'These Strings': A Review of The Stringz Riddim

Certainly it cannot be said that we're struggling to any degree, but I do have to say that it's always very nice when we come across a new label, whether actually new or new to us, that can be depended upon to produce excellent music on a consistent basis. When we look at artists, specifically, the feeling is much different as, although they are ultimately the face of the music, it's much more of a situation of watching something develop and, eventually, arriving at a point where we may try to identify some type of historical reference for them - at the absolute highest level, of course. With good labels, however, the impact can be, and generally is, much more immediate, even if they don't stick around for very long! Good labels bring good music INSTANTLY and with the tendency of today being labels coming from everywhere, it's always good to keep an open, because you never know who may stop by. For example (!) earlier this year we stumbled upon the US based Rumble Rock Recordz which was, initially, probably my favourite find from since Philadub a couple of years back. RRR introduced themselves to us in a most interesting (and fitting for the sake of this review) manner - a BIG riddim. The Step By Step Riddim was a GLORIOUS Roots set which not only identified a certain level of class and ability in the label, but it also gave it (hopefully at that point and obviously now) a certain distinct quality. When you look at the names of artists voicing the Step By Step, the one thing that stood out at the time and still does is just how diverse they were! The mix wasn't just the more 'standard' blend of combining superstars with up and comers and everything in between (and I do so LOVE that standard!), RRR went BEYOND! What stands out for me even now, having well added the Step By Step to memory is that appearing on the riddim was Faïanatur and Oshen. The former is just odd in general (and I mean that in a good way) and the latter is someone who definitely has established a name for himself and I bring him up because of his most distant origins as a native of Papua New Guinea. Furthermore, it was just a matter of doing this for a gimmick or something - obviously - the riddim itself was big and it produced what should still be regarded as one of the finest riddim albums of 2011. So, with a name established, Rumble Rock Recordz - Can you keep us interested?

Riddims, they can do. Picking a logo, however . . .

Yes you can. First of all we backtracked a bit in the way of "The Truth Shall Be Told" which was the nice 2010 debut set from RRR favourite, Zacheous Jackson. That album, again, reiterated what was obvious, that the label was one to pay attention to. It also was very straight forward and when you combine that with the first riddim, it was assumed that Rumble Rock was a pure Roots Reggae label and there wasn't a damn thing wrong with that. HOWEVER, buried on Jackson's album was a song which was pretty much a changeup for that album by the name of 'Better Dayz'. It wasn't too much of a leap, but the tune featured a very colourful and R&B tinged backing track which was amongst the many standouts on that project. Fast forward a few months and, in the process of 'stringing' together a nice opening for themselves, Rumble Rock Recordz now brings forth their second riddim album (I THINK) for that very same riddim, now known as the Stringz Riddim. Quietly, I was waiting on this one for a nice amount of time. The SBS reached back in April and it's now six months from then and it is a nearly perfect time to comeback with a followup (although May wouldn't have been bad, or June, July . . . ) and, much like its predecessor, the Stringz has generated a nice amount of buzz online, even before we got into it, so with that and the fact that I'm already in the mind to look forward to RRR's next project, whatever it would've been, I was not only very interested in having a listen to the results, but I was also anticipating something pretty impressive as well (with big results comes big expectations).

The Step by Step Riddim & 'Right Ting' [single] by The Lambsbread

My initial impressions of the project were also pretty good. Again, the promotion has been strong (biggup Josh) and the early reaction has been good from what we've seen (although none of our peers have committed 2800 words worth of a review to it thus far - No worries, I'll do it). And I should also add that the COVER is very attention-grabbing and I think that such things tend to go overlooked and underrated, particularly in the digital medium/market. RRR also took a big step (by step) in the matter by releasing what amounts to a single for the riddim in August - 'Right Ting' by The Lambsbread - which was just a good idea on one hand and an excellent show of their dedication and BELIEF in the nature of the project and its importance, full on. And, when considering all of that, it's good that things have manifested the way that they have here, because they've again done something to be proud of here! While we can surely pick favourites between the two riddims (I think you know where I'm leaning at this point), the Stringz Riddim does manage to surprise just a bit on its full album by serving as the perfect backdrop to a variety of differently vibed big tunes, none of which, thankfully, sound completely out of place. By the end of this one the feeling quickly went from 'okay now do it again' to 'okay you've done it again'. Rumble Rock Recordz manages to cement their place on my radar and I'm sure I won't be the only one after the Stringz Riddim. Let's take a listen!

