The Genuine Article: A review of Grateful by Torch

Blocks. In traditional Dancehall music, there are what I've called the Three 3 G's: Girls, guns & ganja. What I mean when I say that is if you listen to [traditional, have I mentioned TRADITIONAL??] Dancehall music, while you will find songs about topics beyond those three, those are, far and away, the most popular that songs from the genre center around. Furthermore, you're likely to almost NEVER find a song which doesn't incorporate at least one of the three in some fashion or another. I won't spend a similar amount of time explaining it but if you listen to Soca music at all, I don't have to tell you the concept of "jump, wave & misbehave" or any of its... thousands of infectious incantations or full blown albums. When it comes to Roots music, there're also a number of very basic and foundational concepts that anchor the music to a large degree. One of them is omnipresent (LITERALLY) and is THE central Figure of the entire genre; the others tend to revolve around HIM and are intrinsically interwoven within it as well. Now, just as is the case with the more restrictive confines of the Dancehall (I gave you three options for Dancehall. There're... maybe ten-ish in Roots music), we reward and celebrate the makes of this wonderful sound by how well they can convey these themes and, furthermore, how they can manage to differentiate it from their peers. HOWEVER, with that being said, there does exist a very straightforward way to present Reggae music in a way that does not stray far from center AT ALL but is still able to win the affections of listeners. There's a set road and those who show themselves capable of trodding it -- in even the most basic way -- can still reach a certain level of success when certain factors are in order. I'll bring up someone who so wonderfully embodies such a quality and though he hasn't enjoyed a massive amount of accomplishments to date (and likely never will), Steve Machete has spent a significant amount of time making a beautiful brand of Roots Reggae music that I absolutely love that does not challenge or stress the typical  foundation of the genre AT ALL. When you spread that out in terms of an album form (DAMN I would love a Steve Machete album), it can be even more important and while I do LOVE uniqueness and will continue to push it to your attention when I find it done well, I have to admit that there is SOMETHING mightily attractive about digging into a pure, extremely well done piece of modern Roots Reggae. I've spent years and years lifting up such releases and have absolutely no problem with doing it again.

2026

....like today, for example! Earlier this year, Torch released an EP by the name of "Path To Success" which, for what it was, was incredibly well-received and fairly popular in its time. I remember being very pleased to see the response around it and it featured a number of big names in just a handful of tracks (more on that in a bit because all of those songs are on this album) - so that definitely helped bring in eyes and ears. We were all largely rewarded. "Path To Success was very good and, apparently, it was just a bite of what was forthcoming. I've never actually reviewed any of Torch's work (despite the fact that he's been making full projects for... almost a decade and a half or so and you'll find him mentioned around here as early as 2009!) and made a proper note to attempt to change that around the time of "PTS" and LOOK [!], he's given me the opportunity to change that and I am all over it. 

I don't want to paint a picture that Torch or his music (or this album) are bereft of uniqueness or originality: They most certainly are not. His style is a very pleasing blend of a loud chant (he almost sounds like Tony Rebel at times. Coincidentally, The Rebel would give him his name and has been a help throughout Torch's career to my understanding) with a more traditional singing voice that he occasionally employs to big effect. I've also read interviews where the Trench Town native lists the likes of Buju Banton and Sizzla Kalonji as artists who've inspired him musically and his approach also reminds, somewhat, of them as well. Now, were you one of the ones who caught onto Torch during the hype of "Path To Success", you should be REALLY happy (and even if you go back further than that, you'll be pleased as well) as that release has now been inhaled and a larger project has been constructed around it and we get "Grateful", the brand new album from the ever talented Torch. Torch has an actual background in music, apart from making it, I believe he was trained as an engineer and he also spent considerable time at the hallowed Penthouse Records, so it comes to no great shock that he, himself, handles production for "Grateful" and, after getting a listen to it, hopefully he spreads the joy around a bit because there is some WONDERFUL Roots music on this album. I got started down this road as far as the direction of this review because of that title and how being grateful and thankful, in general, is foundational tenet of this music and, as the album plays out, Torch and company really begin to touch so many of the others and in a very forthright and matter-of-fact manner. "Grateful" makes absolutely no illusions as to what it is. It is a modern Roots Reggae album - nothing more, nothing less. It's very well written, it sounds exceptional and it is just so beautifully presented. Such a set of circumstances may present certain limitations (and I'll touch on that in closing, SURELY) but it also will open it up to my opinion; for what it may lack in "legs" and diversity, "Grateful" more than makes up for with sincerity and an UNFAILING understanding as to exactly what it is. Let's talk about it! 

