A couple of years ago, we told you about a promising up and comer from out of Trinidad who'd just delivered his impressive debut album, "I-Frequency", by the name of Mosiah. That album was very nice and featured standouts such as 'Economic Slavery', 'Black Livity', the all-conquering 'More Than Gold', 'See It Clearly' and others and though it didn't seem to get too much attention, it definitely made an impression on me. Furthermore, I'd also heard some other things from Mosiah, including an extended interview, and he seemed a very nice person and I made a point out of keeping an eye on what he was up to. "I-Frequency" came via label from out of Germany (where Mosiah calls home these days), Ragatac {whos company motto is the SWEET "We play hot Reggae for cool people"), Mosiah also had a history, dating back a few years or so in working with the venerable House Of Riddim, in Austria and while we wait on his next full length release, Mosiah & HOR collaborated earlier this year on an EP that definitely caught my attention, "Unconquerable".
2024
I made a note to do something with it because my initial listens were pretty solid, as expected, but the gift that 2026 has been has continuously given more and more and "Unconquerable" slipped between the proverbial cracks (just like Dezarie's EP, "7th Heaven" is doing right now) but we're back to it now and it's a perfect subject for a mini-review, in my opinion. I do want to mention something: In the review for "I-Frequency", I drew a comparison from Mosiah, in terms of style, to Kabaka Pyramid and I stand by that but he also reminds me a bit of Cruzan chanter, 'Original Nine Fingers', Xkaliba. The two share a tone and biggup Xkaliba (who is, hopefully, somewhere working on new music... cause it's been a minute). And I also feel inclined to mention that, back in 2017, Mosiah released another EP (also via Ragatac), "Chant Tafari", which was very nice and shows that EPs are a part of his plan and... they're working (and hopefully history doesn't directly repeat itself here and we don't have to wait until... 2033, like we did in the seven years between first EP and first album)!
"Unconquerable" gets going via big winner - the song it is named after. 'Unconquerable'. The title track has a beautiful energy to it initially and what Mosiah is able to do with that vigour is damn impressive.
"Mi no si no obstacles one caan go ovah-
From you trod di path of right and praise Jahovia
Ever vigilant wid God inna heart, cah man a soljah
And wi no come fi sleep, no come fi bow, wi come fi conquah
Trod on wid hope & grace-
And Jah Jah take you through di challenges you face
Trod wid HIM, I seh go over wid no trace
Yes, wi haffi overcome!"
It also helps matters that HOR, of course, supplies him with a top notch track as, EASILY, 'Unconquerable' is amongst the very best offerings you'll find here.
One of the pair of songs that can actually lay a solid claim to being even stronger than the opener, 'Show More Love' is up next. 'Show More Love' is gorgeous and it has just a little bite to it. There's something spicy to it but the message here is both very simple (you know exactly what this song is about) and ever-present in the genre, so the steam behind this one does go a ways in setting it apart from the [absolutely massive] pack of similarly steered tunes. I'd also add that you should really take in the words here because Mosiah serves up a stretch or two (such as the entirety of the second verse.... literally ALL OF IT) that dazzle during 'Show More Love'. To me (and probably only to me), 'Rule Your Destiny' has somewhat of a similar vibes to it as 'Show More Love' and it's also nearly as strong. 'Rule Your Destiny' is a little... disorderly. It isn't very neat; it's a little unkempt and I mean that as a compliment, which does separate it from that immaculate piece just ahead of it but also works well for it.
Sometimes you just have to take a minute to give thanks and give praise for your life and what you have in it and that is precisely what Mosiah does during the well-recognizable 'Nothing Above You'. This tune originates back a couple of years or so and I'd heard it but I don't think that I'd ever really tune it in because, listening to it on "Unconquerable", sends this thing... somewhere else. It's just MUCH better than I remember it being. Particularly for the type of selection it is, 'Nothing Above You' is really clever in its lyrics and it just GLOWS. Looking for a song on this EP that's really going to pick you up and make you feel nice? Your search stops at 'Nothing Above You'. "Unconquerable" pinnacles, at least in my opinion, during its most recognizable offering, 'Revolution Time', a big combination featuring another powerful chanter from out of Trinidad, Jah Defender. The Defender has been burning lately and the most robust piece of evidence of this came back in June, when he released his own album through House Of Riddim, "Endurance". 'Revolution Time' is a HEALTHY, all-encompassing call for change and a BEAUTIFUL contrast of styles. Mosiah, is more animated. There're a lot of things going on in his music; while Jah Defender is grounded and more traditional in his approach (you REALLY notice it about a minute and half in, when Defender's verse comes up. The song seems to come to a halt in the transition before resuming at the same extremely high level. 'Revolution Time' is excellent and I hope (and assume) that it won't be the final time these two link up for a song (maybe someone will call the Queen to join them next time too!) (biggup Queen Omega). Finally is the sweet vibed 'Never Lose Your Way'. There's a whole lot of common sense all over this tune and I love how it simplifies things to a degree that it provides such a poignant punchline to "Unconquerable" as a whole:
"NEVER BE TOO HARD ON YOURSELF!"
Sure, you have to deal with certain things and you will have your struggles but EVERY THING doesn't have to be a battle with some unknown enemy.... named You. Again, the song has a very nice sound to it as well and it sends us on our way forward with a nice message and feeling good about our prospects.
Overall, if you caught onto Mosiah at "I-Frequency" (or even if you didn't), you'll be delighted with what you hear throughout "Unconquerable" as it builds on more of the same sound established by the album. He has a very fresh and FUN style to him and I used the phrase "beautiful energy", which I think really describes how I feel about his work. Take that energy and combine it with standard, typical mastery from House Of Riddim and "Unconquerable" proves to be one of the better EPs that I've come across in a loaded and lauded 2026.
In-form. I do, sometimes, a list at the end of a year, looking ahead, for what is to come in the new year called "Most Wanted". This list is a simple collection of ten names who I hope to hear from in album form in the following year and the names assembled there appear for a couple of different reasons. One of the biggest is absence: Haven't heard from them in a bit (usually in terms of not having had an album in quite awhile but, occasionally, just have not heard from them AT ALL) and it would be nice if they came around and showed what they've been working on (biggup Reemah). Rumours can also put you on this list; maybe you've had something cooking for a long time (biggup Bounty Killer) (THAT THING IS BURNT TO A CRISP!) but don't have anything officially scheduled at the moment for it. You'll be included hoping that the planets align and you can FINALLY get that project on the road. Another person who'll be amongst the Most Wanted in a given year is someone who's just... on a roll. Someone who may or may not have had an album recently (doesn't really matter) but are showing signs that they've either primed or re-primed and are just making some fantastic music - that person is also going to get a place on my little list. There're also combinations of these (you may have someone who, literally, fits into all three categories) but that's about it; that's what I base it on. The final of those types is what we're going to take a look at today and attempt to highlight someone who, apparently, has reached new heights and has been on a tear lately. I'm trying to think of a similar situation (because that's just what I do) and I'm not going to use the obvious ones, because I always use him (biggup Norris Man), and instead I'll pick our old friend, Mr. Lloyd Brown. Surely at least some of it had to do with me growing up and maturing but I legitimately think that Brown hit a point where he leveled up. He starting making better music and that's saying a lot because by the time I caught on, he was already DECADES into his storied career and he's still out there doing big things with a new album (or two) for this year. I also look at other cases like those of Ziggi Recado, King Lorenzo and Natural Black as examples of people who just clicked one day and, at least for me, hit a point where they just started making music of an even higher caliber.