Stringz Riddim Mix Pt. 1

Despite its title (and its cover) I don't think that the main sound that you'll hear on this composition is a string, at least not initially. Although, with that being said, I was so happy to read that Achis Reggae favourite, Tuff Lion, does play on the set. That, alone, is a quality which says a great deal about the quality levels one can expect to hear, as the Lion doesn't push sub-par material. Ever. What he does in this case once again finds itself in a BEAUTIFUL variety of different hands as the label continues their methods of voicing such a colourful group. A good example of that would definitely be Ms. Sophia Squire who gets things going on the Stringz Riddim album from Rumble Rock Recordz with 'I Live, I Learn'. I think that when you listen to the riddim, ostensibly, you'd take it to be more of a romantic set and while we do get that later on, Squire, for her part, puts the composition to the proverbial test with one of this lovely inspirational track. She gets nearly Gospel-ish at times, which isn't a bad thing, and she just reaches with a message of perseverance and self-determination and motivation. She does this while eschewing the stereotypical, lame and clichéd route as well and also does so to one of the best songs I've ever heard her do on this stellar opener. Next we have the first of two combinations, 'Good Vibes', which features veteran Fire Star alongside young Mountain (who, despite the fact that I do know who he is, really needs to think about getting a new, more Google-friendly, name). This was another standout for me on the riddim and one which I think could really do damage if afforded the opportunity. The message here is of a fairly general injection of more righteousness and positivity into society. I suppose you could call it a 'social commentary', but it doesn't reach me in the more usual way that such a tune does. Also, you really get a SPECTACULAR vibes here - although I do favour the opener, this tune is definitely more of a LARGE sonic achievement to my opinion. Back again from the SBS is the somewhat strange, but well talented, Jus Goodie who is the first to take the Stringz Riddim in the direction of a love song with 'Crazy Love'. Speaking of sonic appeal, that's clearly the star in this instance, although the entire track is nothing less than decent, it's more of the kind of easy-listening type of song, which has its place and I'm still impressed by and will continue to look out for more from the singer.

The Step By Step Riddim featured one really heavy, heavy-hitter in Anthony B and it's a move which Rumble Rock repeats on the Stringz and they even go up a notch this time around. 'You Get What You Want' which features Black Prophet with none other than Capleton. BOOM!

“You never cook, then how you still ah eat?

You never sew, then how you still ah read?

You say you honest but you still ah thief

And then you send di wolf dem fi come destroy di sheep!”

It's just like an energy boost when Shango starts rhyming and it really just the kind of subtle diversity in the track itself. You can take a song like this and precede it with Jus Goodie's more serene vibes and both make a great deal of musical sense in their own ways. I should mention that the vocals on the tune seem somewhat strange to my ears, but maybe that's just me. That being said, however, it is the second largest name on the riddim who takes top honours as Chezidek BLAZES the similarly vibed 'Still Want More'. This one surely is a social commentary and more 'common' one for the riddim and it is BIG! Along with offering the entire riddim its dominant lyric ("Dem no really overstand what it means to be poor. GREED IS A DISEASE WEH NEEDS TO BE CURED"), Chezidek's tune is spotless and it serves as yet another reminder of his current streak of quality. For the past two years there's been anyone hardly making better music CONSISTENTLY in all of Reggae than the singer and here’s another sterling example of that.

Another pretty big name on the Stringz is another favourite of ours, of course, Messenjah Selah, who shines brightly with his own love song, 'Wanna Get Away'. Selah's is a sound which I've yet to tire of in the years since I've been listening to him and when I hear this song, I hear such a FULL vibes. It is so well done! I call it a 'love song' and that is an accurate description, but it's a multi-faceted love song, it is one which touches the social realm, within the romantic realm and it isn't a complicated listen at all. That man just makes GOOD music and you won't find an exception on the Stringz. I was equal parts very happy and very surprised to see Buggy Nhakente present on the Stringz Riddim, but perhaps I shouldn't have been given the fact that RRR will seemingly go anywhere for real talent. This time they went to Barbados for the Reggae/Soca hybrid and the results show that it was well worth it. 'Love Remains The Same' is a love song, but it's a song which brings "love" up for the sake of "love". It's not a romantic type of song (well, it kind of is), but it's more on an inspirational type of vibes which essentially espouses on the power of LOVE in any situation.

“Oh what do you answer, when you ask yourself the question -

What keeps us together, more than any war or competition?

