Seeking Balance: A review of Levite by Zacheous Jackson

Spreading. How we register and identify a level of growth in artists can be kind of tricky and broad. Typically, it is something which, specifically in Reggae music, we'll only either use in terms of describing the career trajectory of someone over a period of years (generally from youth into adulthood and becoming a veteran) or someone who's experienced a grand shift in their work (thinking of someone like Buju Banton or Capleton). That's just how we talk about development and I think that is, at best, incomplete because the talents that line of thinking inherently alienates so many wonderful talents who we did not come into contact with until they were well into adulthood or who exist, at the core level, in the exact same way as they were when we did originally stumble upon their material. Gifted veterans can (and do) continue to grow and progress and shift throughout their LIVES, musically, and while it may not as obvious as going from "boom bye bye" to "blood deh pon yuh shoulder", the journey to realizing those subtle changes can be a VERY sweet and satisfying one. I'm going to give you three names (technically four, including the guy whose name is at the top up there), one (two) you're expecting and two you aren't as examples of individuals who have demonstrated a lovely amount of a more subtle progression while being at such an advanced stage in their music. I may not even recall listening to music without Spragga Benz being around if I really think about it and, all these years later, the man is still making a sound which is so completely refreshing and COMMITTED to the point where, though he may not get that credit, I think we've arrived to a place where I am well comfortable saying that Spragga Benz', overall, is one of the greatest talents Reggae music has ever produced and you'll still hear it pulsing on virtually anything it touches these days. Similarly, when's the last time you listened to Luciano?? His case is so powerful because while we typically look at 'The Messenjah' as this beacon of consistency, one could just as easily make the point that it isn't so much his ability to continuously press the same buttons over and over again, but the ability to quietly and carefully add new facets and wrinkles to his game which keeps him relevant to newer and newer and audiences (go and find a tune called 'My Heart'. One the single best tunes I've heard from Luciano in a very long time). Of course, I'm also going to mention Norris Man who's currently enjoying one of the most impressive stretches of his entire career a quarter of a century into it. Now, again, on the surface you could look at each of these cases and style them as 'consistent' or 'durable' or 'enduring' and you'd be correct in all of those descriptors but, with as fickle and wavering as the tastes of music fans can be, CONSISTENCY will only take you so far. WE WANT TO HEAR SOMETHING NEW! 

2010

Here's something else new you may want to hear. About a decade and a half ago we came across an individual by the name of Zacheous Jackson. If I recall correctly (probably not) we initially heard Jackson's music through his work alongside the once mighty Rumble Rock Recordz (who, delightfully, appear to be still around these days in some form) from out of Hawaii. That label was responsible from pushing a few top notch compositions in the early 2010's and while it appears that they didn't enjoy the longest of runs, RRR DEFINITELY left a large impression on me and they also left me wanting to hear more of Zacheous Jackson. Very fortunately, by the time I had already began hearing him on Rumble Rocks riddims, Jackson had already brought forth his very own debut full project, "The Truth Shall Be Told", way back in 2010 and it gave me an opportunity to go directly into it. This is INCREDIBLY fascinating (especially for a nerd like myself) because if you can think about that situation for a second: You become introduced and immediately impressed by someone's work and, then you do your research and come to find out that, just the year before, they'd released a SEVENTEEN track album (more on that in a minute) which was just sitting there... waiting to be consumed.

And I devoured it. Zacheous Jackson's work stuck with me for a couple of very distinct reasons. First of all was the lasting NORMALCY and SIMPLICITY of his craft. Reggae music and Roots Reggae, in particular, is often associated with a handful of foundational tenets (and even Dancehall has that, actually, for as flimsy as it may be) (it is). I won't waste even more of your time by going over exactly what they are because chances are high that if you're reading THIS far into a review like this, you're already at least fairly acquainted with the genre and what it does - Jackson had them all covered completely. Secondly, Jackson displayed a certain INTELLIGENCE in his vibes. That is a trait you don't often hear someone credited for but, generally speaking, I would be of the belief that having attained a certain level of mental proficiency would allow one to write 'better' words and, although his sound wasn't this revolutionary type, the bases that Zacheous Jackson hit were so solidly dealt with that the listener came away thinking that this man had spent a lifetime learning about what he was singing. So, what does someone like Jackson do for an encore, for a second round? He does "Levite". Fourteen years following the release of his his debut album, "The Truth Shall Be Told", the UK based vocalist returns with his STUFFED sophomore effort and, in listening to it (fairly early on) (after, admittedly, going back and spending some time with "The Truth Shall Be Told"), the prevalent thought was that Jackson had spent the last fourteen years BUILDING. He was working on something and, presumably, it came through on "Levite" (damn, I hope it did!).... because this album has TWENTY-FOUR TRACKS ON IT. IT IS NEARLY AN HOUR AND THREE-QUARTERS LONG! 2024's release comes via the same Red Ground Jamaica Music imprint that has done so much of Jackson's work throughout the years and he's made it alongside longtime engineer (they've literally been working together since I was a small child and now I'm old), Mike Westergaard (who also aids on backing vocals throughout "Levite"). Between projects Jackson had remained busy, dropping a relatively consistent stream of singles throughout the years (had a very unfortunately necessary COMMON SENSE anthem a few years ago by the name of 'Pull Up Oonu Pants', while we were on hiatus) but, unbeknownst to me, he was in the lab COOKING. The man himself would link us (as I'm sure he did more than a decade ago when the first album came about) (very nice person. Very informative) and told me that he had a new album that he would be pushing soon and that it was EIGHT YEARS in the making. For someone who is as structured and detailed as Jackson seems to be, I am not surprised to hear that, in retrospect. I would have been quite surprised, however, if it appeared that he had wasted his time in constructing it...

No such shocks exist here, my friends. The production end of "Levite" is handled by SoulFyah Productions and the well esteemed House of Riddim, who we've covered several times throughout the years (and will surely continue to. They're excellent) and Zacheous Jackson utilizes their efforts in a delightful way, beginning with what is, effectively, the album's title track, the heavy 'Levitical'. This one had big shoes to fill as it was preceded (technically) by '400 Years', the GORGEOUS opener of "The Truth Shall Be Told" and here we find Jackson telling the story of the Tribe of Levi and although it is ultra-specific, he finds a way or two to broaden the message ["No limit to the inheritance of the Levis. Because Yah, alone, is their inheritance"] .This places a core of 'Levitical' wholly more relatable than one might imagine, which is very powerful. Also, even if you do take it in the more direct manner, 'Levitical' still thrives, it sounds lovely, and is a fine way to get things started. Even stronger is the next tune up, 'I Wish' which stands as one of the greatest songs on the entire album by its end. 

"I wish the people did deprogram that Willie Lynch syndrome overnight

I wish mental slavery fi drop weh and dem do what's right

I wish di youth dem would stop di post code war

Pick up dem book, go a school , learn fi turn doctor, lawyer

Teacher, physician or, a leader

So, from di crime dem, tun far

RAISE DI MIND, HIGHA"

BOOM! I've used this phrase before but I'd add a bit of petrol to it here: 'I Wish' is a very clever social commentary. It has a kind of a running punchline which you gravitate towards as a listener (it will be long gone and you'll still be sitting there singing, "I WISH!"), but when you follow along further than that, 'I Wish' is ripe with content and a beautiful selection. Quality levels remain high with 'Two Roads', a bit more centered and personal of a piece in my opinion. I had a lot of fun with 'Two Roads' because it is so wonderfully emblematic of something that fully displays Zacheous Jackson's style to my opinion. It is VERY simple: The more you go through life, you will find yourself faced with choices and there will often be situations where you have to choose between positive and negative... but it isn't THAT simple. What is 'good' and what is 'bad' isn't always so crystal-clear so you "think good before a choice you make" and weigh your options heavily and be sure to "be aware because your soul is at stake". This is a composition about its obvious base, which is readily apparent, but 'Two Roads' is also about MATURITY and EXPERIENCE and MAKING MISTAKES AND LEARNING FROM THEM. All of these themes go right behind supporting this incredibly simple idea... like I said, the man was building. I have yet to mention a song that I rate higher than the all kinds of interesting 'Plant Based Rootsman'. AGAIN, there is such a grounded core for this one ["When you eat dead meat, you deh nyam dead flesh. It rotten. It dead. It no fresh"] (CANNOT make it more obvious for you), but it ends up blossoming out in more directions than where you might think it would. Jackson speaks about things like the effects of dairy and alcohol on the body, cirrhosis and other things dealing with the total health of the body (like the importance of exercising and keeping fit) and, not to give out too much of the man's business, but Jackson told me that the tune came as a result of a personal health crisis he had gone through just a few years ago, before turning his life around. You often wonder how certain ideas for lyrics come about (or at least I do) and, besides surely extending his own time on the planet, Jackson's own experiences also led to, arguably, the single best tune on "Levite". The very next tune, 'We Calling Conscious Rasta' doesn't deviate too far from 'Plant Based Rootsman' at all and almost sits an extension of that/those very same foundation idea/s. This could hit a few people in 'some typa way' (as the kids say) but Zacheous Jackson has serious concerns about how you may be REALLY living your life... while talking about how much you love The King.