Something that I (a nerd) found really cool about "Grateful" in relation to "Path To Success" (that no one else will but who cares!) is the fact that of the seven songs present on "PTS" only four of them made it to the full release. To me that says that there was some sort of total vision for "Grateful". It isn't that they cut away some of the 'fat' (they most certainly did not. This album has seventeen tracks and it's an hour long); it's that Torch and company had an idea of what they wanted "Grateful" to be and the songs that fit in that image made it over and the ones that did not fit, did not. They weren't just attempting to flesh out a record. What they did see (whoever "they" may be, precisely) begins with a definite highlight and the first of what turns out to be NINE combinations in total, the GORGEOUS 'Travel Jah Road', featuring Vyzadon.  The guest here is an interesting one for a few reasons, not the least of which is that Vyzadon tends to sounds.... almost SAD to me at times. It isn't quite the same feeling (and they sound nothing alike) but the feeling of listening to his music sometimes reminds me of Bugle to a degree. Of course SAD does not mean BAD at all and, like I said, 'Travel Jah Road' is outstanding. Specifically, the tune deals with things such as perseverance, overcoming obstacles and not being too proud to ask for help when needed. There's a lovely spot right in the middle where 'Travel Jah Road' REALLY settles in, musically, and when the vocals return we get a bit of back and forth between the Torch and Vyzadon for one of the more dynamic stretches of the album before the instruments return and send us out soaring on a golden start. In next is, arguably, the even higher 'Agenda', which is downright brilliant.

"So sharpen di vampire stick

Pass through, stab wicked heart wid di prick

A DIS YAH FLAME BUN NASTINESS"

"Full time no deh pon shift

DI MISSION IS TO SAVE DI PEOPLE DEM FROM A FIERY PIT

Dem waan fi stop mi from seh dat and dis:

Waan control di narrative wid lies and tricks

So dem come and seh 'excuse mi, yuh fire too red!'

KNOW SEH MI NAH PARTIAL

BUN YOU OUTTA YOUR BED"

'Agenda' Torch's shot back against a general level of nastiness being expressed in the world and he does it with such a HEAVY HAND! I mean this tune is dripping with confidence and wit. Torch tackles this one like someone who is taking a test that he's been studying for his entire life. There are no surprises to be had; HE'S GOT THIS! 'Agenda' is a special song and though I do find one stronger than it on "Grateful", were I to just pick one to present Torch's music to someone, 'Agenda' might get the call. I'll skip ahead a bit to another excellent selection and one with a title that you'd fully expect to see on a release such as this one, 'Don't Give Up'. I just mentioned how "confident" Torch struck me on 'Agenda' and I think that CONFIDENCE, particularly self-confidence and assurance is the main theme behind 'Don't Give Up'. This isn't necessarily that piece solely about dealing with things that you encounter in life and going through the things that give you trouble (as is the case on the opener); although that is certainly apart of it, 'Don't Give Up' is more about what's going on inside of your head. We've had bad times that we've experienced and we knew that they were passing. Maybe you were working on something that wasn't going quite to plan but you were fine with it. You were patient and knew you had a good chance of turning it around; 'Don't Give Up' is when THAT is gone. When you've lost that inner belief, 

"So no give up on yourself

ONE DAY YOU'LL HAVE A STORY TO TELL"

'By The Cover' was a legit surprise to me and a damn powerful one. I didn't make the connection but it's quite clever. This one is about not underestimating people and places and circumstances (and ALBUMS) (I may've thrown in that last one) ["Dem judge di book dem by di cover and wasn't sure of what was inside. And now dem wishing dem discover, cause it was more than what meets di eye"], for better or for worse. There's just LOADS of common sense and knowledge behind 'By The Cover' as well and you get the point, without knowing him at all, that Torch is someone who writes with a level of life-experience that he pushes into a song like 'By The Cover' and several others on "Grateful" as well. Before I switch gears, I will mention out obligatory love song on the album, 'Still Believe In Love'. You don't dwell on these tunes unless they're exceptional or really bad and 'Still Believe In Love' is neither. It's just fine for what it is and it actually does a nice job in showing off Torch's vocals when he sits on them just a little. You should have expected such a piece to be in this mix and, if you did, you probably expected it to sound pretty close to 'Still Believe In Love'. 

Now, let's talk about the other seven individuals who, along with the aforementioned Vyzadon, join Torch in making "Grateful" the project that it is, as he taps a wonderful variety of names you know and maybe others that you should/will know. Let's just pick a random one... let's say... 'All I Need'! This fine track features veteran singer, Little Kirk. Little Kirk is [delightful] an interesting one because he was never the type to hop on every single riddim -- even at his pinnacle -- and though he's strung together a fine career for himself, the urge is to always bring up his generational talent of a brother when his name comes up but he's more than deserving of a significant amount of credit on his own merit and I was DAMN happy to see him aboard "Grateful" and he does not disappoint. 'All I Need' is a very straightforward, but BEAUTIFULLY done, praiser and that's about all of the explaining it needs, but DAMN this song is so nice to listen to! Biggup Little Kirk. You wish he came around more often after tracks like this one (but he won't). Just ahead of Little Kirk's appearance on "Grateful", Aneillyon makes a contribution on the somewhat melancholy 'No Procrastinating'. Like the song just behind it, 'No Procrastinating' is song exalting The Almighty but it takes a little bit of a twisting route to arrive there. I'm actually pretty curious as to how they came up with it but the song's punchline:

"No procrastinating, we've got work to do

Trust in Jah, and HE will see us through"