Unconditional love!

The same one that Mama say came from above

The same one that brings life kisses and hugs

What the world needs now, we don’t have enough!

Cause people change and seasons change

But love remains the same

Seasons come and people go

But love remains the same

Time goes on and we move on

But love remains the same!”

BIG BIG tune!

Of the remaining tracks, of course the previously mentioned pieces from both The Lambsbread and Zacheous Jackson are highlights and they're joined by a typically interesting lot assembled by Rumble Rock for the Stringz Riddim. Such a fascinating individual is Ras Arcane, who I only heard of for the first time on the SBS Riddim - Arcane is back for the Stringz with an arguably even stronger tune in the biblical 'Hymn Book & Bible'. Arcane is someone to deal with for several reasons, not the least of which is his delivery which is so straight forward that it's strange. He just talks and kind of adjusts himself to the riddim, at times, but clearly command of melody isn’t his strongest attribute. That being said, however, he's just obviously talented and his tune here is another demonstration of that. Also back from the previous release is O-Shen who this time wants you to know that he's 'Sorry' for what he's done. I do really like this one (especially the chorus) although it goes a bit too rappy for me later on, when it does, O-Shen still manages to impress. Rastar is also back (and is also rappy) for the Stringz with 'Love U Jah'. This song definitely isn't one of my favourites here, but I am still reserving what I think about the artist because I have heard talent there.

Sarai Knowledge

Jhaytea who has been having an excellent few months or so (highlighted by 'All The Love', a big combination with Glen Washington) is also here with the lover’s piece, 'Like Heaven' which is another strong piece from the Roatan native. Jhaytea has serious star potential in my opinion and I can well envision a 'J-Boog like' run from him on the horizon. His song on the Stringz would also figure to have mainstream legs if given the opportunity, but something tells me that he's headed there whether it does or not. Excellent track and one of the riddim's finest. The HEAVY Ras Professor also scores min a mighty way with 'Meditation Time'. Here's a song which kind of put my mind to something I'll speak about more in closing, but here I'll just say that this is such a STERLING track. It's kind of rough at the same time, anything the Professor does and has ever done will always be kind of rough around the edges, but there is an almost extreme beauty here and on so many levels in my opinion (am I could really go for an album from Ras Professor now???). The divine-voiced Fabian Williams wraps up and delivers 'I'll Try' to the Stringz Riddim. I don't know a great deal of Williams, but he makes a nice impression with his tune and hopefully RR has him back (I'm sure they will). Finally is the only name on the Stringz Riddim which is COMPLETELY new to me - Sarai Knowledge (cool name). Knowledge (who sounds a bit like Ce'Cile to my ears) comes with 'Jah Light' and from what we've read, she typically focuses more on the Hip-Hop side (which may explain why I don’t know who she is), but she sounds pretty nice, while infusing Hip-Hop vibes while the song progresses.

Stringz Riddim Mix Pt. 2

Rumble Rock does include a clean version of the riddim (always a good idea) where the strings do become more apparent to my ears. This riddim, as I alluded to a second ago, really began to strike me as being incredibly accessible and VERSATILE. You hear it initially and you automatically go to thinking just how nice it would be as a modern Lover's Rock riddim and it does serve that purpose, but it can also do modern Roots (see Ras Professor) and a variety of other things, such as Hip-Hop and even Gospel.

Overall, I will be back for a third time. Again, I'm going to try not to directly compare the Stringz Riddim with the Step By Step, but even if I did, it's definitely on a similar level in terms of quality, which makes it obvious that Jimmy Cui and co. at Rumble Rock are exercising quite a bit in the way of quality control. Chances are, I think, that we've probably already heard their next riddim to be featured and whatever it is, I'm well looking forward to it. When you are fortunate enough to find a label who can consistently provide top material, even in Reggae where, as I said, we aren't experiencing a dearth of such entities, it's important to stick to them and support them because the benefits to you, as a fan, are potentially HUGE. It'll take more than two big riddims and an album ultimately to keep my attention, but if Rumble Rock Recordz continues their winnings ways, you won't even have to ask me what I think. Nice.

