, hello this is the show

You must be up and ready to  go

No time to practice, you should know

Action-time, just let it flow

Oh yeah, we do it because we love

And we do it because we trust

And we looking up above

Cause we rising from the dust

And the children coming after, there's a duty here for us

Let us shine the light more brighter

LET US DO IT BECAUSE WE MUST

No more searching for no answers

It is in the wind that blow

Cause the mission already started

Pushing forward, space to grow

Said it's all in the game

There's no loss, there's no gain

Sometimes laugh, sometimes cry, joy and pain

Said it's all in the game

Take it all, don't complain

Whether dry, low or high, is the same

Every drip and every drop

Gi dem everything we got

Every thing we got, every-everything we got

When wi ah win dem haffi clap

Wi haffi beat dem like a bat

Every inning some a dem ah nyam dem like a snack

WHEN YOU SPRINTING ON DI TRACK, DON'T FORGET AND DON'T FORGOT-

SAVE SOME OF DI FYAH FI WHEN DI TEMPERATURE DROP

BODY STRUGGLIN, CONTINUE AND DI PRESSURE NEVER STOP

WHEN YOU THINK IT DONE, YOU HAFFI GO RUN ANOTHER LAP"

DAMN Chezidek! DAMN! As I said, when you get into it, the Irie Ites have assembled some truly impressive vocalists to go on the ASAP Riddim and one of them will even leap out at the most casual of Reggae fans as a tune called 'Dangerous' brings together French veteran Nuttea and the great King Kong with Dancehall legend Beenie Man! I'm not going to look it up, I'm just going to assume that, at some point, Nuttea has crossed paths with II and in 2018, King Kong would send a full album, "Repatriation", through Irie Ites, but I can't at all recall Beenie Man working with II and to see his name here came as a very pleasant jolt. All three turn in fine performances and i found myself thinking while listening to it just how nice the vibes on 'Dangerous' are. It is somewhat disjointed, there isn't much back-and-forth between the three (I would presume they all voiced their pieces separately of one another), but when you stick them altogether it makes for a very big song and, again, IT'S BEENIE MAN ON AN IRIE ITES RIDDIM!! While I may have been shocked to see the link on 'Dangerous', the tune following it was the most expected of the entire lot. In 2016, Perfect Giddimani and Irie Ites did an album by the name of "Reggae Farm Work" and appearing on that release was 'A.S.A.P.', a combination featuring loooooongtime Irie Ites staple, Spectacular. That would have been the first time anyone laid ears on the ASAP Riddim to my knowledge and this appears to be a re-recorded (or at least remastered) and just BETTER version of the tune. Both Perfect and Spectacular have fiery and unpredictable styles so you can't don't really know what to expect on a combination between the two, but this one worked well for me PROBABLY because of the nature of the subject here. If you wanted to infuse a sense of urgency in your listener, you could do FAR worse than bringing together these two and, by song's end, it is crystal clear that there are some serious changes that need to take place in the world. And speaking of urgency: There's the matter of a MAMMOTH 'Thunder Storm' brewing in southern Trinidad and headed towards the entire world (no one is safe! Do not run! There is nowhere to run to!), being released by the great Queen Omega. If you didn't receive the full word on 'A.S.A.P.' (you may want to get your hearing checked out), the Queen will definitely let you in on precisely how critical things have gotten. This one finds her in a stunning lyrical form and, although I am damn partial and I admit it, 'Thunder Storm' is my single favourite track on the whole of the ASAP Riddim and that's saying something big because, along with what we've already discussed, there're some exceptional tunes still to be heard here. 

A fine example of that would be a piece that I've enjoyed from the very first time I listened to it about three or four weeks ago now, but has grown on me even more since then, Jah Mason's splendidly GREEN 'Mother Earth'. You can take the tunes about social and political consciousness and even self awareness and spirituality -- running immortal themes in Roots Reggae music -- and they are all poignant, important and crucial if we're to make a change in the world, but if we do not treat the world, ITSELF, good - well then we won't even arrive at the point where we're capable of having the discussion of how well we treat one another, because there will be no "one another". We need a rock to live on first. The Mason is sick, literally, in seeing how things are going ecologically and he's going to tell you about it and THRILL at the same time. 

"Look what dem doing to Mother Earth

You know, mi just caan stand it

Pollution inna di earth and dem ah destroy di planet

Doing to Mother Earth

You know, mi just caan stand it

THESE THINGS MEK MI WAAN VOMIT

The earth is sensitive, so earth is life

THAT'S WHERE I'M FROM, SO TREAT HER RIGHT

No litter di street, it better ah sweep

That's a good sight

Di drastic plastic ah black out di pipe

Lotta garbage mek di day turn night

When you dump inna di sea a dat di fish dem ah bite

Let's keep di earth clean

Mother Earth can smile for di loving children and child

Look what dem doing to Mother Earth

You know, mi just caan stand it

Pollution inna di earth and dem ah destroy di planet

Doing to Mother Earth

You know, mi just caan stand it

THESE THINGS MEK MI WAAN VOMIT

Let's work together

Mi seh 'YES' from now on

Recycling - dat a di latest vision

Every individual know your mission

Pollution every time when mi ah watch di television

So pledge to di earth and then you make your decision

Calling on di government, no matta di religion

No yellow tape and mi seh no red ribbon

How dem ah act lik dem stubborn?