It's pretty SMART. What they're saying is that NO ONE, not even HIM, is going to do everything for you and you have to try, at the very least, to meet someone halfway. You do your part and I'll do mine and we'll be just fine. Again, the vibes of the song are pretty different; this is not a joyful tune but it's one that you'll make a mistake in not taking in should you pass on it when realizing that it doesn't immediately grab your attention. You should have no such issues AT ALL with the all sorts of fun 'Wheel Again' which enlists the talents of Bingi (who, himself, has a new EP for this year by the name of "The Beginning"). I'm not going to call it a 'love song' or a 'lust song' ["She seh she a nuh door but she loving how mi jam it"] but it is kind of relationship-ish and flirty. HOWEVER you come to qualify it - it is outstanding and a damn joy to listen to. Just as impressive as Torch & Bingi on the vocals is the actual riddim and whoever is on that guitar on this song deserves a bonus with the performance they put on for 'Wheel Again'.  'Be careful of the company you keep' is the sentiment behind another winner, 'False Pretense', which links Torch with the always interesting (for one reason or another) Turbulence. The tune was one of the few making it over from "Path To Success" and I can actually recall the first few times that I heard it (because I can literally still hear what my critique of it was at the time) because it sounds a little uneven in combining the vocals with riddim at times (especially at the beginning) but it subsequently settles down and you get a really nice vibes between these two across an old school bounce of a riddim ["TRY TO DESTROY MI FOR SELFISH REASONS AND IN MY EYES, THAT IS A TREASON"]. You've heard songs like this many times in the past on Roots sets (Ickarus had one of the finest I've ever heard called 'Mind Who U Lime Round' ["Spend time round. They could be the same one that's putting you down"] and they do so nicely fit into the ideology of the genre as well as far as uplifting positive works and putting away negative ones. Torch also taps German star, Gentleman, for a cut on "Grateful", the glowing 'I Will Be There'. RIDICULOUSLY COINCIDENTALLY, Gentleman, himself, also recently released a very similarly titled album by the name of "Gratitude" and it also just happens to have seventeen tracks as well! No stranger at all to combinations, himself ("Gratitude" has TEN of them), Gentleman at least has the propensity to work well with others, Gentleman can pretty much work well with just about anyone - CLEARLY Torch isn't an exception (and I am fully expecting to see Torch on Gentleman's next album or EP, whenever it may get here). As its title would suggest, 'I Will Be There' is just a track about accepting and asking for a helping hand when you need it. It's also about serving that purpose for someone else when you're able and just such a nice vibes altogether and one which sort of indirectly (almost directly) gets into things such as depression and mental health. Now, with supreme respect to Gentleman, Turbulence and everyone else whose name I've mentioned thus far playing a guesting role on "Grateful" there's a trio of others who really turn in efforts that set them apart from the rest. One of the names I was most curious about hearing was Natty King. Natty King is a really big deal for me but he seems to not be as active as I would like (which would explain why I was more looking forward to his tune than another one here which happens to feature one of my absolute favourites artists) (more on him in a second) which makes it an even bigger deal when he does come around. His contribution to Torch's album comes on a song called 'Give Thanks'... you know damn well you can't have a Roots Reggae album without a tune called 'Give Thanks' or something like it. The actual music echoes the simplicity of its name and it definitely is cursory but in a lovely way. The two have a nice amount of chemistry with one another, the song sounds excellent and it isn't necessarily lacking lyrically either. 

[Who knew ^that^ paragraph was getting THAT damn long???] Junior Kelly has an album of his own which actually releases TODAY (currently writing this on the 2nd of October, 2026), "Care About Me". If it's at least halfway decent (and it should be), it'll probably be the next review that I start (listening to some of the early clips.... ain't looking good) (maybe I'll review it anyway) but until then, he pops up on "Grateful" for one of its largest moments, the downright triumphant 'Perseverance'. 'Perseverance' is GLORIOUS Roots Reggae music; both turn in excellent performances but you have to definitely big up Junior Kelly who provides the tune (and the entire album, actually) with one its most scintillating segments:

"I no born inna socks or nah grow up pon no carpet

No silver spoon inna mi mouth mi neva get yet

Yet, when rain ah fall - man a wet

Sun ah shine - man ah sweat 

Pon mi pride, mi dignity - dem waan mi step, step, step

I'm more

Mi nah less 

Mi nah sleep

Mi nah rest

Through all di blood and di sweat and all di stumble weh mi mek

AND WHEN YOU HIT ROCK-BOTTOM DI ONLY PLACE YOU CAN GO IS UP!

And when you lost everything then you got no more to lose!

So don't give up!"

BOOM! Similarly vibed is the final combination I have to tell you about, the title track, this one calling up the great Lutan Fyah. 'Grateful' is EPIC. It's one of the single best songs that I've heard ALTOGETHER in 2026 and, of course, the sitting GEM of the album named for it. Though 'Perseverance' has a more jovial type of vibe to it, it and 'Grateful' are quite similar to my ears and, again, they both WONDERFULLY encapsulate a couple of the longstanding and significant themes of modern Roots Reggae music. CHECK! 