2013
On the 2025 edition of Most Wanted, a name that was mandatory when I started putting it together was that of Trinidad chanter, Jah Defender. Around here, we go BACK with Jah Defender. Thirteen years ago we reviewed his impressive debut album, "Rastaman Rise". That album was HEALTHY! Even today, if you want a really strong introduction to Jah Defender's music, I'd suggest you start with "Rastaman Rise". Featuring big tunes like 'Jah Es Mi Amor', 'Give Thanks' (which featured long favourite of ours, Tiwony), 'Rebel', 'Listen', 'Only King Selassie I', the towering 'Every Time I Rise', 'Jah Is The Maker'... I could really go on and on with sizable offerings from that album which, as you can tell, has aged very well in my opinion. That album put on full display the very BRIGHT and appealing style of Jah Defender and went a far way in making a fan of his out of me. I want to say that, following the release of "Rastaman Rise", the Defender had a number of thin years in terms of amount of output (although I could definitely be wrong about that and maybe that was just my experience, having not encountered much of his music... or I could just be remembering incorrectly. I'm old) but these days things are DEFINITELY not thin and they haven't been for quite awhile.
Jah Defender has been dropping BOMBS for about... two or three years now. He just has. He has, perhaps quietly, been making some of the finest music in the entire genre, pinnacling with, arguably, the single finest song that I heard in all of 2025 'Hail Selassie I'. The towering praising tune was and remains one of the very best of its type that I've heard in the past decade or so (and you know, given the subject, it has, literally, THOUSANDS of competitors there) and it, along with other tunes that the chanter has had lately, has definitely put his listeners on notice that Jah Defender has entered a new stage of his career. That point was solidified earlier this year, when Defender dropped a nice EP by the name of "Still Can See" which, although it wasn't his very best work, was something nice to hold us over until something bigger came around: Meet "something bigger"! While the chanter has been careful and mindful to spread the love around through working with various labels, he's apparently found a great comfort working alongside the venerable House Of Riddim from out of Austria. Artist and label have done extremely impressive work together (including the aforementioned 'Haile Selassie I' single) and they now take it even further courtesy of a brand new big EP/tiny album "Endurance". I was REALLY looking forward to this one and I'm almost curious as to why they didn't pile on more tunes and make a THICKER project but I'm going to take what I can get, especially from someone like Jah Defender in 2026 (and just last year, an album that had nine tracks, just like "Endurance", was our third best album) (biggup Spectacular). What they do put out in "Endurance" seems completely void of previously released singles as far as I can tell. They don't lean on any of the material that they've been doing over the past two or three years or so and, instead, set out what feels like a new project for the most part and I'm hoping so much that the masses gravitate towards this one and notice what I've been noticing as of late. If you enjoy modern Roots Reggae music, Jah Defender has something for you. Let's discuss!
Let's talk about, briefly, Jah Defender's style. Looking back through the review of the "Rastaman Rise" album - I'm pretty happy with the comparisons that I made. I likened him to VI singers, Ras Army & Danny I with a bit more flames to his style and, again, I think that's a pretty solid link to make albeit, perhaps, a more unconventional and less expected one. He has a FINE singing voice for the style of music that he makes and I don't mean that in a charmingly weary type of way in which I might say it about someone else (biggup Norris Man) - the man can just sing! I've called him a chanter in reference to his total style but he has a fine singing voice, which you can hear copious examples of on his new set, "Endurance", which gets up and going with the ABSOLUTELY SPECTACULAR 'Life Is Beautiful'. There is a certain GORGEOUS synergy between the deliver here and the riddim that is just so tight and impressive. 'Life Is Beautiful' sounds like it was rehearsed dozens and dozens of times for hours upon hours before this exquisite final version was turned in. Be that the case or not -- whatever they did -- it was worth it.
"Foolish man builds his house on the sinking sand
But the wise man build up him house on Jah solid foundation"
BE THANKFUL FOR WHAT YOU HAVE! IT COULD BE MUCH, MUCH WORSE! They give you an ever so slight taste of it (there's a certain spot at the 3:35 mark where a full dub sounds like it's about to break out) but I do wish Defender and HOR had featured that riddim on its own just a little more but make no mistake about it: 'Life Is Beautiful' is FANTASTIC and the best song you'll find here in my opinion! Nothing dips at all on "Endurance" as up next is the mighty 'Overcome'. As its title suggests, this one is a social commentary and a solid one that covers the expected bases but I have to say that it is the vibes of the song that threaten to 'overwhelm' 'Overcome'. This thing SOUNDS SO GOOD! It is such a nice listen and damn pleasing to hear. Obviously, take in everything and hear what is being said but ENJOY [!] as well. 'Vampires' turns up the flames just a hair and definitely gives 'Endurance', in its early block, a nice BITE to it to those who aren't living right and cannot walk in the sunlight.
"Vampires dem lurking
Innocent flesh and blood dem searching
In di street, in di night, they're roaming
Another innocent soul dem taking
Vampires dem lurking
Police and rude boys dem roaming
hunting for another victim
COME TO RASTAFARI FOR SPIRITUAL PURGING
Too damn trigger-happy fi nothing at all
Bust it unnecessary
And now di place too hot
Nothing can selly selly cause every damn ten minutes is a squaddie squaddie
Stop for a moment and take it easy
Yuh mashing up di whole damn community-ty-ty
Like you know waan fi live and si yuh grandpickney
Life is worth more than dem gangsta trophy
Live upright and have some mercy
You mister businessman and politician
You get alla yuh riches from exploitation
Creating classicism and promote segregation
Rob all di wealth and resources from di nation
Rich man alone ah benefit
Poor youths caan get no education
Black woman ah agitate fi redemption
Rastaman ah chant, beat up di kette drum
Pharaoh, release di whole a bongo nation
BABYLON TAKING YUH ENERGY FOR A MINIMUM SALARY
EVERYTHING DEM GET, DEM TAKE IT BACK FROM WI"
'Vampires' is all the petrol you need and it comes in at the perfect moment.
The gorgeous praiser 'Trodding On' kicks off the second third of "Endurance" and, as expected, does so in a very strong way. 'Trodding On' is kind of mid in terms the 'force' of the song but it definitely has a decided edge to it as well - just not to the levels of the song ahead of it. There's nothing out of the ordinary here; it is exactly what you think it is but it is a total JOY to listen to. The musicianship, in particular (biggup whoever plays those horns I hear. The credits say it's probably Hannes Kerschner, but could aslo be Helmut Schneider and Markus Hoffman) is absolutely top notch and if they wanted to place that riddim in the hands of someone else - they'd get no fight out of me. Next up is a pair of songs that I'm going to place together.... just because (it's my review and I can do whatever I want), 'Paradise' & 'Heavens', as both of them speak to some form of existing utopia. The idea of the former has a slight repatriation theme to it but the bliss this one finds is more of a mental place in my opinion. The Defender finds his joy in praising His Majesty and even in "the simple things in life" - anywhere he can get it is worth lifting up and celebrating is the idea behind 'Paradise' (GREAT first verse on that tune). For its part, 'Heavens', which comes through on this BEAUTIFUL old school sounding track is the project's obligatory ganja tune... which means you already know what its idea of glory is. Although, between the two, 'Paradise' takes top honours, 'Heavens' is still very strong and it has something special about it. Should it be given the opportunity to shine in a single capacity, I would actually expect 'Heavens' to do quite well there.