"My brothers cut out di alcohol so you don't get man breast and big beer belly

Because the estrogen energy chemistry would change your temple drastically

CUT YOUR NATURE, STOP YOUR MANHOOD FROM FUNCTION

PUT IT OUT OF ACTION

But you caan please your woman and give her loving or any satisfaction

I man nah make it up as mi go along, this is fact and not fiction"

You might not want to hear that and no one's perfect but what you find on 'We Calling Conscious Rasta' might be some food for thought the next time you shout 'JAH RASTAFARI'! And (speaking of Jah Rastafari), the first quarter of "Levite" wraps up with a solid and pretty catchy praising tune, 'Most High Bless'. You won't find anything here that you've yet to hear from others with this piece (you'll find more than one of them on just about every single Roots Reggae album made.... in ever) and you tend to find ways to separate praises from the ever-increasing pack. This one, in particular, has a COOL sound to it. It is nice lyrically if you get into it and serves the precise purpose that I'm sure it was intended to (and I wouldn't be surprised if 'Most High Bless' was more on the spontaneous side, despite being so clearly well-structured).

The second lot of songs from "Levite" finds Jackson, again, questioning the true intent of certain individuals despite what they may say or how they may present themselves and doing so on more than one occasion. Check both 'Where Are the Real Garveyites' and 'Jesus Christ Is Not His Name'. The former is fairly direct as it calls, matter-of-factly, upon those who still truly follow the teachings of the most honourable Marcus Mosiah Garvey and not in a fashionable type of way. Jackson does take things in both historical and current routes (he even mentions J Edgar Hoover) and I'll make the connection to not only the first album but much of Zacheous Jackson's music, in general: Zacheous Jackson is a Pan Afrikanist. It comes through constantly in his music with 'Where Are the Real Garveyites' being the biggest obvious piece of evidence of it on this album (and though you might think Pan Africanism and Roots Reggae go together. I wouldn't say that is the case INHERITANTLY for EVERYONE in the genre, in my opinion. At least not in the perpetual sense). Oh, and the riddim on that song is GOLDEN! The biblically geared 'Jesus Christ Is Not His Name'.

"Scripture says you have to call the right name to receive Salvation"

It takes a certain level of confidence and COURAGE to make a tune like this one which is probably going to piss off more than a few people and spark discussion (hopefully of a healthy type, but maybe not. You know how people can be about their religious beliefs). Listening to it, I actually get the feeling that Jackson is at least a little upset at the usage of the far more popular name and although I wouldn't necessarily call it INTENSE, there does exist a level of passion on this one that pulses throughout. He's frustrated and, in his own way (which is through telling you what he's learned), Jackson places it here which is another example of GROWTH on his part (more on that later) on what is, unsurprisingly, the longest tune on the album by over twenty seconds. You'll also come across the BIG 'Butterfly', which well ranks amongst the absolute finest "Levite" has to offer. It finds Zacheous, seemingly fed up as can be, ready to pull up his wings and fly away, leaving the madness behind while railing against those who are not as they appear to be. Situated very interestingly, there's almost a running spoken commentary behind 'Butterfly' which adds a nice aspect to it (and it isn't the only time we hear the artist SPEAKING) as well. Also here, you'll find the downright LUSH Tosh-esque 'Justice' as well as the also inspired 'No Weapon'. I'm going to go ahead and predict that 'Justice' will go largely overlooked and underappreciated on by a lot of people and "a lot of people" are going to be 'mistaking' because this song is excellent in every way. From the way it is written and sang and the very minimal but FITTING riddim it sits atop, 'Justice' is a large winner of a social commentary. 'No Weapon', only in terms of its sound and pacing, is somewhat similar to 'Justice' but this one, just as the track before it, the aforementioned 'Jesus Christ Is Not His Name', has a more biblical theme and, in this case, it almost seems as if Jackson has turned scripture into a song, directly, and what results is something far more straightforward than what comes before it. He does broaden it by, as he has done previously, making an attempt to open it up for people who may take a different path in life (in saying the PROTECTION of The Almighty extends to so many) - always a quality you like to see on such tunes. There's also 'Predicted Requested Created and Deployed', a tune I actually attempted to DISLIKE to some degree but was unsuccessful at pulling off. Zacheous Jackson's take on the recent pandemic (I'm just getting tired of those songs and the topic, but because of how the time works out and how long some of these albums take to put together, you're just NOW starting to see so many of them as they've been in the works for some time now). 'Predicted Requested Created and Deployed' has its moments. I think what sets this one away from the pack is that it isn't solely just about the current times. He brings up AIDS and even smallpox as kind of a historical backing from what we've recently experienced. I won't call this a favourite of mine but, again, it is better than I thought it would be going in and it's still growing on me (nice riddim there as well).

The highlight of the third quarter of "Levite" is simple: It features some REALLY, REALLY good songs. There is a MIGHTY trio of selections which lead the way, but every one of the six have at least flashes of brilliance in one way or another. Probably the mightiest of them all is the shattering 'Babylon Validation' as, once again, Jackson has some questions to ask of some folks' real intent.

"Nuff ah seh dem chant down babylon

Some even seh so inna fi dem Reggae song

Nuff ah seh dem chant down babylon

But still ah look fi babylon validation 

One ting mi no understand, so please something to me:

You seh you fight against the babylon system, but you deh fight fi award weh known as Grammy

the grammy is a babylon accolade, but you think if you get it, you set to made

To me, that a pure hypocrisy

MI HAFFI ASK, WHERE IS YUH MIND SPIRITUALLY

Nuff ah seh dem chant down babylon

Some even seh so inna fi dem Reggae song

Nuff ah seh dem chant down babylon

But still ah look fi babylon validation 

Nuff a dem ah write big song-

Seh Africa a The Homeland

But dem live inna di heart of babylon-

Europe, America & England

They seh wi fi uplift di nation, but nah left babylon deh mega plan

More lip-service dem talking, living comfortable inna babylon

To me, there's no sense of direction, it come in like mass-confusion

WHERE IS THE ANCESTOR'S MINDSET?

WHERE IS THE ROOTS REPUTATION?"

You're just not doing right! You have come to your 'Two Roads' and you have no chosen wisely! Please go back and, this time, go the other way! Should you struggle the second time in making your choice (although I don't know how that would be possible, but it might be), perhaps you should 'Trust In Yah', "and you will be guided through", as Jackson says during another of the big highlights held by "Levite". 'Trust In Yah' is smoooooth. It is what I'm calling a FUNCTIONAL praising tune. There is one thing to just give thanks and praise to The Almighty for the sake of giving thanks and praise, but this is more showing appreciation for what has been done for us and what continues to be done, going forward. I also took this one to be about CONFIDENCE and instilling a level of assurance and COMFORT in people that the more you're doing positive things and maintaining the right ways of life, THE LESS YOU HAVE TO WORRY ABOUT (you don't have to be so paranoid, constantly looking over your shoulder, hen you know you've done nothing wrong). The third pillaring tune of this batch (biggup Batch) is the pin-pointed 'More Love'. You've seen this exact title (or something very similar to it), countless times (there may, literally, be HUNDREDS of Roots Reggae tunes called 'More Love'... as well as a few albums) but this is not what you're expecting it to be, just as it wasn't what I was thinking it was. 'More Love' is an observance of how things are moving in the world and in Jamaica in particular. It applies to Jamaica beautifully here (you listen to that track!), but EVERYWHERE else as well. If you turn up the love, you turn up the positivity, the mood, the PRODUCTION and just make for a much better way of life. I'm very tempted to put unity anthem 'Togetherness' in this special group as well and because I make the rules here.... why not?! 'Togetherness' is VERY strong.

Jackson not only stresses the importance of coming together and being sure to make room for your fellow man and woman but he also begins to get back into more of the African Diaspora and how far (and from where) the children of Africa have come and where we've arrived in the world. To do that and to still be numerous is powerful alone but when you have your brothers and sisters next to you still and you have HUMILITY, you are potentially sat upon a goldmine of power, whether you realize it or not. The other two offerings in this portion, 'Open Yuh Y'eye Dem' & 'Come Mek We Talk' are better than average as well. 'Open Yuh Y'eye Dem' also deals with more of the journey of African people (especially with the call together at its end) across the world, but this one stresses the general importance of self-awareness and education. He talks about studying the bible and world history as 'those who do not know their history are destined to repeat it'. That song is nearly outstanding and... probably just as strong as the first four that I mentioned. Like I said: The third quarter of "Levite" is FIERCE. I'm almost certain that I know the riddim from 'Come Mek We Talk' from somewhere, that glowing HOR creation. Here, Jackson has a few things on his mind, he has some questions he'd like answered. Amongst the things on his mind are the social conditions of the world, the violence, poverty and the responsibility of those in power to make changes ["Imagine, in this day and age, people still starving"].