And we're not done, I still have four really good solo songs to tell you about [!]: Check the easy-going and prayerful 'Goodness & Mercy'. This tune, which has a clearly established biblical core, is likely exactly what you're thinking but it might come as a surprise that it actually has some of the finest musicianship on the entire album. The riddim here exquisite and it seems to keep adding little [delightful] nuances as it goes on and on. First you get a little horn (not THAT kinda "horn") (biggup Soca); then A LOT of horn; then a keyboard; then some guitar and it all makes for one attention dominating piece of music. 'Goodness & Mercy' shares a heart with the closer of 'Grateful', 'We Shall Overcome'. While the sound of 'We Shall Overcome' is far more basic than 'Goodness & Mercy', I'll challenge you to listen to this album out and not find yourself singing, "we shall overcome, we shall overcome". It's musical 'modesty' is not only its most apparent characteristic, it's also its most charming and powerful in my opinion and I wouldn't be surprised if, somewhere in his background, is a more traditional amount of Gospel for Torch as well. Then there's 'I Am A Warrior'.

"Sometimes I feel so broken and battered

All my hopes and dreams, it seems shattered

And I know that faith is required

Even though I'm weary and tired

Time it waits on no man, so I just can't play around

Keep my head above the water, cause I man no plan fi drown"

I'm thinking 'I Am A Warrior' (and the next song that I'm about to tell you about) will kind of go overlooked because it definitely doesn't have some of the more... IMMEDIATE qualities that you hear on some of the others but it is a very nice selection! It's well-written, it's catchy (that chorus ranks amongst the album's finest in my opinion), the vocals are lovely and it's just a high-quality, total effort from Torch. Finally, 'Oh Jah Jah' is a sweet praise of The Almighty which instantly translates to a more terrestrial and tangible idea in using a level of praise and inspiration to overcome certain things in life (more on that in a second) and it is lovely. Take a listen for yourself! 

"One day my sorrows will ovah!"

There're a couple of things that stood out to me as I was putting this review together that I think deserve to be stressed. The first is that "Grateful" definitely does cover many of the bases of its genre but it pinpoints things like perseverance and struggling, specifically. While I won't say that it does to that topic what Akae Beka did with unity on the unforgettable "Beauty For Ashes" because not the entire album is on the same topic but what Torch does manage to do here is extremely impressive, particularly considering that "Grateful" remains fresh and exciting throughout. It never wears out the subject and becomes flat. To that end, credit goes to the wonderful music and writing. The other thing I want to mention is just how nice of a showcase this set is for Torch's VOICE. He sounds fantastic, consistently, within every approach he takes (he almost sounds like Natty King at times, which is a huge compliment). If he's chanting, full singing or bringing in the fire, Torch shows himself to be amongst the most gifted, CAPABLE and versatile lights on the scene today with what he does throughout this release. 

Overall, if you cannot tell (shame on you), I REALLY like "Grateful". It's long overdue that I review one of Torch's albums but I picked a good one to get to work on. Because of how it goes, and its full quality, I would first specifically recommend "Grateful" as a great doorway into Torch's work. Maybe you'll find a better set somewhere in his catalogue (and if you know of one off the top of your head, feel free to let me know), maybe not, but if you're just catching on to his work, this is a FINE entry point. Furthermore, I'd go as far as to say that, even in a year as ridiculously STACKED as 2026 has been, "Grateful" stands as one of the strongest displays of talent that I've come across. Let's specify that for just a moment: I'm not saying it's THE best album that I've heard (it is not but it is up there) but as far as showing what its star is capable of, it's great at that. Along with its sound, its display and everything that it has going in its favour, "Grateful" by Torch is an album that should register with fans for one reason or another. Maybe it isn't the greatest you've ever heard or maybe it doesn't blow you away but IF YOU ENJOY MODERN ROOTS REGGAE, YOU WILL LIKE THIS ALBUM. Period. 

Rated: 4.45/5

Bad-Hasai Muzyk

2026

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).

UNDERSTOOD!: A review of Upliftment by Derrick Sound

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

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

2024

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

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

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

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

"Nuttin no negative, so wi no deal wid minus

Wi blessed and multiply, so they cannot divide us

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

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

AND YOU CAAN DRAIN WI ENERGY, GO DRAIN YUH SINUS

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

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

MI POSITIVE OF DI FACT NEGATIVITY TIME UP"

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

"Yeah di massive, ah si positive

POSITIVE INNA WI NOUNS, WI VERBS AND WI ADJECTIVES

REAL & GENUINE SO NO PRESERVATIVES, NO ADDITIVES"

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

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

SELASSIE I. NOT PERHAPS OR PROBABLY!"

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

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

coming soon

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

"You haffi give up the good fi the great

A wise man will change his mind

And a fool will never si di sign

Look like seh di government blind

So wi, seek knowledge and break dem chains

Until yeah, wi start si change

Eternally fyah gwan blaze

Try fi open yuh ears

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

Evidence nah go deliver dem evil

Have a voice so wi speak to di people

Step forward: In the ground

Or take ten steps back, into safety

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

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

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

"Nuclear weapons are deployed

And dem ready fi destroy

Wid dem weapons of destruction

Get yuhself employed, whether girl or boy

Dem ready fi go start up di action

Who will survive?

Tell dem a di fittest of di fittest

Set up yuh grounds, mek sure that you legit

Sorry for those who just can't resist

LIVING INNA ZONE WHERE DEM DON'T HAVE NO LIMIT

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

Should be making that paper

Stocking up yuh spinach

If a war dem come wid, a no my image

NO, DEM CAAN GET MI TIMID!"