Jah Defender gives a big credit to his homeland on 'Trinidad & Tobago', a song I was really looking forward to hearing. I'm sure I've come across a few, here and there, but Reggae tributes to T&T aren't exactly prevalent (they grow on the vine in Soca, on the other hand) and the Defender does take a broader approach to this one, the results are still pretty stellar. I do wish he would have stuck to the specifics a little more but 'Trinidad & Tobago' becomes a social commentary which does fit into the run of the album. Next in, Jah Defender goes Bob Marley (not really) with 'Get Up Stand Up'. This one is kind of unusual in terms of how its written because it is EXTREMELY broad. He goes in a few different directions, starting with:
"Hey mister preacherman, stop telling all those lies
You teach the people, to see The Lord, they've got to die
Having your whole congregation searching up in the sky
When the God of the universe dwells in You and I"
Before going into:
"Hey soldier man and mister police
Unuh si seh unuh working for the beast"
It's all over the place and that isn't necessarily a detraction in this case because, in full, 'Get Up Stand Up' is very strong. Finally, Jah Defender sends us out of "Endurance" with another big selection, 'Righteousness'. I have to say that I didn't really like the chorus on this one very much when I first heard it (it's a little gimmicky) but it did grow on me, steadily and that certainly has something to do with the riddim here. Again, the players of instruments on this track are in golden form and set a foundation which Jah Defender does not allow to go to waste.
If we ignore the length of this project then really my only critique is that I wish there was a little more variation. I think "Endurance" could really use a changeup to the vibes, just a.... just a SWEETENER (maybe even like a combination) and something that gives another look but, judging it for what it is, I cannot honestly offer up many complaints at all.
Overall, what "Endurance" does is what I hope every single album that I review does: It takes advantage of what its star does well and really shows them in the best possible light. Normally -- in any situation with someone with actual talent -- that's a great thing but it becomes magnified when said "star" is already in such a great form and putting together a run that is difficult to ignore. Again, the music throughout "Endurance" borders on SPECTACULAR (and crosses over into that territory a few times) and, as they virtually always do, House Of Riddim STANDS UP with their work. So while I'm still waiting on the full, definitive next release from Jah Defender, "Endurance" is a showcase of an immense talent which MAY actually just now be hitting its peak. Exactly what I wanted!
My Father loves music. Outside of a very select group of people (and maybe an animal or two), he probably doesn't love anything else more than music. My Father's also from Trinidad and I grew up listening to a variety of different sounds with Calypso/Soca amongst them. I didn't particularly like it though which may be hard to believe if you've spent any time around here. What changed?? Maybe when I was in my... let's say very early 20's, I stumbled across the amazing Destra. Sure, she was easy on the eyes, and if I'm being completely honest, that likely had something to do with it - but you cannot listen to LOOKS. What you can listen to is what remains some of the most damn near NAUSEATINGLY INFECTIOUS music that I have ever heard from someone who would not only make me a fan of hers but a fan of an entire genre. Here's a long overdue homage to she who wears the crown. Signatures: Destra
1. 'Bacchanal'
They call me Bacchanal. I wouldn't go as far as to call it a "rebirth" (suggesting that she needed such a thing) (she did not) but 'Bacchanal' could definitely be seen as a rebranding for Destra. Thereafter (and still) she would adopt the Queen Of Bacchanal moniker and it was, at least presumably, partially due to the strength and success of 'Bacchanal'. The tune was exactly what its title suggested. It was the heights of ridiculousness and chaos and it was BEAUTIFUL! Belonging to a very small group of tunes that can lay claim to being the single greatest Destra has ever done, 'Bacchanal' was absolutely masterful and over fifteen years later, it has not lost a single thing.
"It's in my blood
It's in my veins
Can't wash it off, I'm forever stained"
2. 'Carnival' featuring Machel Montano
So special. Destra has worked well with a number of different artists throughout the years but perhaps no one to greater effect than the incomparable Machel Montano. For some reason their styles have always clicked and the results have been spectacular. Arguably none have been greater than 'Carnival', which I THINK was also their first combination. The nearly quarter-century old tune has long reached legendary status (right along its creators) as it paired together, undeniably, two of the greatests to ever do it in a devastating form - both of them. What is here is hypnotic and virtually impossible to shake as on a list of addictive musical substances THIS is the most hooking of them all.
3. 'Welcome Back'
Anything goes. You know, I don't rightly remember what was going on prior to the release of 'Welcome Back'. Can't remember if she took it easy for a season and this tune was marking her return (and I don't feel like looking it up) or if it was just an idea she had for a song. Regardless of its origins, however, from the second I initially heard it, 'Welcome Back' became an instant favourite of mine from Destra and has remained so, fifteen years on. This is so despite the fact that there's nothing really unusual about it. It, ostensibly, doesn't separate itself from the proverbial pack much at all. The magic here is in the MEAT of the tune. When really dig into 'Welcome Back' it GLOWS. From its energy to its very subtle level of cleverness, not only was it not lacking on any front but it excels on ALL of them. Quietly (not really but you get what I mean) one of the strongest songs she's ever done, without question (and personally, the beginning of 'Welcome Back' is downright ICONIC for me. IT IS SPECIAL!).
4. 'Up In D Air'
Can't beat we yet. Much like the next entry on this list, 'Up In D Air' was very clever, whether we realized it or not (we definitely did see it in the next tune, one of her most celebrated and deservingly so) in its day. It was also as cool as it could possibly be. 'Up In D Air' was downright FROSTY! It just has such a sweet vibe to it and that goes on top of what is, again, a rather sagacious piece of writing from the QOB. Resting comfortably somewhere between Power and Groovy, the tune had all of the "jump & wave" styling that you would expect but that came in a way that wasn't... a bludgeoning.
"Cause when it comes to fete
They can't beat we yet
So put your hand in the air, rag in the air"
5. 'I Dare You'
I dare you. I DARE YOU! Easily one of the biggest hits of Destra's entire career, 'I Dare You' was and remains an absolute DIAMOND of a song. It literally had EVERYTHING! It touched every vibe and hit ever nerve in the listener, making for an undeniably all-encompassing track. Another feather in its cap was the fact that it sits (without question for me) as one of the finest WRITTEN songs that Destra has ever done as well. For what it was, 'I Dare You' was pretty much fucking PERFECT and it's no wonder at all that it reached the heights that heights that it did, looking back.
6. 'Fly'
Up in the sky. 'Fly' and maybe two or three others on this list are DIFFICULT songs for me. These days it's fully DRIPPING nostalgia for me as another one of the first Soca songs from anyone that really got me. She would have to do more work to KEEP me (here's a list full of that work) but to put it simply: 'Fly' and songs like it made me a fan of a Destra in the first place and, by extension, the entire genre of Soca music. TEARS!
7. 'Lucy'
I loose! Similar to the first song here, 'Lucy' marked another kind of rebranding of Destra as she took on what would become another popular nickname (and if you REALLY think about it, such things are pretty damn common in Soca). The song behind it, aside from the new name, was as hooking as it could possibly be. On a post FLOWING OVER with such selections, 'Lucy' is even catchier than most of them. Again, this is another song that benefitted from a multi-paced sound. There is SO much going on in here. It, literally, sounds like you're hearing the most melodic thunderstorm that you've ever encountered. Furthermore, if you listen to what she's actually saying, you'll get something out of it as well as Destra kind of paints Carnival and Soca music as this great revelation in her life which saw her go from growing up "as a real good girl" who was "always home" and "didn't go nowhere" to Lucy and to The Queen Of Bacchanal.