The final section of songs from "Levite" is well compelling as, though it may not feature material as strong as what comes before it, it PROBABLY carries the single best tune on the whole of the album as well as one or two others firing near that level as well. I'm first going to mention one which I really didn't care for very much when I first heard it, but it grew on me very rapidly, 'When I'. Just in terms of a listening experience. 'When I' does not leap out at its audience very much, if at all. If you give it a cursory and more casual spin, it doesn't really stand out at all. HOWEVER, when you scratch just slightly beneath that surface, what lies below is A GEM!

"When I think of The Most High, I man get high

It's a spiritual elevation

When I think of The Most High, I man get high

It's a spiritual meditation"

'When I' is another song that is giving praise to The Almighty and, as far as pieces which serve no other immediate purpose.... it may just be THE best on the entire release to do that. Like I said, I won't blame you if you don't realize it and go by (I almost did it), but if you take another minute or two not only do realize just how strong 'When I' TRULY is, but it also IGNITES. It SOUNDS much better to my ears these days than it did when I originally heard it and were you to tell me that, in a few years, I'd come back to "Levite" and go through it and 'When I' was actually my favourite song on it, I wouldn't give you too much of an argument on that. It is definitely possible. Check the refreshing closer, 'Unda Mi Medz', where Jackson eschews more typical forms of "medz" in favour of natural, organic and old-fashioned MEDITATION. The tune is a very solid one but what sticks out here, for me, is this SWEET portion during its middle where the track is just allowed to BREATHE and stretch its legs a bit as just an instrumental. The riddim here is intoxicating (fittingly) and I loved its opportunity to shine. Speaking of nice riddims, enjoy the one underpinning the also nearly special 'Look Within', a track which had me very quickly. I've tried to make the case here (as I always do) that I so appreciate when artists who come from their own personal side of beliefs -- as we all do -- at least make an attempt to open that side for others (even if I am someone who shares in their belief system) because it makes this wonderful music more accessible and helps to spread the more tangible messages as well, like the need of helping one another more which is something that anyone can understand and agree with. There're EIGHT BILLION people in the world to think that each and everyone would walk the same path and hold the same beliefs is unrealistic and downright SILLY, but when you make a song like 'Look Within', explaining that this wonderful KINGDOM is not my place for you. It's your own personal place and YOU can get there on your own ["a inside you fi go"] and to illustrate that point, Zacheous Jackson talks about the importance of individuality and how maintaining it helps us to find what we are seeking "within". This is delicious stuff for me. We are all EXTREMELY similar but not EXACTLY the same and what works for me may not work for you... and there is nothing wrong with that.

I typically firmly declare a favourite song in reviews and I'm going to do that passively here, reserving the right to change my mind before I've completed my conclusion, but AT THE MOMENT (with a respect to 'Plant Based Rootsman'), that distinction goes to 'Clique'. Somewhat digging into the sentiments expressed on 'Babylon Validation', the artist goes into specifics of all of the difficulties he's gone through in getting his work out to the masses. You know such things go on behind the scenes but, apparently it has happened to Jackson so frequently that the man is sick and tired of it.

"Dem have dem clique, but mi nah inna it

Because I man natural, original, unique

Dem have dem clique, but mi nah inna it

Because I man natural, unique

There is a clique inna England where some DJ only play di music of dem friends

And give dem one all promotion, this unfair to other musician

It deh bring down di music to destruction

Maybe money deh pass between smaddy hand

'Pay fi play', abomination!

Mi hope that a no di situation

Those in di clique get all di show dem and get all di radio play

From Monday back to Sunday - 

A di same every blessed day 

You hear di same artist pon di radio 

You hear di same song pon di radio

You si di same artist pon all di stageshow

Like dem no waan new artist fi come through and pass 'GO'"

I had to stop myself from writing... the entire song's worth of lyrics there because what Jackson goes on to do is to call out people to whom he's sent his work thinking they'd play it on their stations and, years later nothing is going on! You know how frustrating that has to be as you spend so much time and effort (and MONEY, let's be real) working on something with the notion that someone with the power will help you with promotion (to no cost of their own, their business is playing music anyway) and you get NOTHING from it. That is sickening and yet another reason why I've found myself gravitating so often towards not only artists whose music reaches me, personally, but who don't seem to be mentioned a great deal in the circles I keep track of and we'll continue to do that, precisely because of what goes on during 'Clique'. Finally, both 'Lost Identity' and 'Crisis' do good work, especially the latter. 'Crisis' is one of the more dynamic sets found on "Levite" and it's more than just a good listen as well. One of the first things that caught my attention about this one was the wording on the chorus, "The whole world inna spiritual stress", and it develop from that line of thinking as Jackson goes on to detail a large-scale lack of morality and decency that we're experiencing today. For its part, 'Lost Identity', with its very pleasant vibe, goes back to theme of education and history and knowing where you have come from and the route taken by your ancestors. 'Lost Identity' has some SPITE to it. It isn't delivered in a way that suggests that Jackson is upset but when you tune him in, he'll tell you exactly what he's thinking and how it's making him feel and he isn't happy ["A PEOPLE WITHOUT HISTORY IS A PEOPLE THAT DON'T EXIST"]. You may not be happy for listening either, but you will certainly be better informed and the song is well solid.

Just thinking about "Levite", as a whole, there're a few things which stand out. The first is the proverbial elephant in the room (literally): It is VERY LONG (and I know that's hilarious and hypocritical coming from me when I write reviews that look like this) (my wonderful Father always says that "everyone is a hypocrite"). That's fine but, because of that, my biggest critique of "Levite" is that I would have liked to see just a little more in terms of variation. I'm not looking at a Zacheous Jackson release and expecting... Dancehall, but I think maybe a combination or two would have brought another very nice facet to the total sound, particularly if that combination were with a female (or maybe even a prevalent female backing singer). "Levite", in full, is a better album than its predecessor but, with tunes such as the title track, 'Fi Wi Holocaust', 'Murder Eena De City' and others, "The Truth Shall Be Told", to its credit, featured a more varied and colourful prevailing sound (incidentally, if you missed "The Truth Shall Be Told", it is well worth digging up. Some LOVELY music on that album). Speaking to the length of it as well, it is the intent for "Levite", at some point later in the year, to come to physical (DOUBLE) form. Another very minor (probably kinda nerdy) thing that I noticed here and on the first album is the way Jackson tends to end his songs. I've become accustomed to the riddim, sans vocals, playing the song out at its end. This artist will sing the song out more often than not. It's something I picked up on.... probably from writing way too many reviews (no apologies!), but it most certainly is a changeup from what I'm used to. The other point standing out from "Levite" is the one/s I attempted to structure the basis for this review around: GROWTH. "Levite" is a more aggressively written album than 'The Truth Shall Be Told". It isn't always making points and then defending them, it's also calling others out for not standing up and defending them as well. It's challenging and thought provoking and as I've called Zacheous Jackson in the past (and present) a Pan Afrikanist, it is ENTIRELY AGAINST that line of thinking to not challenge the system on a whole and individually.

Overall, in retrospect, the changes that I did notice on the new album are a natural leap and it is reasonable to expect someone like Jackson to have gone from "The Truth Shall Be Told" to "Levite", ideologically speaking. It doesn't come off as forced or as if he's seeking attention unnecessarily. Also, with it having taken so long to put together, one would also expect a talent such as this one to display some type of new aspect to their work. So for everyone who may have a problem with a song such as 'Jesus Christ Is Not His Name' or one of the others, think about it: If they WEREN'T here, you may be complaining that it is too much of the same or that Jackson was playing it entirely too safe. I said as much in the review for the first album:

"I’d like to hear Jackson turn up the heat just a small amount on a future release"

Mission accomplished. So yes, it is incredibly long (there is no FILLER here. Typically when you say an album is too long, what you mean is that there is a run of songs which are just nondescript at best and could have just been left off) and I will still struggle to find a way to recommend another chunk of music from Zacheous Jackson to newer fans of the genre, with some patience and a mind opened to being challenged in a HEALTHY way, "Levite" should have absolutely no problem in finding a very passionate audience amongst people like You and I. Hopefully we pay attention this time. If not.. who knows what that album #3 might bring. Well done. 