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

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

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

Rated: 4.75/5

Evidence Music

2025

What I'm Listening To: 10 Weeks Til '26

'Who Are We' by Turbulence [Unemployment Records - 2025]

Gotta start off with something that's definitely put a a smile on my face over the last week or so and biggup Filomuzik and Unemployment Records from out of Italy for getting the best from one of Reggae's most enigmatic figures that I've heard recently. Turbulence MOST CERTAINLY has not been one of the most consistent of artists in Reggae music but I still maintain that he sits on a gold mine of talent which places him in very thin company. Alongside the aforementioned producer and label from Southern Italy, Turbulence turns up with 'Who Are We' which is, CLEARLY, the best song I have heard from him in 2025 and... probably the best in quite a few years (off the top of my head, I would probably say from since 2021 but it could very well be even longer than that). 

"Who are we, who are we-

Without His Majesty?

Who am I, who am I-

Without The Most High?

Who are we, who are we-

Without His Majesty?

Who am I, who am I-

Without Rastafari?

I'm nothing but a drowning victim waiting to be saved

Jah hand me lifeguard inna this tidal wave

Lost and confused inna this deep, dark cave

Jah hand me lantern just to light my way HOME

Rastafari say: Who do I think I am to disobey?

According to your works, that is how you get your pay

Mi ask them this without delay" 

'Who Are We' is a scorchingly clever praise, backed by a GORGEOUS riddim (and notice how it changes and electrifies as the song goes along) making it not only, as I said, Turbulence's best this year but likely one of the best from anyone. BOOM.

'The Days' by Busy Signal [Zion High Productions  2025]

I'm always looking forward to seeing just who one of my (if not my absolute) favourite production units, the vaunted Zion I Kings, will work with next and I have to say I was quite shocked when I saw that next in the offering was the ridiculously gifted Busy Signal and I was also damn excited. I'll temper my HOPES (You know what I want) and just deal with what's at hand. While the link maybe surprising, the results most certainly are not. The ZIK's record is what it is, they've been amongst the most consistently high quality outfits in all of Reggae music since their inception (INDIVIDUALLY AND TOGETHER) and, in case you haven't paid attention, Busy Signal is one of the most versatile stars the genre has ever produced. The man can literally rhyme about ANYTHING and shine whilst doing it. Their effort together, 'The Days', is a damn gem. It's a work of art... but you knew that already. 

'Shout It Out' by Fikir Amlak [Saj Moor Dub - 2025]

Biggup our old friend, Saj Moor, who we told you about the last time we did one of these and is already back and this time, arguably, even stronger as the producer links up with the always active Fikir Amlak for 'Shout It Out'. I'll qualify this a bit: I haven't listened to Amlak's music a great deal over the years. Though I find myself crossing paths with his work every so often, I've never really focused much on him for one reason or another, but I have heard some of what he's done (he had a song a few years back that I REALLY liked called 'Royal Son'). So maybe you'll take that into consideration when I tell you that I'm quite confident in saying that 'Shout It Out' is the single best Fikir Amlak tune that I've heard thus far and maybe it becomes the impetus to get me to really tune him in (I'm pretty sure he has a new album now and even if he doesn't (or even if he does) the next one isn't too far away.... it NEVER is)  Despite its title, 'Shout It Out' comes with this very cool and kind of building vibes to it (the riddim on this one is gold bar. Literally). It never fully ascends in terms of intensity but it remains with this gorgeous, almost mystical sound which Amlak puts to excellent usage in praise of The Almighty, while channeling the immortal Marcus Garvey. 

The Tear Iron Riddim [Muscle Records - 2025]

Grrrr! Little late season madness courtesy of Muscle Records, check out the superb Tear Iron Riddim. I've been meaning to give this one its own mid-week feature post but it took me so damn long that it made more sense here. There're only five tracks on this riddim and I'm not crazy about all of them ('Jab Bull' by Island Prince is actually kind of annoying and I cannot remember the last time I called a song "annoying") but the absolute class of this thing is buried between a pair of tunes which are absolutely delicious. Greens blowtorch, Lavaman scorches everything everywhere with his 'Take Dat Down', while the queen reigns supreme as Fay-Ann Lyons provides the iron with its greatest threat, 'Show Me The Road'. 

"A Piece Of The Blender: The Singles" by Everton Blender [Heartbeat Records - 1996]

I'm working on a review of an Everton Blender album so, of course, I'm going back and enjoying some of his older work so this EXCELLENT nearly thirty year old compilation is our blast from the past today, "A Piece Of The Blender". I've always appreciated how well this one was put together because it features songs such as 'World Corruption', 'Bob Marley' and 'Blend Dem' that would definitely get your attention and get your foot in the door; and when you settle in, also waiting for you were killers such as 'The Man', 'When You Wrong', 'Coming Harder' and others. I mention in the review how important I think it is for us to make sure that we pay the deserved respect to and CELEBRATE elders like the no seventy year old Blender while they're still around to be able to enjoy it. When you dig into much of his catalogue it isn't difficult because the man has given us some certified GEMS throughout his time. 