"THIS CARNIVAL HAVE ME SO DAMN LOOSE!"
8. 'Bonnie & Clyde'
I'm Your Queen! From beginning to end, 'Bonnie & Clyde' was frenetic.... ridiculous, wholesome goodness. More than twenty years on, it has not lost a single thing and it's even aged quite well and gathered quite a bit of international attention all of these years later. Absolutely gorgeous from the moment it released, 'Bonnie & Clyde' is simply one of the finest songs the entire genre has ever produced and it also does a mighty fine job in demonstrating what sets Soca apart from every other genre of music. You do not get pageantry and festivity like THIS anywhere else. It just does not exist anywhere else and it never will.
9. 'Mash Up'
We ready! I'm almost embarrassed (not really) that it took me a minute to come up with the name of this one because what I had in my head was what turned out to be the intro and then:
"WE READY!
WE READY!
WE READY!
WE READY!
WE READY!
WE READY!
To MASH UP everything!"
'Mash Up' was absurdity and ridiculousness of the absolute highest caliber. The reaction to it was fierce as well as the tune proved to be a nice sized hit in its day and, as you can tell, it remains EXCELLENT a dozen years later.
10. 'Savage'
LOSE. ALL. MY. CONTROL. 'Savage' was the crowning jewel from Destra's debut album release, "Red, White, Black" back in 2003 (an album which included the aforementioned 'Carnival') and, like 'Fly', it would have been amongst the very first Soca songs that really drew me in and kept my attention for awhile. These days, it's also brimming with nostalgia for me as it may not have been such a giant hit so I don't run into 'Savage' unless I'm looking for it, typically. You won't find it on many mixes and it won't be in the background of virtually anything but make no mistake about it: 'Savage' is EASILY one of the finest songs Destra has ever done.
11. 'Max It Up'
Reach the top! 'Max It Up' is another lovely knockout punch from Destra of a song. It peaks pretty much INSTANTLY and spends the next three and half minutes or so at the same place or relatively close to it. Although at times it threatens to be fully overwhelming, 'Max It Up' never overdoes it (well... okay it kind of does overdo it but in a good way) (in a PERFECT way) and finds such a wonderful balance. ALSO [!] if you listen to what's going on here -- as hard as it is to do -- Destra rewards you with an eye looking forward for herself and the whole of Soca music.
"Oh Father, finally, you set di Soca free
Wi own category inside of di Grammy
And now you blessing wi internationally
So when you watching wi feel proud a wi
On MTV & BET and di Grammy, it's alla wi
Support di Soca music, it's yuh identity"
12. 'Jumpin'
Defying gravity. The now twenty years old 'Jumpin' is another tune on this list that has a claim to being my absolute favourite Destra has ever done. Perhaps if you are a corpse you could pull this off but for my living readers, I'd challenge you (even in the wickedest of moods you may be in at the moment) to listen to this one and NOT smile. Something in here is sure to spark some sort of happiness in you. The mixture on 'Jumpin' is as impressive as ever. There's an undeniable melody here but in order to hear it, Destra kinda had to punch you in the face... DEAL!
13. 'Link Up'
Step aside. For some reason, 'Link Up' has always reminded me somewhat of the next song that I'm going to tell you about and I've made a personal 'link' between the two over the years. For its part, I hear 'Link Up' these days and a couple of things stand out. The first is that entirely EPIC beginning. Maybe [probably] I'm the only one who feels this way but how that electric drumming ascends into:
"EVERYBODY GET WILD"
Has carved out a very comfortable and lasting place in my memory and it isn't going anywhere. The other thing which I hear more these days from 'Link Up' is just how damn crazy it is. So many of these songs -- and Destra at her best, in general -- combine elements of Power Soca with Groovy and though 'Link Up' is the same (it even has a little old school textures to my ears) but when it pinnacles, 'Link Up' is a TRUCK of a tune, rolling right over any and every one in its way.
14. 'We Own It'
It's wi property. In retrospect, one of the most compelling assets of 'We Own It' was the fact that it kind of put its feet into two very different categories. On one hand, there's a very old schoolish, almost Calypso, sort of vibes to it while on the other, it will... 'We Own It' has no problem at all punching you in the face (and making you love it). Both of those work for me which is probably why the Jus Now steered track makes this list. This madness had a certain maturity and refinement to it.
Okay so, 2026 has now seen Soca supernova, Machel Montano, overtake the legendary Lord Kitchener (and everyone else) in securing his record twelfth Trinidad Road March title. It's taken him not even thirty years to accomplish (which is very low if you think about it: It averages greater than a staggering two wins every five years) and that definitely deserves an 'Encore'! It also deserves quite a bit of recognition and observation and today we're doing our part! Let's take a look back at the road to #12: A Machel's Dozen.
1997 - 'Big Truck'
Nearly three decades on now and although it has aged, you can still CLEARLY see the attraction to Machel's first Road March winning effort, 'Big Truck', as still a member of the Xtatik Band. As most certainly basic as it was (and still is), 'Big Truck' was also damn infectious (....and it still is) and, in retrospect, absolutely perfect for the road. The music has definitely changed over the past thirty years but its core appears to remain intact and 'Big Truck' was your locked and stocked Soca tune that checked all the boxes and.... it still does.
2006 - 'Band Of De Year[BODY]' featuring Patrice Roberts
It would be nearly a decade before Machel would take the road again and when he did.... I'm fairly confident in saying that 'Band Of De Year' is my single favourite song that Montano has ever done that has actually won Road March (I may favour others (like 'Rollin', for example) that didn't take home hardware but 'BODY' is at the top of this particular mountain). Why, exactly? First of all I absolutely love the fact that it not only finds a melody in the madness but its melody almost threatens to overwhelm the chaotic nature of the song at times and, at its end, that's what happens. You walk away from this one lost in some non-rage inspired fit of euphoria and it is GORGEOUS! Machel's music typically does that when he's in-form but this is even higher than 'usual'. Furthermore, the song brings back a time when Machel Montano routinely paired with someone whom I think he did some of the finest work of his entire career with, the PERFECT sidekick, Patrice Roberts. Someday, HOPEFULLY, we'll get it back but what they left us with was top notch and few were better than 'Band Of De Year'.
2007 - 'Jumbie'
I just told you about a song that I thought may be my favourite on this entire run and while I'm standing by that (at least for the moment), if something were to push it or come in as a '1B' it would likely be the song which would net Montano his third Road March title, the very next year following his second, the ghostly 'Jumbie'. Again: Maybe you aren't the biggest fan of Soca and Power Soca, in particular, but listen to this song. Isn't it catchy and just nice to listen to?? Maybe it is a bit too much for you and that would be what would separate you from Soca head but somewhere in there is just A VIBE! What came with that vibe was ridiculous. It was heinous and it was disgusting and I loved every second of it.
2011 - 'Advantage'
Ridiculous to think that it's now fifteen years old, 'Advantage' is another of the best of the bests for me on this list and it's very simple; I won't overstate it AT ALL. 'Advantage'. 'Advantage' was a BEAUTIFUL MADNESS. It was insanity "of a certain kind" (biggup Gentleman) and the absolute highest level possible. It did not sacrifice a melody -- it's in there -- but this was a refined chaos the likes of which you very rarely encounter.... and an acrobatic Soca Monarch winning performance of this one did not hurt either.