Rated: 4.35/5

Red Ground Jamaica Music

2024

The Vault Reviews: Third Rock by Prince Malachi

Come around. When it comes to music, I don't even really know what 'retiring' or anything involved in 'retirement' means. If you think about it, being a musician is something you can do.... pretty much your entire life. People will gladly lineup to hear an infant sing or play some instrument and they'll watch a century old person pluck a guitar or sing a tune (while sitting down) they've known for their entire life. So the question of what exactly is entailed in the end of a music career (outside of death or some other type of health event, obviously) is somewhat of a mystery to me. Really, the only person I can even think of having any sort of a retirement was a few years back when the legendary Burning Spear retired from the music industry, but you look up today and there exists 'Mommy', which is the new single from the Burning Spear. It's a tricky thing. With that being said, however, somewhere hopefully far from calling it a day on their career is a lineup of artists who, although still active, I just really wish we heard from more often. These are individuals who have proven themselves and demonstrated some high level of talent, but don't seem to do it often enough - they very much fall on the side of quality over quantity. Also, if I think about it enough, some of these individuals might even rank in the lower reaches of my favourite artists going. I definitely enjoy their music, but I need to hear them more often. One of the first such names to come to my mind would be General Degree. Now well into his fifties (which is ANCIENT for a Dancehall artist), even when he was in his prime Degree was underrated and overlooked in many respects and perhaps that had something to do with the fact that he was never the most active of stars - but to find his equal, strictly in terms of talents, you had to look ONLY at the biggest names in the genre. He'd run laps around anyone else as truly one of the most naturally gifted people the Dancehall has ever seen. Coincidentally, I'm also thinking of a pair of vocalists from out of St. Vincent in, the Volcano Trumpet, Qshan Deya and Ossie Dellimore. The former's career will likely be noted in a major way for his inactivity (dropped an album everyone loved, "Journey", in 2001, its followup, "Love Govern Us All" would arrive twelve years later, nine years later (2021) he  gave us an EP, but we are still waiting on the third album), while Dellimore, on the other hand, displayed his talent via one of the greatest songs ever created 'Time Has Come' (and I believe there're two versions of it, if you can find what I presume to be the oldest, less polished version of it, it is DEVASTATINGLY beautiful) and has been very difficult to find musically, consistently, since then (and I think that tune originates back in the late 1990's). I'm also thinking of the likes of Prince Theo (who has renamed himself Theo Nyeemiya), Nereus Joseph (who has a Modern Classic to his credit on these pages) and an unfortunately sizable group of others who have made an impact on me in some way or another that I wish 'came around' more often. 

What makes them frustrating are those moments such as 'Time Has Come', "Real Rebels Can't Die" (Joseph's Modern Classic) and a career of excellent output in the case of Degree. They've shown themselves far more than just capable to surely more people than just myself and have enjoyed a relatively high level of success but, for whatever reason, we can't get a more steady amount of work from them (and you'll forgive me for maybe being too demanding, but if you're a Reggae fan, you know what their peers are doing in terms of prolificacy, even those who are aged). Another name very firmly implanted into that list, and near its head, would be the outstanding Prince Malachi from out of the UK (and also forgot to mention Chukki Starr, another enormously gifted artist from out of England). The heavy voiced London born singer is often compared to the likes of Luciano (more on him later), Bushman and Natty King and not only in terms of his sound, his talents are on those very high levels as well. Also, like Luciano, he spent a number of his developmental years under the eye of the legendary Philip 'Fattis' Burrell and his equally esteemed Xterminator Productions (we are nearing a very short decade since Burrell ascended) (it does not seem that long), for whom he recorded three or four of his early albums (technically it's three but actually it's four as "Love Jah" and "Prophet, Priest & King" were the same) (and, apparently, "Prophet, Priest & King" was released twice, once via Jet Star and once directly from Xterminator. I did not know that prior to digging through my own collection, looking for a later Malachi release and finding the Xterminator version. I had no idea I owned this one) (so three recorded, four released. Unfortunately, unlike Luciano and some of his fellow Xterminator alumni, Malachi's career did not go the route of the [over]active and, instead, even to this day record shelves are regrettably THIN on his output. This is confounded by the fact that virtually every time you hear something from the singer - it is of a really high quality. He had an album that is all but gone now by the name of "One Perfect Love" from 2007 which was an amazing Roots set and probably a Modern Classic of its own. Prior to that was the well received "Runaway Slave" ["Runaway, runaway, runaway, runaway, runaway! They say that I a runaway slave!"], three years earlier from Stingray Records which might be his most popular release to date. That one was also excellent and, wonderfully, is not particularly difficult to find at all (and listening back through it now, it sounds soooooo!). Following "One Perfect Love", it seemed as if Prince Malachi had found a strong groove for himself, having had a pair of winning albums in just three years, but apparently we'd gotten too damn comfortable as it would be an unacceptably long EIGHT YEARS before the Prince would return. 

2004

I can recall "Third Rock" being mentioned as forthcoming for either quite awhile before its release or maybe intensely just ahead of it. I remember being happy that so much attention was being paid to it and I wasn't the only one sitting around thinking that it had been a way too long since Prince Malachi had an album. And when it finally did reach, the reaction was solid, as you would expect. If you've never quite tuned in Malachi's music, what you're missing isn't something which will shock you in any way at all. Even when he's at his best, his music isn't what I would call 'shattering' (I'm thinking about it now and, having just mentioned him, comparatively, he's somewhat similar to General Degree in this aspect). His talent is a nurturing one. It's soothing. You can listen to Prince Malachi music for an hour straight and enjoy what you're hearing, but it will feel like only fifteen minutes has passed. He gets into this vibe and everything blends together to a lovely degree and it becomes rather easy to lose track of time when listening to his music. As I mentioned, previously Prince Malachi had worked with both Xterminator and Stingray on albums ("One Perfect Love" came via Blackamix), and he has also done singles for the likes of Beres Hammond, Peckings, Maximum Sound and even Oneness Records. However, "Third Rock" would find him taking matters into his own hands and serving as producer himself and releasing the album with Ten Mile Media (Zojak Worldwide, digitally) through his own label, Prince Malachi Music. It's difficult to keep up with someone like Malachi, so I had no idea that such a thing was even possible but, given his stature and his experience, I wasn't shocked that he had taken that step and I was very interested in what the results may be (..... even though I pretty much knew what to expect) (you always know for him, it's just a matter of HOW good). And I should also say that since this album, he's released even more material through his label (including a big tune called 'Whirlwind [Love Garvey]' a few years back). What did end up happening on "Third Rock" was yet another sample of why you wish he'd had more music released over the years. When you listen to pieces such as these you really begin to wonder what may've been for Prince Malachi. He's had a great career and in something like music that's difficult to have, in general, and he's definitely made it and enjoyed it - but I think it could have been even more. The fact that THIS is the first review of his work you'll find on these pages (and its timing is surely my fault, but even if had arrived earlier, it still would have been the first and only) says something and actually listening to the BEAUTY that was "Third Rock" reinforces it as Prince Malachi, once again, SHINED from beginning to end. Got nothing better to do??? I'd love to tell you about it.

I've always been of the opinion that Prince Malachi's music is best appreciated by more 'hardened' listeners of Roots Reggae music. Although with his voice, he can bring a smile to anyone's face who listens to him, but he tends to focus heavily on themes which're inherent to the genre and do so in a way which is fairly straight forward (he almost reminds you of Mikey General in that regard) (General also from London, coincidentally). However, I have to say that while not much had changed there for this release, both new and old fans alike will find plenty to love about "Third Rock". It has a very open element to its vibes, while not drifting far away from the norm if at all. If you're looking for an example of that your search could well begin and end on the first selection and previous single, the clever 'Great Welcome'. I do not know what I had in mind when I saw the title originally but what it actually was certainly was a surprise. The opener expresses a kind of a 'thanks for nothing' type of sentiment as Malachi speaks on the diaspora of people of African descent, specifically those headed to the United Kingdom. Despite its title, what he's dealing with is many of the struggles that they faced such as a tremendous amount of racism and out and out hatred in many cases. A nice touch is the fact that 'Great Welcome' sounds DELIGHTFUL! It is a JOY to listen to on the surface which kind of adds to the irony of the matter as the singer smiles and says "thank you"... for treating me like shit. But don't worry, I made it alright in the end for myself. 'Strength and Hope' is kind of a remake/redo of an older song from Malachi from Reality Sound and, just like the original, it is excellent. Here, we're seeking a supreme inspiration from His Majesty and we are getting it in a MAMMOTH way. 'Strength and Hope' is easily one of the finest tracks on this album and I do not think Malachi has released an album on which it would not enjoy a similar standing. I have a guess as to who it is but I'm not sure, so a big credit goes to the saxophone player who dazzled on this one. After grabbing that inspiration, maybe we'd use it to become closer to one another and stop 'Building Walls'.

"Now mentally, the division goes on

Said another day, it only brings some more confusion

BUT MORE BARRIERS IS NOT THE SOLUTION!

We need a whole lotta love-

Communication!

So stop building your walls

You got to stop building your walls

When will we ever find some piece?!

While we argue and war our love for each other falls

Can't you see the clock ticking?"