Rated: 4/5

Rumble Rock Recordz

2011

Digital

Rumble Rock Recordz

Review #335

'Nice To Know Ya': A Review of "Backyard Boogie" by J-Boog

Although we pride ourselves, somewhat, as being people who routinely go out of our way to focus on a very diverse and, perhaps, lesser known group of artists, it's definitely always nice to deal with someone who is drawing a very big interest from those outside of the Reggae community occasionally. It is one thing, of course, to look at someone like a Shaggy or someone on that level and see this almost astronomical amount of attention which they get (which almost puts them into an entirely different category), but it's another when we come across an artist who, for some wholly other reason than he/she makes a brand of music which is intensely marketable and is still grabbing the eyes and ears of fans who normally wouldn't even take a spin of Reggae music. This is just fantastic (!) and is made even more so when this person or group deals in a more 'traditional' form of the music. Currently - to think of someone who would fit under such a distinction - There's definitely German Reggae star Gentleman. I don't know how many fans he's brought to our music, or just to himself, but I'd imagine that years from now he'll probably be looked at as some type of pioneer of sorts for bringing European (and then worldwide) fans to the music who latched onto him for some reason or another. And because I refuse to downplay him or his immense talents when at his best (because at his best, even though he'll likely be underrated FOREVER, by the hardcore Dancehall heads), surely we can put Sean Paul in this box, to an extent, as well. Yes, he did step well outside of the realm of Dancehall eventually, but many of his initial international hits like 'Gimme Di Light', 'Get Busy' and 'Like Glue', were undiluted at the time and they probably sold a lot of records for Elephant Man, Wayne Wonder (who also could be included here . . . And just were I guess) and the likes and who knows what large number of fans are still sticking around (listening to this bullshit) who jumped on board during that era. Only time will tell if the individual with whom I am absolutely about to enjoy writing about today will someday be able to fit into a lofty role such as those, but if the early buzzes are any indication - the most unfortunate fans of the world who don't typically accept that Reggae is King, Queen and everything in between when it comes to music, are paying attention to J-Boog.

Who?

Sweet singer. I don't know how you can pick a name as original as "J-Boog" and then have a problem with . . . Originality. Boog apparently shares a name with a former member of Pop group, B2K, which is just strange, so perhaps (wrong) many of the people who seem have been taking an interest in his music have been under the impression that he is, in fact, the other J-Boog (and, upon further research, also using the moniker is an extremely angry Hip-Hopper). OR (right) they've been musically hypnotized and seduced by one of the most BLAZING Reggae artists currently on the scene, the California born and Hawaiian musically grown, J Boog. While I could offer you a few names who have been on similar rolls over the past year or so, I don't think that I could give you one who has attracted such a great deal of attention as Boog. Why is that? Maybe I'm just dumb (there's always that) or maybe it has something to do with the fact that J-Boog's music, when at its best, as it has been as of late, is so easily transferable to fans of R&B, Pop and other more mainstream-centric genres. On top of that is the actuality that Reggae music is just so strong and when you can place it into the proper channels or proper 'package' for the masses to enjoy - Surely it will never fail. J-Boog, much like Gentleman has been very interesting because, along with creating that more widespread level of awareness from fans, he’s also done it within the more typical Reggae communities, which is why I’m now writing about him and you're now reading about him. A good example of that is just how active he's been for more usual producers, outside of his own homebase, Washhouse Hawaii imprint. He's recorded for the likes of Special Delivery, The Bombist (aren't they kind of the same thing?), earlier this year he vibed for Dean Fraser on VP's "We Remember Gregory Isaacs" set and there's also the producer with whom he'll likely most be associated with for a very long time, the greatest all-around producer of Reggae music from this era and the one before it, Don Corleon (more on him in a second).

J-Boog digital releases

And his music hasn’t suffered in quality at all, obviously. Instead it's risen to the point where the demand for a new album has come to critical and Boog and Wash House hasn't disappointed with the delivery of his much anticipated brand new project, "Backyard Boogie". Boog's first album, "Hear Me Roar" also did quite well, reportedly (even though it featured a remake of Marlon Asher's destructive 'Ganja Farmer' - please . . . No one else try to remake that tune, it was positively perfect as it was - Let's just leave it alone now) and set him out on a course which finds him now bringing one of the most anticipated sets of a year four years on from its own. So, with anticipation at the proverbial 'fevered pitch', can Boog deliver? Absolutely. There're many more questions here, at least for me, but with the streak of magic that he's been on as of late, you could tell that this album was going to be a really big deal - in terms of quality - whenever it reached and it doesn't fail to impress. It's also really good to acknowledge the timing on the release of this set. Warrior King currently has a big album out, soon I Wayne will join him, but there isn't anything in the way of something which would 'compete' with this album, which would explain why it reportedly and IMMEDIATELY skyrocketed to the top a few different Reggae album charts. What would explain just how CRISP of a beautiful Lover’s Rock/Cultural album this proves to be? A few things - Let's dig in.