2012 - 'Pump Yuh Flag [PYF]'
In its day and probably to this day I may not have given 'Pump Yuh Flag' its due credit. I'm going to owe that fact to a tune by Fay-Ann Lyons by the name of 'Miss Behave' which likely garnered the vast majority of my attention that same year though I will (begrudgingly) admit that 'PYF' was a better choice for Road March (though 'Miss Behave' was a better song!) given what it does. You take a seemingly customary Power Soca tune that very coyly injects a bit of PRIDE on the road and you end up with this one. Lift up your flag, whichever it may be, and be proud of it! DONE!
2014 - 'Ministry Of Road [MOR]'
Sometimes you just run out of space and you need MORE. Machel Montano and co. set out to give you just that with his stellar 'Ministry Of Road' from a dozen years ago now. If such a thing is even possible on a list of songs that are only on the list because of what they've achieved - I think 'MOR' has been a little underrated to a point. It is better than certain tunes here that are more popular and even better regarded by the masses. This song, from purely how it SOUNDS, is top notch and pinnacles with, undeniably, one of the greatest choruses here... and that is definitely something big.
2015 - 'Like Ah Boss'
"Everyday it's fete
I come out to fete
I bet I feting MORE THAN YOU
It's sweat
I come out to sweat
I wet
I sweating MORE THAN YOU
I come to whine & jam and I sure to catch it MORE THAN YOU!
Cause when I feting off-course
I just do it like a boss
I feting morning and evening!
This is my home, I'm not leaving!
I can't over this feeling!
THIS FEELING!
I Just want to play mehself
Leave me, let meh play a mas
I just want to whine on something
I CAN'T LET NO BUMPA PASS
Mi pride in the lost and found
Watch me, how I whining down
I all on the dutty ground
And nothing can stop me now!
This whole year, I live for the Carnival
And I know, that it will be magical
Misbehaving, and I doh care at all
SO DONT TRY STOP MI, I'S A PROFESSIONAL!"
You'll think of LYRICS and Soca and Trinidad and, of course, Bunji Garlin comes most immediately to mind and with good reason but do not sleep on, for what it was, the borderline genius that was ultra-popular 'Like Ah Boss'.
2016 - 'Waiting On The Stage'
Maybe it was just me or maybe it wasn't but... wasn't there something kinda EVIL about 'Waiting On The Stage'??? The Badjohn Republic produced track had this wickedly intoxicating and pulsing intensity behind it that makes it a standout even amongst one or two songs that I may hold in ever so slightly higher regard. With that being said, however, make no mistake about it: Whatever 'Waiting On The Stage' had going for was well powerful enough to see it sitting at least in range of the very best material that Montano has ever done in my opinion.
2018 - 'Soca Kingdom' featuring Super Blue
Here's a really interesting one. On paper, 'Soca Kingdom' lights up. It links Machel Montano with the legendary Super Blue who is, himself, one of the most decorated Soca stars in history; with TEN Road March titles of his own and a record SEVEN Soca Monarch crowns (including the first one ever) (and he's also, biologically responsible for even more hardware as the father of both multi-time Road March champion and former Soca Monarch, Fay-Ann Lyons and Terri Lyons (who just won her second Calypso Monarch crown this year). So you bring THAT type of talent to one song and it's no surprise the attention that it would receive. As for the actual song, while I can't call it a favourite of mine anymore, I have to confess that that, SOMETHING happens to me when I hear the beginning of 'Soca Kingdom'. Possibly because I haven't heard it much in recent years (but whatever it is), when this tune jumps on I get the feeling that something IMPORTANT is about to happen. That intro before what ultimately becomes the chorus is.... royal and wholly befitting of a kingdom with two kings.
There was just all kinds of magical goodness behind 'Famalay'. RIDICULOUSLY, the song would mark the very first Road March win by the great Bunji Garlin as former rivals, Montano & Garlin, would unite to produce, arguably, one of the most memorable Soca songs.... like ever. Furthermore, not to be forgotten is the presence of the always flaming Skinny Fabulous who would become the first non Trini to win Trinidad's Road March. What the trio would come up with was absolutely fantastic and it was also heavy, Power Soca music with a message.
"We don't see race, one or the other
ONCE HE IS BREATHING ON THIS EARTH, HIS IS MY BROTHER"
The fitting unity anthem checked lyrical boxes. It was infectiously chaotic and one of THE best songs either of the three have ever done. Perfect for the road.
2025 - 'Pardy'
TRINIDAD most certainly didn't need a reminder but maybe you did: Sometimes you just need to reward yourself for all of that hard work you do. Sometimes you have earned the right to misbehave in a major way. That was the sentiment behind Montano's hit, 'Pardy', which took top honours just last year. Produced by both XplicitMevon and BadJohn Republic, 'Pardy', in retrospect, was an affirmation of something that I've known for a very long time. Soca IS the musical reward of your hard efforts. It just is. It is the musical shot of dopamine that we all require once in awhile (or like all the time) and such a thing definitely deserves celebrating. Enter 'Pardy'.
2026 - 'Encore'
And for #12, unsurprisingly Montano captured attentions and affections with the GOLDEN 'Encore'. Where 'Pardy' was a celebration of some very particular aspect of things, 'Encore ' was a FULLER experience. It was a total ceremony of a damn song and, following all that preceded it, it was completely appropriate. Get into the body of 'Encore' and attempt to detach it from any type of greater significance and you arrive at such a BEAUTIFUL level of delirium ["SHOW THEM THE TIME OF THEIR LIFE!"], showing a master still well within the peak of his abilities. That's it for now but Machel Montano certainly figures to add at least one more jewel to his gaudy catalogue which is already unmatched in the genre.
High. I want to go back to a discussion I was having recently in regards to an album we looked at late last year that was, easily, one of the most interesting and popular releases of 2025; "Exile" by Chronixx. One of the bases (basises???) that I used for the review of that album was to talk about there exists a certain class of artist that we look upon and full-on expect to do special things. That isn't to say that others CANNOT but with this specific group, it can be to the point where listeners will almost assume that special is in the offering and when too long of a period of time has passed without it, CLEARLY something is wrong... amongst ridiculously demanding listeners such as You and I. This time around, however, we're going to have a far more positive and even magnified discussion because I think that the actual PLATFORM calls for it. Reggae/Dancehall is one thing. There isn't a schedule really and if there is one it's set by people who have the ability to set it and delay it as much as they want (you can delay the release of anything and you can cancel a performance - happens allllll the time and it isn't the biggest deal). In Soca though, ass insane as it is to say, things're a bit more rigid. Carnival comes when Carnival comes and, again, the biggest of names are presumed to arrive with the biggest of hits and IF THEY DON'T... it's kind of a wasted season which is awful as the wait shifts to next year. Sure, they'll have other songs that year but it won't be the same as it was for their own Carnival season and that'll be that. Furthermore, isn't there just SOMETHING about Soca (of course there is)??? The music is inherently BIG and DRAMATIC and it often has a competitive intent behind it. So, each and every year, as the tunes begin to roll out, you'll INSTANTLY see calls for 'Roadmarch winner' as soon as ArtistX releases what we assume is their big hope for that season; and sometimes those calls are correct! When they are correct -- at least in my opinion -- given that schedule that they're on and how incredibly easy it can be to trace it back many years later, Soca's stars have the ability to impact their listeners with as much DELICIOUS NOSTALGIA as any participants of any artform on the planet. When they do GREAT, you'll likely NEVER forget it.