The chorus here is GOLDEN. It is dually infectious as it is hard-hitting and presented in a way where it becomes not even a matter of unity and bringing people together. This doesn't even get that far. This is an issue of common sense! Stop looking for reasons to drive people away from one another. You know that shit isn't right! Stop playing! "Third Rock" (which I keep typing as "Third World") (biggup Third World) features a pair of big named collaborations and the first to arrive is 'Fallacies' which unites Prince Malachi with long time friend the incomparable Messenjah, Luciano. As I mentioned, Luciano is someone with whom Malachi is often compared musically and they share at least a partial source via Xterminator, but I believe this is the very first tune the two have shared. As you would expect with such a union, the song is MIGHTY! There is nothing at all which happens during 'Fallacies' which is unanticipated - the song is about how easy it is to lose focus on what is truly important in life. It has a spiritual foundation (between the two you know if it could not have been any other way) and what sticks out is the BIG vibe that it brings. I think Prince Malachi and Luciano were fully aware of the moment of such a big combination and they more than took advantage of it. Hopefully they'll get the opportunity to do it again someday. And because I just said it and I know you're wondering, 'Gideon Rough' (which is preceded by the 'Justice Interlude') officially contains the work on the great Dean Fraser on the saxophone. As its title would suggest, the song is a broad and general commentary on everyday life made GORGEOUS due to both artists, vocally and instrumentally. It may be the single best listen on "Third Rock", which is saying a great deal, and one of its finest tracks, in general. I did want to mention that, between the first four sets on the album, we get over NINETEEN minutes of music. The shortest of them ('Strength and Hope') is four and a half minutes long and it goes up  to 'Fallacies' which is nearly five and quarter. It is so satisfying when someone appreciates what they have and make the most of the moment which is precisely what happened on "Third Rock".

You'll welcome it as well. To my opinion, the album reaches its apex on during its title track, which was CANDY for my overactive mind. 

"In the beginning, earth was dark and void but still there was life

Whole planet spinning, third rock from the sun, that's where we reside

Granted dominion over all things, creating barriers and borders

Even the animals and birds that have wings fear for your new world order

So each time we rise, people open your eyes

As Jah separate day from night, come we try to make wrongs right

Remember-

In the beginning, no there was no hate, everything create with love

And while atoms were splitting, the journey of mankind - it had just begun

And from way deep in Africa You and I came

The first to behold the glory

Long before Abel and Cain and some guy and dem story

SO WHAT YOU SEE TODAY, IT WAS NEVER MEANT TO BE THIS WAY!"

What is the reasoning behind this tune? Let's talk about it for a minute. On one hand I'm thinking that Prince Malachi is kind of scolding us for mistreating and misusing the world as the gift that we were given long ago. He says, "granted dominion over all things, creating barriers and borders. Even the animals and birds that have wings fear for your new world order", and it stands up (especially in mentioning the birds and their wings: They have wings, THEY CAN FLY AWAY IF THEY WANT, and still they're scared of you!) as if he's berating us and we deserve it as we have largely soiled this great responsibility that we've had in the world. That's one view of 'Third Rock' that I've had (and I think it's the likeliest). The other is that Malachi is attempting to put us in our place a bit by saying that there're much bigger fish in this ocean. "And while atoms were splitting, the journey of mankind - it had begun" could be him saying that things were at work long before we were here (they'll still be going when we're long gone). If you follow along with it, he actually puts us into the story: "Whole planet spinning, third rock from the sun, that's where we reside". It had an identity and a function before us. It did not need us then and it does not need us now! As I said, it is RIPE for potential point of views and, six years after its release, I'm still curious in exploring them. Also check the somewhat autobiographical 'Open Book' as one of the biggest efforts on board. 

"My life - I've felt joy and pain 

There are ones that I would love to see again

But Jah Jah, He has taken them away-

Away to a better place

My life - I've seen injustice and tragedy

Things are not the way that they're supposed to be

But still we keep on praying daily for the lot of time we've waste"

It's more on the expansive side, and thus more relatable, with Malachi's ultimate theme being that we all go through various things, good and bad, which shape us into who we are. I'm also contractually required to tell about the riddim on 'Open Book'. That thing was crafted by angels somewhere, it is STUNNING! Should you want to call it your favourite from "Third Rock", that'd be fine by me. 'Don't Turn Your Back' might also be somewhere in that discussion and I'm going to tell you something about this one because you've already been making a mistake with it for six years now: 'Don't Turn Your Back' was exceptional. It was very, very good and you didn't give it the attention it deserved. What stood out was the unique perspective from which it was written. You've heard, literally, hundreds of tracks about helping the poor and less fortunate, but this one comes from the point-of-view of that individual personally ["It's been a long, long time that we've been down here, living in our shackles and chains. And physically they abolished, they say. Mentally babylon ah use up dem brains"]. It's little things like that which can make a song POP for someone and make an impact, when you can adopt a different viewpoint or just throw in something which we haven't heard an infinite number of times (not that I'm complaining about the norm. Clearly, I love it as well). Want more? The Prince also sets out 'Wait Too Long', which you didn't pay a proper respect to when you first heard it either. It is a drop which is more than four and a half minutes in length, but comes and goes in, seemingly (and fittingly), about fifteen seconds.

"I ain't gonna wait too long

A just twelve likkle hours 'fore Jah sun goes down 

Don't wait too long

As I ah rise up early, i know that I will have to do Jah work today

I meditating on His glory and all of the things that He has done for me

I see that there's no time to waste

BETTER TO BE EARLY, MI SEH THAN TO BE LATE

For in this ya rat race, brother don't you lose your faith

I ain't gonna wait too long

A just twelve likkle hours 'fore Jah sun goes down 

Don't wait too long

The Devil never been as strong as He is today

I see Him trying to lead all the righteous astray

He's always putting obstacles in my people's way

But no matter what He do

We keep on going through

No matter what He do

I & I keep going through"

Again, a case could rather easily be made for this anti-procrastination and anti-laziness anthem being the single best moment on this album. It is that good when you combine the message with yet another lovely composition behind it. The remaining tune here that I could see drawing top consideration is 'Better Days' (and its drums) which pushes out a whole heap of inspiration to the masses. This one may just feature the strongest vocal performance from Prince Malachi on this release and one of the better that I can recall hearing from him, period. And it does succeed merely on the strength of his wonderful voice, but what he uses it for here it to bring people together and shine a little light on us during some darker moments in life. The album ends with the somewhat Jazzy 'Ups and Downs' which isn't a bad piece at all but doesn't rank among my favourites really. I did enjoy the message, however, which is (self-explanatory) about the... ups and downs of everyday life (I probably should have said "ebbs and flows"). It's another which is on the broader side and relatable and Prince Malachi does manage to change things up just a bit on a tune like this: 

"You know we all are brothers, sisters of one race

AND EACH AND EVERY INDIVIDUAL NEEDS THEIR SPACE"

Respect everyone (well, most people) and respect their personal space and their beliefs and their moods and just everything that makes us unique. And finally there was a pair of love songs on "Third Rock", 'If I Don't Have You' and 'No Other'. Never in a hundred years would you listen to the downright EXPLOSIVE opening of the former and predict that a love song would develop from that. You'd think you were about to hear some GIANT, Luciano-esque, heavy Roots anthem. 'If I Don't Have You' is stronger than the catchy 'No Other' which might take a minute, but continuously grows on you to the point where if I keep listening to it while writing the closing for this review, I may have to come back and edit this as to which is the best love song on the album (so I'm going to turn it off now, because I have stuff to do today).

Overall, fortunately, for someone who comes around so infrequently, when Prince Malachi does make an appearance, he almost always makes the most of it and he didn't make an exception with "Third Rock". "One Perfect Love" is his finest piece of work. Outside of that, however, while I may favour "Runaway Slave" or you may have fallen for one of the Xterminator releases, I don't think that you can make a point that any of them are CLEARLY better than this one. And even aside from comparisons (although they are very fun to make), it was a really well done project from beginning to end and, as I said, I was so happy to see not only the reception to "Third Rock", but the early attention it was receiving ahead of its release date. Something else I want to mention - if this is your first or one of your first times hearing the music of Prince Malachi, I'm kind of jealous of you. You don't have a great deal of music to discover now (well you do, technically, but not as much as you might hope), but so much of what is there is at such a similar level that I can all but guarantee you that you're going to LOVE something else as well if "Third Rock" grabs you in any way. If it doesn't you may have a problem as, once again, though he continues to spend entirely too much time in the shadows, when the sun does shine on Prince Malachi, what is shows us is something which we sure would like to see more often.