Bounce Back?: A review of the Recoup Riddim

Come again. As I'm sure I've said in the past, one of the worst things about getting older, specifically as a music fan, is having to powerlessly accept and/or just deal with just how much things have changed. When I was younger I steadfastly wanted to ensure that I wouldn't become some spiteful old creep walking around talking about, "back in my day...", essentially pissing on current music and artists which is why I tend to just refrain from talking about such things except when I'm impressed (biggup Eesah) and keep the negativity in my head. Looking at how Reggae is these days, there're several things which I definitely do miss and not the least of which is my beloved DANCEHALL. The saying is that 'you don't know what you've got till it's gone' and that is SO true and applicable in this instance because I don't know that I would have ever been capable of processing just how precious something that I considered to be so BASIC was. Who knew that we'd all wake up one day and 'DANCEHALL' would not be Dancehall anymore??? How the hell did that happen? Where was I?? What is referred to as Dancehall these days is basically Caribbean Hip-Hop and it's something that we all have to manage. I do foresee a return to that candy-like two-drop sound (that's what I call it. Roots is the one-drop. Dancehall is two-drop) at some point, but I may or may not be around to actually experience it and that makes me sad! The days of a producer making a riddim (of actual Dancehall music) and spreading it around have become increasingly rare over the past half decade or so (I remember Red Rat having something to say about it a couple of years ago). Expanding on that sentiment, one of the products of that older sound is the once downright overly-prevalent riddim album. In the not too distant past, Reggae album shelves were dominated by albums (by people named Marley) featuring multiple artists going on the same riddim which were seemingly released multiple times over by albums starring a single vocalist. Some of these were very big deals as well as both genre leading labels, VP Records and Greensleeves, once released such sets as part of their running series, Riddim Driven and Greensleeves Rhythm Album, which were very popular in their day; with the former even birthing a still active (as far as I know) clothing line of the same name. Personally, I reviewed quite a few of these things (once upon a time, some idiot I know even went as far as to catalogue both series). They were FUN in their day and now, looking back, I miss them both... a lot.

And OCCASIONALLY we get to go home. Coincidentally, as Riddim Driven as a functioning entity was coming to an end, one of its most frequent contributors was a producer by the name of Kemar 'Flava' McGregor and, if you enjoyed Roots Reggae music during the late 2000's/2010's or so, Flava's is a name with which you should be well familiar. The once mighty producer of No Doubt Records was responsible for supplying the genre at the with some of its largest releases from the likes of Richie Spice, Nesbeth ["Mi boardhouse bun dung inna gang war wah day. Now mi nah have nowhere fi stayyyyyy!"], Ginjah, Etana  (more on her later) and others. He also released some of the biggest riddims, several of which featured prominently as apart of the aforementioned Riddim Driven series and if there is never another edition of the series (and I would be surprised if there were), Flava McGregor and No Doubt Records will be known as having produced the final Riddim Driven ever in the form of 2010's VICIOUSLY SWEET Classic Riddim ["We only got one, life, to live. We should make no apologies"] [BOOM!]. He'd also produce full albums for many including Anthony B, Sizzla Kalonji, Turbulence (personal favourite of mine, "Join Us"), Natty King and was just... EASILY one of my absolute favourite producers going during his day. When No Doubt Records was on top, they were consistently spectacular.... but nothing lasts forever.

There would come a point where I would legitimately come to DISLIKE what McGregor was up to or at least someone using his music. At the start of the digital/streaming age a few years back, SOMEONE would end up flooding the market with release after re-release after re-release of.... the same shit everyone had already heard. It seemed as if a couple of weeks or so wouldn't go by without SOMETHING being released on that front with a new cover and, as for McGregor himself, he seemed to be spending more time making news for goings on inside courtrooms than what he was doing in the studio and it made me sad! I had given up on Flava McGregor and and No Doubt Records and had no reason to return.... at least not until very recently. As I said, though the days of that giant Dancehall riddim (and subsequent album) just destroying absolutely everything in sight may be a thing of the past (for now) OCCASIONALLY there can be exceptions, or at least ATTEMPTS at exceptions. The case could be made that the single greatest producer that the Dancehall has ever seen has been the great, enigmatic and downright reclusive Dave Kelly. For the better part of four decades the brother of the great Tony "CD" Kelly (also still going strong and one of the greatest Reggae maestros EVER) has been responsible for what has to be considered some of the most colourful and ingenious tracks in Dancehall history, largely for his Madhouse Records imprint (my own favourite would be.... maybe The Return Riddim?) and, were you to go traversing through Kelly's amazing vault, eventually you'd stop around 2000 or so and land on the Bounce Riddim. The Bounce, done for X-Tra Large Productions, didn't necessarily carry the biggest of hits, but it was BRILLIANT! These days it is likely best known for a pair of Baby Cham tunes, the unforgiving 'Man A Man' and 'Babylon Bwoy', but stellar efforts also came from the great Spragga Benz, Beenie Man and, ESPECIALLY, General Degree who scored a nice sized hit with his 'Ooh Yeahee'. Now [!], had you told me at any time during the last decade or so that we would get to a point where Flava McGregor would be remaking an old Dave Kelly riddim, I would have laughed my entire ass off at you and I would owe you an apology because, lo and behold, here is the Recoup Riddim from McGregor, it's a remake of the Bounce and it is, in fact, 2024. WHAT THE HELL IS GOING ON??! It defies all logic and common sense, but I am here for it! Why is this happening? I don't know and I probably don't care. CLEARLY, McGregor was a giant fan of the track and thought to himself that, if he had the chance, he'd love to do a remake and it's worked out. The Recoup Riddim comes through a channel simply called Kemar McGregor (that's the literal name of the label it's on) and it is a relatively unchanged remake of the original, nearly quarter of a century old Bounce Riddim.... but how good is it, REALLY??