Let's take a look at someone who has been "doing great" for decades now, Machel Montano. While people like me are probably guilty of throwing around the word "LEGEND" far too casually, it fits super snug in Montano's case. He is a legitimate, undeniable legend of Soca and Caribbean music, in general. Still, though now slightly north of half a century of age, Montano is looked upon as being capable of delivering brilliance every season (even when he takes the season off, essentially, from making Soca and focuses on Calypso as he did a couple of years ago and managing to take home Calypso Monarch) and when he doesn't, he isn't seen as having passed his best or any such thing - he is not afforded that excuse (though I did try to place him in that category once upon a time.... never more).
2025
...and it is apparent that he does not need it. Just last year, Montano would take home his ELEVENTH Road March title, tying him with the legendary Lord Kitchener for the most all time wins (he'll take the crown, alone, at some point) and that's not all of it. Because of the nature of Soca music -- being on that schedule -- albums can be quite simple (and well planned if done correctly). They can either be total compilations of multiple seasons or, as is the case here, they'll end up as a collection of the work a particular artist did for one season (with maybe a roadmix or an unreleased tune thrown in the flesh it out).Going back through his catalogue, Montano has charted several big projects to his name to say the least. On this blog, we have a long running series called 'Modern Classics', were we observe what I feel are truly spectacular albums that have released from the modern era and we reached installment #43 last year. The only Soca album that we've ever covered there was #29, "Flame On". There were also BEAUTIES such as "The Book Of Angels", "Machelements", "Happiest Man Alive" and several others. Machel Montano belongs to a very select group of individuals in Soca music who actually release albums on an at least semi-consistent basis. Just last year he set out with "One Degree Hotter" which was well received (I didn't particularly like it but a lot of people enjoyed it a lot more than I did) and if you go back to 2016's "Monk Evolution", Montano has now had five albums - averaging an album every other year. Said fifth album, "Encore", now arrives and does so at yet another really BIG time for its creator. Virtually simultaneously, he's also set to release a documentary of his life (which I thought that I remembered from years ago but is, apparently, being billed as new) so, along with the typically atypical madness that a Carnival season presents, 2026 brings with a bit of an added light to, arguably, its brightest star. Fortunately he appears up for the challenge. Along with slimming down a bit, Montano has been in a FINE form, musically, from what I've heard and, because of that, when the news reached that he was releasing an album this year, I got really excited. At least so far (as is normally the case) album shelves have been quite thin coming from Soca. I'm expecting Destra to have something to say about that (maybe more like HOPING, given what she's been up to) but there hasn't been much movement at all so, once again, Montano is helping to carry at least a certain mantle for the genre...
...and he is doing so damn near FLAWLESSLY. Soca music, in general, has been strong this year in my opinion. The aforementioned Destra has been burning it up as has the always dependable Bunji Garlin; as have the 'usual suspects' in Voice, Patrice Roberts, Michael Teja and a few others. Still, at least for me, it has been Montano and Destra leading the way. That is a fact that is crystal clear throughout the former's big new album, "Encore", which gets up and going with the GORGEOUS and smooth 'Compromise'. Produced by the increasingly crucial Tano, this tune has a couple of things going for it in regards to the album. First of all, like I said, it's outstanding. It's a beautiful and laidback type of vibes but it's also quite catchy and infectious on its own. Furthermore, if you set it as it is here, at the head of the album, it's very inviting and what I'm picturing is maybe someone who stumbles upon this album on some digital site and decides to listen to some clips; the first one they hear will be 'Compromise'. IT WILL MAKE YOU WANT TO HEAR MORE! It is a FINE choice for an album opener and one of the best tunes that "Encore" has to offer, altogether. Next in is a very cool reimagining of an old favourite from the great Travis World, 'Tempa Wine'. The all-conquering original reached over a decade and a half ago and featured Patrice Roberts and I was actually surprised to see it back this year but THANKFULLY the song pays homage to its brilliant predecessor. This time Montano fittingly taps the burgeoning Tempa (Tempa should be on 'Tempa Wine') to handle the accompanying vocals. Tempa's interesting for a variety of reasons (one of which being something unrelated to music that Google can tell you about if you're curious), not the least of which is her style which is more on the Dancehall side than Soca. While I do prefer the original (and always will), this remake definitely works and has a flame of its own and biggup Tempa for adding all kinds of different colours to the tune. Travis World also supplies the foundation for the downright glittering 'Dey-O'. Although entirely too short, what 'Dey-O' manages to do in its all too brief time with us is to GLUE itself to taste. It's a very hard sound to shake and it is IMMACULATE! You want to talk about Groovy Soca (with just a bite of Power) at its absolute finest in terms of how it is presented and you're talking about a track like 'Dey-O', without question. It's one of the best and probably THE most overlooked that Montano has pushed this season. Where the piece before it served up a "bite" of Power Soca, you get the full hundred on the song rounding out the first third of "Encore", the MAMMOTH 'Pull D Pin'. Coming through across the Monkey Business Riddim courtesy of the reigning King Bubba FM, 'Pull D Pin' provides enough carnage for the whole album but particularly near its head. Featuring big talents in Skinny Fabulous with Spice duo Lil Natty & Thunda, this one is CARNAGE. It's messy and sloppy but it's also kind of clever! I remember hearing its direction and being surprised that I couldn't recall someone using a kind of 'natural' grenading metaphor for Soca music. It works and it works PERFECTLY on a song like this which, despite its chaos, brings together big talents and puts them at their best alongside one another. 'Pull D Pin' is one of the best selections from anyone that I've heard this season and I think it speaks to the quality of "Encore" that there is AT LEAST one song carried here that I find better... maybe even two of them.
I mentioned Voice a little while back and he also joins in on the festivities of "Encore" along with Litleboy, from out of Dominica (who also features in production here, with Precision Productions and Montano, himself) who both help to beautify the in flight 'Bam Bam'. 'Bam Bam' is a song that really helps you figure out what's going on with this album if you're still trying to pinpoint exactly where it stands. 'Bam Bam' is FANTASTIC. It's also grimy and disheveled. It may've showered this morning but it most certainly DID NOT brush it's teeth and it didn't have dinner last night either. It's a used gift in a shiny package is what 'Bam Bam' is and you won't mind at all (after you're done with it, put it back in the package and send it to someone else)! Though it is clearly a modern vibed track, my ears something delightfully old school coming from 'Dancing In The Streets' which features Montano alongside the well talented (and GORGEOUS) Mela Caribe. I hear a few different styles in this one and maybe Calypso is one of them (AND THOSE DRUMS!). Regardless, there is something in this song that is so damn comfortable and familiar that it is difficult to ignore. Apart from that (along with that), it's just an excellent song as well. Caribe's vocals are top notch, especially for this type of sound and, again, the mix is so right. You hear so many different influences put into that pot, by chef/DJ Private Ryan, making for one VIBRANT piece of music.