Rated: 4.3/5

Prince Malachi Music/Ten Mile Media/Zojak Worldwide

2015

CD + Digital

'Stability': A Review of "Rise From The Volcano" by Jah Marnyah

Back home. It was always my hope and my intention that, when the day came when we were completely working on these pages, this blog could serve as some sort of reference aide to any anyone who was looking for maybe 'colourful' information on something we had worked on during our time here. Because of that (and because it's just my own way), I was very careful to make an attempt to cover a wide variety of different artists and releases because, while many of the more popular pieces we've looked at won't have this situation, there were quite a few of them that we did where our mentions (still, all these years later) are either THE only critical piece you'll find online or, at best, are amongst a very few. Fortunately, it hasn't just been me giving the effort either, as we have come across some hidden COMPLETE GEMS throughout our time and, again, I think it would be a real shame if such works went un or even just un-der acknowledged. So looking back, I do surely enjoy the biggest of albums and it is those sets which, ultimately, will bring the most attention to these wonderful artforms, some of my absolute favourites have been pieces which have gone largely forgotten. In particular, I'm thinking about an album like "Tinkin Out Loud" by Ambush! If you remember that album, unfortunately, you may also remember that it has come and gone with so little appreciation (looking it up now, it's even difficult to find digitally these days) given just how solid it was. It's over a decade old now, but well worth digging up if you have the chance. Similarly, also on my mind in similar regards is another artist from out of the VI, Revalation, who delivered a mightily impressive debut, "Serious Matters", wayyyyyy back in 2008. I enjoyed that album so much that it was one of the very first full reviews that I did here ["Flames on! Another life down the drain- GONE!"] and it deserves to be remembered for being as excellent as it was (and listening to it now, it has actually aged quite well). Other sets that I remember fondly which didn't nearly receive the coverage that I think they warranted come from the likes of Nahyubi Joseph (also from out of the VI, whose debut, and unfortunately only, album "Take Heed" was BRILLIANT), Jah Hem, Prince Theo and, a personal favourite of mine, Meshach & Wevolusion from out of St. Lucia. They've all provided this blog with depth and textures which really have fleshed out these pages in a nice way.... at least in my opinion (and, if by some strange ass chance, you are a casual fan of Reggae and have found yourself reading this far into a review, I'd be curious how many names you can find in the tags that you have never heard of at all). And during our extended break, it was definitely something that I missed the most because not doing this to the degree that I do when I'm active - who knows what I missed over the past few years! So, it's time to make up for lost time. 

"A New Day" [2012]

Someone else who very much falls into a similar category of having dropped a very strong project which we were sure to give maximum attention to was the OUTSTANDING UK based, Montserrat born, chanter Jah Marnyah. These days I'm happy to say that I actually use my own work as reference because (I'm old as hell) I can look back and kind of re-feel  the vibe of first coming across Marnyah's work well over a decade ago now. I'd had my eyes (and ears) on his output, based largely on the strength of a sublime early single by the name of 'Anointed One' and what would eventually arrive, back in 2012, was a sterling debut set by the name of "A New Day". That album.... while it wasn't this all-conquering greatest of all time, it is one of my favourites - if that makes any sense at all. There're certain releases (I'm thinking of "Words of Wisdom" and "I Believe" by Turbulence because they're fresh in my mind) (biggup Turbulence, big new album, "The Remedy" in stores now), which are just so familiar and COMFORTING to me and "A New Day" was one of them. It carried at least a pair of downright flooring songs in 'Dem Vex' ["DEM VEX WHEN MI HAIL RASTAFARI! DEM AH SCREW, DEM AH BEND! WHEN MI HAIL THE BLACK KING AS THE MOST HIGH! JAH POWERS MANIFEST!"] and 'Rasta Is Love', but I can go back now and find gems in the title track, 'Every Day' and others still. So I probably spent a few good years singing its praises and, nine years on, as you can see, I still am. 

So it might be nice if Jah Marnyah could maybe give me a new tune to sing. Going back quickly, I can actually remember seeing "A New Day" listed for the first time -- and that would have been 'back in da day" when I would just go on some retail site and start searching names to see what was forthcoming -- and being so damn happy to see it on the way. A similar piece of emotion would have (it did) ran through me last year when, eight years after his debut, the wicked Jah Marnyah returned with his sophomore studio project, "Rise From The Volcano". By that point I likely would have added him to the pile of artists from whom I'm waiting for a new album and would REALLY appreciate one, but had no expectations or anticipations of them ever doing another (biggup Lady Sweety) (it will NEVER happen, even if it does, I will not believe it) (she retired) (DESTRUCTIVELY talented and gifted, a BATTERING RAM of ability) (I digress) but, damn do I love surprises, especially when they look like this one did. I hadn't actually heard a great deal from Jah Marnyah in between albums. Prior to "A New Day", he voiced for several really nice imprints, including Akom Records from out of France, in particular ["Fyah bun dem evilous ways and dem awful thoughts. More love and more joy Rasta want"] [BOOM!] and also Achis Reggae favourites, Oneness Records, as well. But he has definitely been less active in more recent times, which would have made the appearance of "Rise From The Volcano" even more unexpected. But you know that I am not complaining. Previously, while Marnyah had voiced for a variety of producers, his home base has been the same Faya Wurks label which officially released "A New Day", however, this time around the chanter has linked up with Jahmez and IBI Sound Music. I don't actually know whether or not Faya Wurks is still active. Their website is gone, their social medias are long dormant (literally eight and a half years in the case of Twitter) and chances are probably fairly high that if you've ever heard of them, it was due to their attachment, in some way, to the work of Jah Marnyah. So, perhaps, his lower level of activity can be tied to the label (seemingly) not being operational any longer. Regardless, I was damn happy to see a new album from Marnyah, and would have been from any source, so biggup IBI. And just in case you haven't figured it out (which would mean you probably skipped directly to this portion of the review), that album definitely has a very high standard to live up to and very large shoes to fill. Let's see how well it does.

Pretty good. I knew exactly what I wanted, which would have been something along the lines of "A New Day", but I didn't have much in the way of expectations in regards to this album. As I said, save for a few moments here and there, I haven't heard much from the artist over the past few years. Thankfully, I didn't get very far at all into this set without feeling and hearing some of the same vibes which would have made that debut release an outstanding one. Following a moment during an intro to give praise, Jah Marnyah's sophomore release, "Rise From The Volcano", gets going with an extension of the praises on one of its strongest moments, 'Give Thanks'. This one is a SWEET piece on which the chanter reminds us all to take a moment to appreciate some of the smaller things we encounter in life. Something we may take for granted as simple as waking up in the morning can be an occasion to give thanks (because a lot of folks didn't wake up this morning and we all will be amongst them one morning). An excellent way to start is 'Give Thanks' and it, literally, fits at the beginning of the album. Following the first of three interludes, we have what was one of (it may've the only official one) the official singles from "Rise From The Volcano", the outstanding 'Ital Is Vital'. This track is about getting your body together and your health in order by adopting a more natural way of life (I hear a song like this and it reminds me of '50 Push Up' by Spectacular) (biggup Spectacular). You can IMMEDIATELY tell why 'Ital Is Vital' was chosen as a single. It is a GORGEOUS listen and one of the highlights on this album and throughout Marnyah's career thus far in my opinion. We go from one aspect of nature to another as 'Baby Wrap' checks in next.

"It's not an easy thing for a woman to give birth to a child 

Nine months, plus labour and she bring forth life

First seed haffi plant before life it advance

To The Most High bless, it's not by chance

Making sweet love to your woman feels so nice

Great pleasure, what a joy, seems like paradise

For strong down the line she start fi show sign-

Of a pregnant woman, that's the cycle of life"

'Baby Wrap' might be too specific to have been a single, but it is another selection which is so nice to listen to, along with carrying a significant message, so definitely do not miss it. Marnyah keeps the current theme going on the next tune up, 'The Children Are the Future'. This one is aimed at the rest of us, to give the younger generation every opportunity that we can to succeed in life. It is a well attended topic of discourse if you listen to Roots Reggae music, so while it won't break any new ground... it is a very solid selection and... is just very nice to listen to (that's an interesting thought) (more on that later). I will also say that 'The Children Are the Future' is very strong lyrically as well, so pay attention people! Hear what the man has to say.

There's something of a gritty charm to the tune 'Encouragement' which sets it apart to a degree (I'm currently struggling to choose a favourite) on "Rise From The Volcano". It isn't obvious at all, but it well grows and grows on you. I love the messages behind it: The idea of just attempting to be nicer to people, to say things that may help them along and being sure to not carry too much negativity (we're all human, we're entitled to be in a bad mood sometimes, but not ALL the damn time) around, because it can INFECT those around you as well. I don't at all know what the reaction was when the tune dropped, but it is definitely amongst the finest on this release to my opinion and if you wanted to call it THE finest, I wouldn't put forth much of an argument at all. You could also, very well, put the next tune up, 'Strong Woman', into that discussion as well. This one is HEAVY! Gifted with a sweetened piece of old school vibes behind him, Jah Marnyah absolutely had to produce some vocal magic and he does succeed in that. Searching around online, we have seen just a bit of reaction for 'Strong Woman', which I was very happy to see as it is an outstanding piece and one which did deserve to be highlighted on this set. Were I to be in charge of the spotlight to be shone across "Rise From The Volcano", however, the track which would probably receive the lion's share of my attention would be wholly searing 'Mr. Heartless'.