...meh. As far as the vocal artists appearing on the Recoup, it is a very healthy mixture of heavy-hitters and kind of next tier names, with up and comers. Generally speaking, to my experience, that is EXACTLY what you want to see on a big and well populated riddim. What happens when that does occur is that you, as a listener, are more likely to  gravitate towards something that they'll enjoy from someone that they are familiar with and (perhaps most importantly) you may come away with a new name to look forward to hearing in the future. Taking the first shot at the Recoup Riddim is, arguably, the heaviest of of the heavy hitters as Buju Banton blesses the track with his 'Slogan'. You take a moment and realize the magnitude of what happens here: This is Buju Banton on a classic Dave Kelly riddim that he never voiced. That is a really big fucking deal and what results is, clearly, the single best moment you'll find on the Recoup Riddim, although I'd stop just short of calling it a bona fide "GREAT" tune (although it is close). 'Slogan' is fun -- hear that chorus -- but it isn't necessarily vintage Buju. 'Fun but not vintage' would also be an appropriate description of the second tune here, 'Vibrating' which features the great Beenie Man alongside Denyque. This track has a very cool R&B vibe to it when Denyque comes on with those sterling vocals, making a most compelling blend with Beenie's consistently fairly aggressive delivery. It's at this point during the album for the Recoup Riddim where strange shit begins to happen and none are more downright bizarre than 'Mirror' by the aforementioned Etana. Let's get the review stuff out of the way first: 'Mirror' is bad. It's probably the first time I've ever said that about a piece from the August Town certified veteran (and may end up being the last time), but IT IS A BAD SONG. It's full of worn, tired and dirty Dancehall cliches and someone of Etana's abilities could probably roll out of bed and top what you'll hear on 'Mirror' with the slightest of effort in my opinion. On the other side of that is the fact that the tune is somewhat 'controversial' as the vocalist does go on the more sexual side of things, but I'm fine with that aspect. Many (like almost all of them at some point or another) of Etana's famous male peers have done similar things (including August Town's most famous resident) and we've gotten used to it through the years, so I'm not going to judge her harshly AT ALL for the direction here... but it is trash. I-Octane throws even more petrol on the dumpster fire with his effort on the Recoup 'Love Punanny'. To put it context: 'Love Punanny' is considerably better than 'Mirror' but it is still a few hours' drive away from being decent (and, it should also be said that Octane & Etana have dropped 'Ganja For You', a tune far more befitting of both of their monstrous gifts, also for Flava) (wouldn't be surprised if that's a single for McGregor's next track), Last year, I-Octane released a collection of songs called "Dancehall Gift" which proved to be a complete curse, it was terrible, but demonstrated the direction he's been working towards more often these days. If that is your type of thing then 'Love Punanny' will work for you because it's better than the vast majority of tunes featured there. So when you need someone to right the ship, who do you call after a couple of less than stellar offerings??? Of course you call the Energy God (are we still referring to him as that?? Ele's probably almost fifty years old and he has a comic-strip villain nickname) and Elephant Man doesn't disappoint (and when I saw his name on board, I had full confidence that he would shine on the Recoup) with 'Nuh Shaky' and he does while outlining the fact that he cut no corners and he earned his way to the top, legitimately

The bigger names return later on, while the middle portion of the Recoup Riddim album is, for the most part, carried by second tier names with up and comers and... it does not feature much [anything] in the way of memorable material at all. The biggest winner of the lot probably goes to 'Seh Dem Bad' which comes courtesy of wide voiced vet, Singer J (Singer J has a VERY unique voice if you REALLY listen to him). 'Seh Dem Bad', to be completely fair, is quite strong and very interesting as it features a route taken on the Recoup that no one had gone prior to it.

"I seh him mother call him

Tryin fi warn him

Sit him down neatly and inform him

Seh, inna badness thing - she don't want him

ONLY THING BADNESS GIVE IS A COFFIN

Di bwoy laughing, nah tek no talking"

The very next set is also well done as D'yani comes solid with '911', which takes the guidance of the previous tune and steps it forward in adding a more general social context to it. D'yani, effectively, comes up with a social commentary in a region (biggup JahSolidRock) where you probably weren't expecting to find one and, again, it won't be the best of its kind that you've EVER heard but with where you must go to locate it, '911' formidably serves its role.... and that's about it! The other three offerings in here, 'Say Yes', 'Glue' and 'Top Class' from Tifa, Honorebel and Zed Regal, respectively, range somewhere between 'nuh-uh' and ABSOLUTE RUBBISH. The worst??? Maybe 'Say Yes' and I say that probably relating it to 'Mirror' in some way or another (which probably isn't fair), but 'Mirror' is better than 'Say Yes' and we've already established that 'Mirror' is horrible. It, too, is built upon well traveled and should-have-been-buried concepts which, in my opinion, are not at all empowering of women as they are intended to be (suggesting, at least in part, that people should take pride in the.... snugness of certain parts of your anatomy....). It is a sentiment Honorebel would agree with as he makes, basically, the same damn song as Tifa but from a male perspective and, not to be outdone, Zed Regal doesn't stray far from either; although he does do far better than both with the wholly unremarkable 'Top Class'.