"Feels like freedom
Sweet love
When we hear THE DRUM"
"Encore" also features the star power of one Nailah Blackman (who seems to becoming a bigger and bigger deal every time she makes a song) (and with good reason) who helps Machel Montano to 'Elevate' on a tune helmed by Private Ryan & Badjohn Republic. 'Elevate' is CANDY. It will make your ears feel good and it will also bring a smile to your face (I've tested it. I'm listening to it RIGHT NOW and I'm smiling). The peak of this one is as gorgeous as anything else that you'll find on the album and I want to use it to make a point about Blackman's style, in general. She has way, VERY SIMILAR to Montano's himself, of making these big, POWERFUL, pieces which are chaotic and frenetic but completely CLASSY (Destra does that as well). That doesn't work for everyone and "for everyone" CLASS isn't necessarily a good thing; but you have these songs and they're filling you with such a great emotion and an intensity - sometimes it's pretty difficult to stop and appreciate the musical ability that they require to be made. It isn't all 'jump and wave and misbehave' (not that there's anything wrong with that) or 'break something', there's a beauty in that madness and Nailah Blackman has it nailed! She's a damn specialist and it vibes so well alongside someone like Montano.... and pretty much anyone else. She's awesome. Of course, that isn't to say that there's anything wrong with BREAKING STUFF as evidenced by the next and BEST song on "Encore", the truly ridiculous 'Move Out D Way'.
"THE WHOLE WORLD MASH UP"
Travis World returns to production for the tune and he brings with him the up and coming Paris Coutain. Coutain (who ever-so-slightly resembles a young Nasio Fontaine) (biggup Nasio) is someone to keep an eye on (and biggup Machel for bringing in people like Paris Coutain, Tempa and Litleboy, shining, probably, the genre's biggest light on their considerable talents) (you might even be able to include Lil Natty & Thunda in that and, once upon a time, he did the same for Skinny as well) and if you are unfamiliar with his work, here is a fine time to become acquainted. 'Move Out D Way' is fucking nuts! It's dangerous. It's harmful. It does not promote safety or good behaviour and it is my kind of Soca music: That SWEET shot of adrenaline which the genre alone can deliver in such a way!
Trailing not very behind, AT ALL, is the actual song, 'Encore'. I hear this song what has begun to stick with me about it is the level of reverence Machel Montano has for Soca music and Carnival; as if he hadn't demonstrated that endlessly throughout the years. Helmed by ace producer XplicitMevon (filthy run that man has been on), 'Encore' is a living, breathing tribute to Carnival and Soca music and it is OUTSTANDING. Clearly thought to be his signature tune of the year, it does not disappoint and it COMPLETELY embodies what I mean when I say that we expect special things from special talents. On 'Encore', Machel dazzles from the preparation ["Frontpage is where legends belong but BACKSTAGE IS WHERE LEGENDS ARE BORN"] that goes into it (that he's been doing for years, straight through the final product that we get to see. 'Encore' IMMEDIATELY goes down as one of his finest efforts in recent years and I wouldn't be surprised if it nets him a consecutive Road March crown in a few days. "Encore", the album, also gives us a "Stage Mix" of 'Encore', done by Madness MUV, D Ninja and the very popular DJ Marcus Williams (whose work I routinely workout to). It's, essentially, a roadmix (I actually think it is the song's official roadmix) and the typical things that go into such mixes are present here as well, though it doesn't detour too much from the original during its initial stage before... becoming entirely more interesting during its second half. It is refashioning of a fantastic song and it's more than three minutes longer so there isn't a damn thing to complain about here. You also won't get much (or any at all, actually) fight out of me against 'Carnival Birthday', which taps frequent Montano collaborator, the legendary Super Blue. 'Carnival Birthday' is kind of cursory and very straightforward but I will give it its due credit: It is VERY FUN. I know what you're thinking.... they're all fun; and you're right. They are. But what this one, specifically, has going for it is that "cursoriness" that I mentioned. 'Carnival Birthday', literally, just sounds like Montano called up Super Blue to make a song for 2026 and... that's what they did. They weren't trying to win anything or change lives anywhere. They set out to make a very light, fun and intoxicating Soca song and that is exactly what they did. Finally is the albums definite changeup, 'No Wayyy' (because one Y simply could not do it justice). If you listen really closely (or even if you don't), you'll hear the Sleng Teng Riddim (of all things) playing in the midst of... a lot of other things. It's a SWEET tune, sopping with nostalgia (and a dash of oddness) and just an interesting track. It would have been even better had Montano employed more of an old school delivery but he does give it to us at the chorus and creativity, when done this well, is only to be rewarded.
Overall... special things. Machel Montano does not walk to the head of the class on name value alone. It surely will help him to a degree (a degree that he has earned) but when he does get there, he has to deliver. "Encore" is a HUGE example of him delivering. The Soca head is beyond my recommendation, he/she already knows what's going on here but I will recommend the album as well to someone maybe thinking about getting into the genre. It is such a WELL DONE, complete piece of work that if you do have ears for the sound, I don't think you get very far into this one without getting hooked by something. We look to people such a Machel Montano to lead the way in defining the sound of a generation and maybe even a few generations following his because they show themselves capable of doing things EXACTLY like what is found on "Encore": The best Soca album I've heard in a long time.
Today will be fun! In the next installment of our Signatures series, we take a look at someone who is not only a personal favourite of mine but someone who I also consider to be amongst the most talented individuals that Reggae music has EVER produced in the form of an ultra-dynamic, versatile and POWERFUL songstress from out of western Trinidad. Over the course of the last quarter-century or so, Queen Omega has dazzled! She has shown herself to be at a SKILL level placing herself amongst the absolute greats of the genre and has, subsequently, demonstrated a level of consistency which, again, places her in very select company. A list like this could, EASILY, be a hundred tracks long but we're going to attempt to narrow it down and gather the strongest works of, in my opinion, THE most talented female in the history of Reggae music. Signatures: Queen Omega
1. 'Warning' featuring Sizzla Kalonji & Capleton
Lovely works. In any direction you would take this one -- Sizzla & Capleton, Capleton & Queen Omega, Queen Omega & Sizzla -- you'd be sure to have a winner on your hands. The very fact that it is ALL THREE of them, however, is kinda ridiculous (and the case could be made that the young Queen outshone her legendary spars). The song was THE signature from the Queen's beautiful self-titled debut set and has aged very well. I THINK the song was originally a combination between the two Jamaican legends and Queen Omega's portions were later added (not entirely sure though), in any case however, again, SIZZLA KALONJI + CAPLETON + QUEEN OMEGA = Something truly unforgettable.
2. 'Ganja Baby'
Ganja lady. While the legendary Rita Marley carries the heaviest of hands when it comes to ganja tunes from women with 'One Draw', I'd probably go as far as to say that Queen Omega charts in second place with the MAMMOTH shot that 'Ganja Baby' has grown into over the years. Far and away one of her most recognizable efforts, the Mickey D helmed track has remained a pillar and aged exceptionally well also. ANY type of compilation such as this would be totally incomplete and just downright irresponsible sans its presence. BOOM!
3. 'Wise Queens' featuring Kushite & Jalifa
Nah normal. This song had to be here for me for exactly whom it brings together. Years from now, hopefully we'll look back at 'Wise Queens' as having made a major impact on the genre but, specifically, Reggae from out of Trinidad in the wider sense. The tune linked Queen Omega with a pair of her very talented pears also from out of Trinidad, Kushite and Jalifa. In doing so she not only exposed their monstrous talents to a greater audience but they also, collectively, represented for women currently in the genre REGARDLESS of origins. Outside of the circumstances behind it, 'Wise Queens' was MIGHTY. It was a huge tune which pulled a variety of different vibes and covered a lot of ground and will be damn difficult to forget anytime soon.