Look what dem doing to Mother Earth

You know, mi just caan stand it

Pollution inna di earth and dem ah destroy di planet

Doing to Mother Earth

You know, mi just caan stand it

THESE THINGS MEK MI WAAN VOMIT

Mi tell dem seh TIME OUT

All these things mi ah FIND OUT

A east, inna west and mi seh ALL SOUTH

These are di things mi haffi talk bout

Wi nah like fi si garbage inna MY ROUTE

So mi haffi speak up outta MY MOUTH

Jah Jah Mason going back to MY ROOTS

So mi haffi hang on and is MY TRUTH!"

BOOM! 'Wicked Heart' is another one which has progressed on me just a bit from first hearing it, as the always compelling Lyricson takes on the ASAP Riddim. This isn't the Guinea native's first link with Irie Ites as he also appeared on the aforementioned Borderline Riddim with the sizable 'No Worry' ["Rasta wi nah worry fi wi know, nah worry fi wi know! Babylon system will be burning!"] and his return shows that maybe artist and label should have made  more time for each other over the years. 'Wicked Heart' is just what you're thinking it is as Lyricson chants down and flings flames upon nastiness and corruption anywhere he can find it and although it may walk an expected course in terms of direction, sonically 'Wicked Heart' is amongst the most interesting tunes here... again, as you may've expected coming from Lyricson who is probably one of the most DYNAMIC artists in all of modern Roots music in my opinion ["Nuff a dem a wolf inna sheep clothes. That's why wi and dem could never be close. Mislead di ghetto youths: Their only purpose. Stinkin babylon system designed fi hurt us. Mi si seh nuff a dem ah live inna confusion. Rasta come fi bun di lies and dis-sillusion. Put an end to all di war and sufferation. Tell wicked babylon a time fi redemption"]. Irie Ites return to the fruitful shores of Trinidad and this time they come back with the sweeping social commentary 'Redder Than Red' and the damn dependable but damn underrated Jah Defender. While not too dissimilar to a few of the songs on the album in its lyrical approach (and there's nothing wrong with that), 'Redder Than Red' features the Defender producing a sterling vocal performance... he always sounds good, but 'Redder Than Red' is very easy on the ears and strong lyrically as well. Jah Defender has enjoyed a good 2022 campaign with a few tunes and, significantly, a brand new EP, "Jah Movements", but 'Redder Than Red' is probably the single best tune that I've heard from him in some time. Finally (not really) is another tripled combination, this one bringing together Tomawok, Keefaz & Puppa Nadem for 'Calme avant la Tempête' ['Calm Before the Storm']. Of the three, I am only really familiar with the work of Keefaz (who has appeared on II productions previously), but apparently this is just what all three are doing these days as I've found two other selections, 'Big & Ready' and 'Family' (the latter of which is from earlier this year) done in a combination and for Irie Ites. It's a nice touch, doing a French tune for a French label and it probably would be the type of thing that I would have complained about being absent had it not been here. So, I always appreciate when people do things like this showing their own influence in what they have locally. Well done.

I would have also complained, and even more so, had II not included a clean instrumental version of the ASAP Riddim but, thankfully I don't have to do that because they did. The ASAP is a lovely modern Roots track with a dash of electricity and... this infectious other sound that I can't quite describe accurately. As a riddim, alone, it ranks highly in the annals of anything they've done. It's one of their best and it plays a nearly perfect backdrop to several big tunes, which is all you can 'ask' of a riddim.

Overall, it just feels good!!! Certain things in the world should just be a certain way: Irie Ites should be making big riddims and they are! Again, if you haven't had the opportunity to dig into what they've done thus far, the ASAP Riddim is not only a FINE riddim of its own, but it's a good place to start listening to one of the most decorated imprints in all of modern Roots Reggae. The ASAP takes me back to the early/mid 2000's when it seemed like a few times a year II would reach with some giant composition with a LOADED roster of artists and that is just what it is, nearly two decades later. In that time so many things have changed in our music but, apparently, some have also, BEAUTIFULLY, remained the same. The ASAP Riddim has time on its side, I've missed its type, but it definitely ranks as one of Irie Ites Records' finest creations to date. 

Rated: 4.45/5

Irie Ites Records

2022

Vinyl + Digital