"Nuff a dem fake, none  a dem real

Dem a wicked people

Si dem act like dem clever and ah study evil

Show no love for di weak

No love for di feeble

Tek my kindness for weakness through dem si wi humble"

At this point, if I absolutely HAD to make a pick, 'Mr. Heartless' is probably my favourite altogether here, by the slimmest of margins, but the fact (OPINION) (you are allowed to hate it) is that it ranks in the class of this release, definitely. Following 'Mr. Heartless' is an interesting interlude (#2), which serves as a tablesetter for the piece chasing it, another golden effort, 'Sweet Montserrat', Marnyah's ode to his homeland. The latter portions of this one, in particular, are downright thrilling at times (that last full verse is not to be missed, one of the most exciting on the whole of "Rise From The Volcano"). Though he hasn't been home in quite a while ["My little love, my little Emerald Isle. Even though I haven't seen you for awhile. Oh baby girl I love your style, haven't really seen you in a long time"], clearly it isn't at all very far from his mind. The final offering, the obligatory ganja tune, 'Gimmi Di Ganja',  comes on the heels of its final interlude. Though he hasn't touched the topic a great deal, Jah Marnyah does have an excellent older piece by the name of 'Cannibis Factory', which does set the standard high for 'Gimmi Di Ganja' and it does not disappoint (it's actually quite a bit stronger in my opinion, but you'd expect that). Despite its rather chilled beginnings, it fully develops into a more fiery type of vibes which well prove to be a winner and, of course, it doesn't hurt that it coms equipped with one of the strongest riddims on the album as well. And I do have to mention (I don't have to) (I'm not contractually mandated to) the entirely unexpected combination, 'Wipe Your Tears' (biggup Lutan Fyah) which features Marnyah alongside UK songstress Nia Songbird, a name which was new to me. This is kind of a love song/duet, but not at all in the typical way. It is much more of a 'we made it' type of sentiment. Despite all of the things we've gone through with each other and other people and obstacles, we're still here and still together.

Overall, "Rise From The Volcano" is precisely what I alluded to in my opinion, it is "SOLID". It isn't revolutionary or genre-defining or anything like that. It is a well done and put together release from a very powerful artist and one that well fulfills on the promise shown on "A New Day". I do have to say that my prevailing thought in regards to this album is the simple fact that it exists! I am SO happy that the planets aligned and gave us another album from Jah Marnyah because I'm pretty sure I gave up hoping for such a set a few years back. If you are familiar with the work of Jah Marnyah then you (should probably already have this one) know what to expect here, musically. While I have no idea when, or if, we'll get another, by its end "Rise From The Volcano", though unfortunately brief (biggup Spice), should be enough to keep me quiet for.... maybe a few more months before I start begging for album #3. 

Rated: 4/5

IBI Sound Music

Digital 

2020

'Na Na Na' by Soom T!

BOOM!

Taken from the Strawberry Jam Riddim from Necessary Mayhem. In stores now. BOOM!

'Business As Usual': A review of "LB50" by Lloyd Brown

Comfort. Though the saying 'if it ain't broke, don't fix it' typically rings true, the occasional changeup can definitely be a good thing. In whatever it is that you are doing, sometimes deviating from your standard route can be disastrous, but other times it can be fully rewarding. Applying this to music, of course, things begin to get cloudy because you can apply it in a multitude of ways. Perhaps at the most basic of levels we see things such as an artist recording a song which is either of a different genre of music or one which incorporates sounds and textures from different styles than the one (or more) that they normally do. This, too, can be either worthwhile or… just wrong as I'm sure you've heard such tunes and have had both happy and full-on disgusted reactions. Taking things a step further, in Reggae music where we have individuals who see another old saying like 'less is more' and run straight through it, we've seen full albums deviate far, far outside of the norm from certain individuals and those results have been mixed in terms of quality, but almost always interesting in most cases. The best example in that case is definitely Sizzla Kalonji who, in seventy-three albums now, has pretty much done everything within his range and maybe even a few things outside of it. Albums such as "Rise To The Occasion", "Soul Deep" and "The Overstanding" stand out most vividly but they certainly have not been alone and though they were not the best albums, they do stand out as wholly fascinating moments in his legendary career. Today we take a look at someone who, arguably just as interestingly, recently took a step outside of his regular routine and is now set to return to business as usual. When you've spent the last thirty years making music, I suppose that such leaps are damn difficult to make, but just last year, UK veteran, Mr. Lloyd Brown broke with his recent tradition and reaped the rewards for it in the form of pushing one of the most well regarded and well known albums of his entire career. But if you listened to it (and you did), what you noticed was that the album didn't stretch the singer at all and, instead, found him stepping outside of his comfort zone in a truly one-of-a-kind way. 

"Rootical" [2013]

Of course I'm referring to the beautiful "Rootical" album from just last year. That set came via the flaming Zion High Productions and the Zion I Kings who have been absolutely tearing their collective way through the music over the past few years or so. Lloyd Brown's was a name which had previously been on their radars and he had done music with ZHP, so the fact that they made an album together wasn't entirely surprising. HOWEVER, the difference appeared when… well, when they made an album together. If you've paid attention Lloyd Brown's career in recent times what you've noticed is that Lloyd Brown's albums are usually done by someone named Lloyd Brown. He very much and probably more than anyone in the genre today and DEFINITELY more than anyone of his class and prolificacy, maintains an 'in-house' approach to production and it had been a LONG time from the last time he had turned over those duties to anyone else. And, as I said, it was an excellent choice. It's also well worth mentioning that over the past couple of years ahead of "Rootical", his albums -- particularly "30" (which, I believe, remains an album which is only available on iTunes) and "New Veteran" -- weren't getting the attention they deserved and, again, that surely wasn't even a possible problem with "Rootical" as all of the ZIK albums are exquisitely promoted and deservedly so. So along with making a nice album with someone else, the "Rootical" album also brought Brown's talents back to their warranted spotlight. It was excellent. 

"30" [2012] & "New Veteran" [2013]

And eventually you go home. Off the top of my head, I don't think that any of the artists who have had albums done by the Zion I Kings have gotten to their next album, with the exception of Danny I who came back with a Spanish language album following the MAMMOTH "To Your Majesty" and definitely I'm curious as to what the next step will be for all of them following such an excellent feature. For Lloyd Brown, however, it was less of a mystery as he, for so long, has ran an apparently successful and clearly fruitful operation to which he now returns with his latest and eighteenth album, "LB50". Through albums such as "Silver" which (is probably still my favourite LB album) marked his quarter-century involvement in music and the aforementioned "30", five years on (I think you can figure out what that marked), Brown has well shown himself to be someone who just does not miss a milestone moment and "LB50" celebrates his completion of fifty years of life. The album comes via Brown's own Riddimworks Productions imprint which had helmed virtually all of his recent releases ahead of "Rootical", as well as Phoenix Music International who, I think, also handles the business for the catalogue of the once mighty Jet Star Records which is Lloyd Brown's former label. Like both "30" and "New Veteran", "LB50" is a digital-only project which is becoming less and less of an issue these days with artists such as the aforementioned Sizzla Kalonji and especially Vybz Kartel -- a pair of the biggest names in the genre -- also taking similar routes recently, but I'm really hoping that this album gets a nice push and is successful. And I should also mention, from the musical side, just how impressive Lloyd Brown has been in recent years. I go back to when I really became a fan back with the "Said & Done" and "Silver" albums and, over that time he's done some well impressive work and though not all of it has been as popular as I would have thought, by far Lloyd Brown is one of the most consistent and dependable Reggae artists today. So, with its back-story being so damn interesting and the stage being set for another strong release -- I know it is good, I don't even have to listen to it to know that -- but how good is "LB50"???