4. 'Thunder Storm'
Grrrr! While I have not finished fleshing out this list (currently sitting at eight tracks (thirteen is the magic number, I'm thinking) (ended up being FIFTEEN), I'm very confident in saying that 'Thunder Storm' is the most purely EXCITING tune that you will find here. Irie Ites supplied their ASAP Riddim to the Queen and, in return, she burned it to the ground! EXPLOSIVE as it could possibly be, do not let what immediately strikes you about this storm distract you from another HUGE aspect about it: 'Thunder Storm' has a seat at the table of the discussion of being THE best written song of Queen Omega's entire career. The lyrical display she sets forth is one for the ages in the name of signaling to all the forthcoming unmissable revolution.
"I SEE THE FALL BABYLON WHEN JAH PEOPLE RISE"
5. 'See You Down'
To the ground. I feel threatened by 'See You Down'. I always have and I probably always but I will tell you what I mean . At no point in during its time does it NOT feel like there is some.... uncomfortable, uneasy presence to it. Maybe (probably) it's only me but there's SOMETHING so damn unsettling about it. I think Queen Omega knew it and she invited it and even did her part in adding to it. How, exactly?? Listen to how she sings it. She, herself, "threatens" to wholly eviscerate everyone, everywhere with her vocals (which, SERIOUSLY, are amongst the finest in all of Reggae today) teetering ever so closely to completely exploding several times during the song.... only to be reeled back in at the last possible moment. I look at songs at how they're written, how they sound and how they are delivered and there's another aspect: Presentation. There isn't a finer PRESENTED selection here as the Queen makes you feel LITERALLY what her idea of "down" is.... and you don't want that. One of the most strongest songs I've heard from anyone in a long time.
6. 'Hold On' featuring Anthony Que
Firm. Anthony Que did an album by the name of "Meditation Time" about a dozen years ago. It's excellent. It's a borderline Modern Classic and I enjoy it as much in 2025 as I ever have. "Meditation Time" contained a single featured guest and it just so happened be Queen Omega, joining in on, arguably, the album's single finest moment, 'Hold On'. I don't particularly know how this combination came to me (don't care either) but Que & Queen make for such a powerful pair, both in sound and in direction, that what resulted was such a delightful song to hear and one which definitely made its impact as well.
7. 'No Love'
Can't be denied. Two things: First of all 'No Love' from Little Lion Sound was downright MASTERFUL. It was absolutely brilliant and effortless at the same time. Like I said about 'Thunder Storm' it, too, can lay a substantial claim to being THE best song Queen Omega has ever done from a lyrical standpoint, specifically. The next very curious thing about 'No Love' is definitely its 'lifespan'. It's lead a very interesting life. If any song here can be described as having 'gone viral', this is definitely it as you can find many people (who aren't necessarily Reggae fans) reacting to the Dubplate version of it for LLS. It has proven to be quite surprisingly popular and has surely brought many new fans to the queendom.
8. 'Me No Frighten'
No fraid a you. Maybe you remember a little album the Queen did wayyy back in 2008 by the name of "Servant Of Jah Army" for Mad Professor and Ariwa. If you do then, SURELY, you should be familiar with the SCATHING 'Me No Frighten'. I say that because, otherwise, you may actually find this tune to be quite obscure but... I mean... LISTEN TO IT!
"Mi no run
If a murderer, come with a gun
Fyah bun!
Dem seh dem ah tek life fi fun
Under di sun, every man fi bless wid wisdom
Knowledge, overstanding - cause that coulda never dun
Every man must love & respect his woman
Never abuse her fi tek out yuh frustrations
She is the Mother of Creation
She bring forth your daughter; bring forth your son"
{Note: Notice the TRULY RIDICULOUS way she takes the chorus after the first verse and just... TURNS IT INTO MORE VERSE!}
9. 'Last Days'
Again and again. I had this song in my head, singing it, trying to figure out what it was because it simply had to be included here.
"I say it again and again"
Eventually, I came across 'Last Days' and:
"We're living in the last days
I SAY IT AGAIN AND AGAIN"
BOOM! Crafted by the same 149 Records who worked on 'Hold On' with Anthony Que across their GOLDEN Brighter Day Riddim, 'Last Days' was problems! Armed with more than just a hint of spite, the track featured a Queen who was equally concerned and caring. It wasn't the full smack to the face but a warning that, should you not heed it, such a shot had been deployed and was in your vicinity.
10. 'Uprising'
Get yourself prepared. Along with being EXCELLENT, 'Uprising' is also the answer to a very interesting trivia question. It was the very first song on Queen Omega's debut album and it would not only go on to set the tone of what was to follow on the subsequent seventeen tracks but also for the next quarter-century or so. 'Uprising' would have likely been the very first tune that a lot of fans had EVER heard from the songstress and not only does it carry a nostalgic type of weight but it was strong as well. A LOVELY song and it's no surprise that we're still listening, all these years later.
11. 'Big Up Papa'
PAPA! PAPA! PAPA! I gotta question for you: You probably know of hundreds of Roots Reggae songs which give [a most deserved] honour to the mothers of world; but how many do you know doing the same for the righteous, hard working dad's out there??? Probably not too many, if any at all. That being said, I've always respected the Queen for this turn, 'Big Up Papa', which found her not only giving thanks for THE Father (again, hundr.... THOUSANDS of those songs) but for her own, earthly sire for stepping up, taking care of his family and providing a strong, proper example in her life.
"Give thanks for my heavenly Father for making you my earthly father"
12. 'Don't Call Me Local'
I'm international. The great aforementioned Capleton once did a tune by the name of 'My Ting Tun Up Everywhere' which Queen Omega's 'Don't Call Me Local' has always, directionally at least, reminded me of. Both songs would go on to be fairly sizable hits in their day and the Queen's side of the sentiment easily earns its place on a list like this from me. Featuring the handiwork of the always entertaining Manudigital, 'Don't Call Me Local' was just a VIBE! It was a fun time of a song and a display of a towering level of skill and not a talent just from and for Trinidad, but the whole of Reggae music.
13. 'I Believe In Love'
It's the healing of the nation. THE standout from Queen Omega's somewhat forgotten (and damn difficult to find) sophomore set, "Pure Love", 'I Believe In Love' just may be the most BEAUTIFUL song that she's ever made. I listen back to this one these days (more than twenty years on now) and I hear such a delightfully youthful Queen. It's in her voice and I'd be willing to bet that when she sang 'I Believe In Love', she was having a really good day and it comes across to the listener. It's one of the best songs she's ever made and if it is your absolute favourite, you have very good taste, my friend.
14, 'Selassie I Know'
Selassie I, love you. I mentioned another tune here, 'Don't Call Me Local', as having always reminded me of a Capleton song and here we have another one which does the same, only far more directly.
"Queen Omega want yuh realize and overstand
Full time fi bun out dem confusion
Full time fi bun out dem frustration
Longtime wi ah bun out di disillusion
Now time fi bun out miseducation
Now time fi bun out dem temptation
Full time wi ah bun out paganism
Come people bun out favouritism"
Hmmmm. Now what does that sound like to you???
15. 'Away From Babylon'
Closer to Mount Zion! Lastly, 'Away From Babylon' is both the title and signature track from an album that we've declared a Modern Classic around here (same album carried 'Ganja Baby'. It was LOADED) and it... casually strides it's way onto this list and the same should be the case for any collection of Queen Omega's greatest works. 'Away From Babylon' was a celebration, it was wise, it was cool and it was just a BEAUTIFUL song and so it remains. Probably still my single favourite song that she has ever done, Queen Omega announced to all seeking her out where exactly where you could find her... or exactly where you CANNOT.