J-Boog

Largely based on his biggest hit to date (which we'll deal with shortly), J-Boog has generally been vocally compared to well esteemed Jamaican veteran musician, Glen Washington and while that remains the obvious connection to make (and the two almost HAVE to do a combination at some point), listening to the full album, I'm also inclined to say that Boog's style is a bit more of an orphan than many, initially, gave him credit for. I hear quite a few different artists in his delivery (including one who features on this set) and it's definitely one which he has made his own. He freshness is on full and vivid display throughout his sparkling new sophomore album release, "Backyard Boogie" for Wash House Music. To get us up and going, Boog gives us the eight-billionth tune called 'Give Thanks'. Title notwithstanding (or whatever), the song is BIG and is just a SMART way to begin the album, even though it isn't the type of song which dominates on the album. What it does is to introduce is to set things in a more typical Reggae direction and it also gives a pretty nice introduction to the vocalist and some of his own trials and tribulations and what, exactly, he's giving thanks for. It proves to be one of the album's finest and a nice move by Boog and company. Next in is the first of the album's six combinations, the wonderfully crawling 'Watch & Learn' which features Jacob Hemphill who is the lead singer of SOJA (yes, I did type 'SOCA' three times before I got that right). I'm not at all a fan of Hemphill's but maybe I need to do something about that because he makes an excellent appearance on this tune which amounts to a very straight-forward social commentary and just a strikingly well done track. There's not much in the way of frills and flash, but extremely precise and very effective as well (and I do want to make the point that I'm not trying to call this one BORING, because it certainly is not). Also not uninteresting is one of the genuine highlights during this boogie as Boog hails a Taxi (literally) on 'Hawaiian Pakalolo'. The tune features Jah Maoli (who I have heard of) and Spawnbreezie (who I have not) and I believe it, originally, was Maoli's track and is made much better with the new addition. Very cool and laid back herbalist tune which just works so nicely not only with the styles here, but also with the style of the album.

'Every Little Thing' w/Fiji

Perhaps as yet another statement as to just how far he's come, the names that join J-Boog on "Backyard Boogie" are just outstanding (much like??? Gentleman). Besides the previously mentioned lights (and I know SOJA is always more popular than I give them credit for being - biggup Zojak), also on board is Reggae star Tarrus Riley for the sterling 'She Give Me Lovin'. Riley was who I alluded to earlier as being someone whose vocal approach I hear a bit of in Boog's own style and the two on the same track make a wonderful duo. This tune, given just how BIG and VIBRANT that the sound is, is probably a future single for the album and you should well expect it to mine gold with such an accurate and positively destructive combination of talents. Also joining is Peetah Morgan from the Morgan family (on what is apparently a tune for Dadason, which is the Morgan's own label), who chimes in on the jovial 'Sunshine Girl'. The obvious draw here is the sound of the tune, but I think it actually gets even better as it goes a long a bit, so let it 'spread' before casting your final judgment. The multi-talented Swede, Million Stylez, links with Boog on the infectious 'Replay'. What I'll say about this one is that, besides being catchy (and it is), it's a very clever tune, as I'll go into further in briefly, Boog proves himself throughout the album to be more of a wordsmith than he's ever been given credit for being before and such a quality with Stylez is basically his specialty. And lastly (for real), oft-collaborator, Fiji, helps add to the spices on the album's final effort the previous single, 'Every Little Thing'. Fiji actually appeared on three different tracks on "Hear Me Roar" and he’d have to be back on this tune which he dominates in my opinion for the new album as well (and Fiji is exactly the type of artist one could expect to benefit from Boog's great successes). All in all, you see big names turn out for this album and curiously not included is 'Got To Be Strong', another combination with Richie Spice.

'Let's Do It Again'

The 'major' tune here finds J-Boog all on his own . . . With the help of the world's greatest as Don Corleon lends his brilliant Major Riddim to back one of the best pieces of Lover's Rock that you'll find from anyone from the turn of the century or so, the ridiculously popular (and deservedly so) 'Let's Do It Again'.