 Given the fact that he has had some well publicized not so nice interaction with Flava McGregor which took place in a courtroom, I was quite surprised to see Khago associated with Recoup Riddim but apparently bridges have been mended and all is at least well enough to work together. The result of this one is 'Whine Up For Me', which is another tune that I do not love, HOWEVER, 'Whine Up For Me' does have a few moments that set it apart from being a bad song, in my opinion. I've never been the hugest fan of Khago's but he is, at his best, talented and he's also one of those types of artists who've been around a lot longer than you may realize. The final vocal outing on the riddim is the 'old school' 'Scaleillan' from Turbulence. Given what Reggae has been through, you don't very often hear such tunes as this. They're very controversial (and, to be honest, their decline has been a good thing, in my opinion. There was a point, maybe fifteen years ago, where that discourse seemed to be THE single biggest and most prominent issue in the genre) and can be detrimental to the artist, as we have seen in the past. Turbulence, seemingly, doesn't give a damn and makes his point with 'Scaleillan' (although it isn't as... 'direct' as others and features a brand of condemnation which is less centralized and further reaching. You could very well make the argument that, even still, the biggest hit of Ginjah's career was a tune he did for Flava by the name of 'Never Lost My Way' ["WHEN MI SING, MI NO HAFFI RICH! A NO MONEY MAN AH LOOK AFTER THIS!"] (arguing against you would require some serious thought), so neither the presence of the golden voiced singer nor the quality of his effort on the Recoup Riddim, 'Judgement', came as any surprise at all. 'Judgement' soars and does so in a most interesting way with a theme that is part warning & part uplifting. Also have to mention the PASSION coming from Ginjah on this one, a feature of his music is absolutely saturated in when the Hanover native is at hist best. 'Finally' (literally have three more songs to talk about and I'm saying shit like "finally") (bad habit. My apologies) check 'Nuh Leany Leany' from Ghandi which I was so happy was included because it sorta/kinda makes up for some of the more filthy material you'll hear throughout the Recoup Riddim. 'Nuh Leany Leany' has elements to it that are definitely on the slack side ["STRAIGHT! Nuh leany leany. Tight pussy gal dem alone can pree mi Dem ah rub mi down like di bottle of di genie"], but it's also inventive and not.... tired as hell. The skill is present and, I most certainly am no prude and can appreciate such a piece when it is well done. 'Nuh Leany Leany' is fun (minus that small section where he does that annoying run-on thing with the delivery) (You'll know what I mean). Also included is a clean version of the Recoup Riddim, so you can try it for yourself at home. When I used to review riddim albums, nearly ad nauseam, this was a feature I always tried to highlight because the riddim, TECHNICALLY, is the actual star with projects like these and it deserves a chance to shine - all of these years and not much has changed. I still do appreciate them, greatly.

Overa.... WAIT! It took me so fucking long to write this review (I'm old), that Flava went ahead and released a Deluxe Version of the album which carries a couple of extra tunes, both come from The Doctor, Beenie Man, 'Yaadie' and 'Spend It'. The latter is useless. It sounds like a freestyle and you need not pay it any attention at all. I get the feeling that Beenie was just so damn happy to have another go at the Bounce, that he just stayed in the studio, doing whatever came to his mind and just got it all out.... but whatever "it" was, was CLEARLY emptied before the beginning of 'Spend It'. 'Yaadie', on the other hand, is FANTASTIC. It's better than 'Slogan', as Beenie sets fire to all those with hideously misguided attractions (not too dissimilar from his go on the Bounce Riddim, 'Troublemaker') and he spares no targets and leaves no stones unturned!

"Number one: No rest in peace fi Michael Jackson

My songs caan sing no Frankie Paul song

From di family playlist - R Kelly banned

How some big man waan fi play Peter Pan?!"

Overall (I mean it this time), no the Recoup Riddim, as an album, isn't very good. It seems as if several of the artists heard that beautiful old school riddim and decided to serve up some of the most basic... dirty Dancehall that they could muster and it really does manage to weigh things down which is unfortunate. However, when it does actually work, what results is just a HINT of that deplorably presumably gone.... sweet, sweet era of music. Unsurprisingly, it is genre of the veterans such as Beenie, Buju and Ele who arguably shine the brightest (with a big respect to Ginjah as well), and it would have been damn interesting had such a project been loaded with the likes (with the biggest name missing being that other B). However, while I'm not likely to look back at the Recoup Riddim completely kindly, Flava McGregor does deserve credit for pulling together an ambitious project and on which, at least in spurts, gives fun vibes from when everything felt like home.

Rated: 2.5/5

Flava McGregor

2024