Very. It's very good. In a year marked by outstanding contributions from artistes such as Sil Cunningham and especially Ras Elijah Tafari, another one makes yet another fine gift as Jerry Neville, who also penned the covers of "30" (which was one of the best album covers I have ever seen) and "New Veteran", also takes care of the new album in his inimitable style. For his part, only because he knows I'm going to attempt to talk about all of these things, Lloyd Brown uses Neville's downright divine artwork to wrap another MONSTER. His brand new album, "LB50", is eighteen tracks long, which doesn't include a nineteenth bonus track, so we better get started. Although this album isn't loaded with combinations as a few of his other sets (I think it was the "Cornerstone" album, in particular), Brown does get "LB50" up and moving with one of the four tunes featuring guests, 'Fiddy', alongside Sarjant D. I don't think that I'm familiar with Sarjant D, but perhaps it's time that I became acquainted because he turns in a very strong performance on this song, given it a serious bite. I look at this tune and kind of take in the perspective of being about Brown's musical approach. Of course it is set within the context of his age, but I think that the idea is that he's devoted his entire life, all 'fiddy', to music in some way and he has this COOL way of showing it here ["It's not about the money or the house or the car. Mi come fi push di envelope and raise di bar"]. The much more relaxed 'Standard Procedure' picks up where the opener leaves it in dealing with Lloyd Brown's musical approach. This composition also, at least for me, can be likened to the big tune 'Not From Me' which was on the "Rootical" album where Brown talked about all of the nastiness and hatred in the world and how he had nothing to do with it. On 'Standard Procedure', he kind of talks about how he manages such things - by spending his time making his music for his fans and everyone who appreciates it. This is definitely one of the best songs on this album and one which requires a bit more in the way of attention so pay close attention. You could also probably use some of that concentration to the delightful 'Ain't That Peculiar' which features Danny Sprang and US R&B great, Marvin Gaye who originated the song (which I learned from my Father) (biggup my Father, reigning coolest man in the world). This is a difficult song not to like. You're going to have to try really hard to do that and, even then, I don't know if you could pull it off. A very nice touch by Brown. 'Million Dollar Baby' is not a song about boxing, but it is a piece about someone chasing the 'finer' things in life at virtually any cost, while letting the most valuable things in life go to ruins. Though almost entirely specific, it is still a relatable song and I also like the almost Zouk-ish track carrying it. And rounding out the opening of "LB50" is another big song, a remix of 'The Sound', featuring Patrick Anthony (and David Rodigan). This song has a crystal clear directive and it dazzles! A big credit goes to Anthony who plays the horn for the tune which may just be the most sonically pleasing selection present here. 

"Beads of sweat drips down my temple -

In a scene that resembles, 'Lawrence of Arabia'

Solitary figure inna di distance

Putting up resistance to resignation and to failure

Still I keep on trodding on

With hole in shoe, between a rock and a hard place

And as I pass a next mirage -

It won't be long until water touch my lips again

Thought my cup was broke out in this open space

Suddenly [there you are]

Suddenly [there you are]

I THOUGHT MY VISION RELEGATED TO MY GLASSES CASE

Suddenly [there you are]

Suddenly [there you are]

My shirt is soaking, weighing my back down

Still I won't back down

I'll wring it til it dampened 

Keep in motion, the will that's inside me

Jahovia beside me

For He won't deride me

Still I keep on trodding on

With hole in shoe, between a rock and a hard place

And as I pass a next mirage

It won't be long until water touch my lips again!" 

TEARS! BOOM! SHIT! The next batch (biggup Batch) of songs on "LB50" actually begins with my favourite song from the album, the MAMMOTH, 'There You Are'. This song, which also features work from Patrick Anthony, is golden! What I take from it is not only the idea of persevering through tough times, but also the notion of being able to accept help and to ASK for it when you need it, because it may be available in the most dire of situations. Probably one of the best songs I've EVER heard Brown do, 'There You Are' is not to be missed. An easy singing Courtney Brown (who may actually be Lloyd Brown's son) (biggup Bredz) makes an appearance on the lovely 'Faith', which follows 'There You Are'. You almost never hear credit given for this, but I'm going to do it: Placing this song on this album, right after 'There You Are' was just a REALLY good idea. It carries a similar sentiment and does so also with a spiritual inclination. Together, they make for one of the strongest stretches on this album and I'm well looking forward to hearing more from Courtney Brown in the future. The familiar sounding 'Hurt No More' is Brown's moving tribute to all of those who have passed on. What I like most about this one is that it isn’t somber and sad. Although sung in a respectful manner, it clearly wasn't Lloyd Brown's desire to fully depress his listeners on this song because although it almost always seems as it is, death doesn't have to be such a gloomy thing and I well appreciate Brown making a song like this which does contain some bright spots (and biggup my own Grandmother who transitioned in January). 'Get It Right' is actually one of two tunes to find its way to "LB50" from the setup that produced "Rootical". This song is a production of the Zion I Kings and, as you are expecting, it is fantastic. Here, we find Brown building a message of taking advantage of every chance that you have in life because you never know when it will be your last chance to do what you want to do. It fully features something that I've always said that the singer exudes in his work and that is a whole heap of COMMON SENSE. It is likely better aimed at young people but everyone can get something necessary from a song like this.

"My time equals my life

And I don't waste them for nobody

Intolerant am I of all the BS and your mockery

I see it as I find it, for I must keep it real

Who nuh hear me, they must feel

Just remember when you link me"

And rounding out this lot of tunes is the candy-ish 'Out Of This World'. It is a song which isn't completely without substance, but is SURELY best appreciated as a song on the album which is going to get heads moving and feet tapping as Brown find himself in the very familiar position of being hypnotized by a pretty face (and this is coming from me - someone who has years and years and YEARS of experience in doing DUMB stuff for pretty faces). 

The next group of songs on "LB50" actually begins with a pair of sublime love songs, 'Three Words' and the very clever 'Do You Feel Me'. The former is a sterling track centered around three almighty words. And I started to dig deeper on this one and not just take it as a 'love song' (even though it declares itself as such  early on), but I get from also just the notion of telling someone that you love them and how important that can be to you and to them. It's a beautiful message on a song which is just as easy on the ears. For 'Do You Feel Me' (also produced by the ZIK), Brown turns things up even higher and delivers a downright glowing composition.

"Strong is the feel of devotion

Dwells in the heart of I most everyday

My heightened sense of emotion -

Shows no signs of abating, not today

The love inside of me -

Let it circumnavigate he shape of your heart

You're a sight to see!

To coin a well-known phrase: A human work of art"

This one is just a bit more straight-forward than its predecessor here but, together, they make for another excellent pair (more on that in a minute). 'Happy Earthday' is a song which I'm sure than I know and it finds Brown teaming up with constant collaborators, the wonderful people from Joe Fraser Records (and wouldn't it be nice if they made a new album together!). On an album like this, this song was guaranteed and while it isn't the greatest thing on "LB50", it certainly doesn't do anything but help the record and it is not the only time we hear from this tune. And on 'On The Gravel' and 'Greeting Song' both see Brown mining classic tracks for his work. The latter is a solid offering about BEING NICE TO PEOPLE. It does takes things a step further but that is the prevailing message that I took from it - Lloyd Brown saying to treat people well and being happy for someone and staying away from things like jealousy and such. The former, on the other hand, is undoubtedly amongst the best four or five songs on this album. It also mirrors the theme on some of the other tunes here (and throughout Brown's career) as far as doing whatever it is that you want to do and, most importantly, not paying mind or EAR to negative people and obstacles standing in your way. 

The final stretch of songs on "LB50" (despite being huge, this is pretty easy album to write for) continues the form of the previous couple of songs as 'All About You' features another track from yesteryear. This tune, a love song, had to do some work on me. I didn't particularly enjoy the first few times that I heard and while I still cannot call it a favourite of mine, I do like it more now than I originally did. It's a decent song. The R&B-ish and fully CRAWLING 'You Just Don't Get It' (it has a very unusual pace to it) had a similar set of circumstances for me, but it did ultimately win me over. This one has a different type of sound, which always catches my ear and, after listening to it more than a few times, I did well find something here to enjoy and it is a highlight on the album for me (and biggup Mikie Blak, who also guested on the "New Veteran" album for his guitar work). Based on its title alone, 'Your Recipe' was a song I was greatly looking forward to hearing and it didn't disappoint. I did figure that it would be a love song and that's precisely what it is and it ranks highly next to any other similarly directed song on "LB50" in my opinion ["You bake the sweetest cake I know"]. And lastly, as I alluded to bringing the album to its conclusion is the bonus track, 'Happy New Year'. This song is, essentially, a remix of 'Happy Earthday', with the focus being that we've all made it to another year [DUH!]. It actually made me smile and, as far as 'bonus tracks' go, in general, this is a PERFECT selection. I do want to just expand on something else that I mentioned earlier and that is the situating of the songs on this album. Again, I don't know how much attention that we pay to such things, but "LB50" is SEAMLESS in terms of how the songs flow so well together and not just in their subjects but things like sounds and welcomed surprises are also so nicely affixed together. And I don't know if I've ever given an album credit for that, but it stands out so well here.  

Overall, "LB50" continues the winning ways of Lloyd Brown albums and you knew it would. As I said, I'm really hoping that this album does well because I think that Brown may even have relatively passionate fans who may not even be aware that "30" and "New Veteran" existed and I'd hate for another album like this one to follow that form and this music, all of it, is just too damn good for that! The "Rootical" album, as well liked as it was may help this one along a bit and when those fans who enjoyed that album come here, what they'll find is a veteran, once again, doing what he does best. Lloyd Brown makes good albums. It doesn't take him a very long time to do it either and I'm of the belief that almost any type of fan can pick one up and enjoy it from beginning to end. "LB50" is neither a deviation or a return to form as far as that goes (because you cannot to return to something that you never left) what it is, instead, is another exciting example of the multifaceted and sterling talents of one of Reggae music's most consistent of champions: Mr. Lloyd Brown. Sublime.

Rated: 4.30/5

Riddimworks Productions

2014

Digital

Review #513