“Nice to nice to know ya
Let’s do it again -
How we did it on a one-night stand
Girl I wanna be more than a friend to ya

This isn’t my first rendezvous in a relationship
Well rounded - Graduated with love certificate
Hey!
She wanna lover, a lover I be -
Stimulate her body and mentally
Hey!
No fuss, mi straight up, mi nah lie
Use up mi shoulder if you waan cry
My love it’s not like them other guys
Fell sorry for who sign up cuz mi ah win first prize!”

It's probably one of the best love songs I've ever heard, a DOMINATE one from this generation and a clear future classic as well. Do I have to say it's the best song on this album? It is.

The tune isn't the only solo track on the album worth paying attention to. Besides the opener, Boog does big damage on his own. Of the remaining tracks, manages to supremely impress on a few different tracks. The first is another witty piece in previous single, 'Mystery', which finds the singer lamenting his relationship with a woman who can seemingly only return his affections when she's accompanied by a bit of Dutch courage.

“My baby, she’s a mystery

She only love me when she’s tipsy -

When we sipping on Tennessee Whiskey

That’s the only time that I feel like that she miss me

And when she sober again, she ah diss me!

Sober, acting like she don’t wanna come over

Pulling in me driveway in a Rover

Driving me so crazy like a chauffeur

Then she start fi drop her head back on mi shoulder”

The Shane Brown vibed 'Let Me Know' is one SMOOOOOOTH track and although it isn't as colourful as 'Let's Do It Again', it should resonate with much of the same crowd and should it be afforded the opportunity, I think that it could do well in R&B circles as well. Very strong tune and one which takes full advantage of Boog’s talents. Also check 'Angel' which may be destined to be lost in the shuffle to a degree, but is a tune which I instantly took an interest in. It's another tune which should grab that same crowd and although it’s a bit slower than both of the two previously mentioned tracks, it’s a very romantic and kind of 'slick' piece. I'd love to hear an instrumental of this one (if I haven't already) because that riddim is gorgeous and quietly, one of the better on the whole of the album and the same could be said of the tune which it supports. Building on that same vibe is 'Take It Slow' ("you got me ready to tap out like a fighter") (biggup BJ Penn), which is basically a Reggae-fied R&B tune and a damn good example of one.

Beginning the final stretch of tunes on the album is the only song here which didn’t reach me on some level, the acoustic piece, 'Crazy', which I'm still working with, but it makes room for what is one of my favourites, 'Wolves'. When I first heard this song, with its kind of frantic delivery, my ears just jumped because I was probably going to say as a critique of the album that it could use a bit more in the way of BITE were it not present and here it is a very Junior Kelly-esque HEAVY manner. Boog jumps in with a bit of urgency and anger in his voice to deliver a BIG social commentary and I just love the overall mood of the song. Adding to it is how the riddim continues well over a minute after the tune's final vocals and I think I just made this one my new second favourite song on the album. 'Waste of Time' is another nice piece for the album which just sounds EXCELLENT (definitely check that one out) and lastly is the somewhat out of place, but no less impact, 'Let It Blaze'. The song, which is one dealing with ganja and the persecution of it.

“Nah no vibes when the high grade nah bun
And it no nice when police lock down the sun
It’s like we’re living in Alcatraz everyday
With dem overload of stress pon di brain
Just let us stay, let us stay, let us stay blazin high grade everyday!
And let us stay, let us stay playing Roots Reggae music always!”

Really LOVE this song and it is, ostensibly, somewhat of a surprise coming from J-Boog, but by its end it more than situates itself very well in what you'll find on the majority of the album. The excellent album.

Overall, there're so many different directions I can go in here but speaking about the music what I can say about "Backyard Boogie" is that it WELL has a great deal of 'star quality' to it. I don’t know J-Boog, but he doesn't seem like the most outgoing of individuals, but on the album, he's personable, he has a certain fire about him. Definitely that has something to do with the sound of the album. I think that I can go ahead and say that this album is probably amongst the most SONICALLY pleasing that I've heard in Reggae music this year. It sounds great! As far as what it can do - Boog is a rarity for many different reasons. One being that he is of Samoan descent and he's also greatly associated with Hawaiian Reggae music (I didn't call him Hawaiian!) (apparently people get angry about that) (even when I don't actually do it) (I digress), which makes him a potential hotbed of inspiration. Hawaii, of course, isn't short on Reggae musicians, but one of this magnitude and potential magnitude can definitely inspire a great deal of talented up and comers and the same of Samoans. So, maybe years from now, we’ll be looking at a whole heap of names who grew up vibing J-Boog. I'm all grown (and crazy) and I'm still inspired to drop three thousand words one of the most interesting, popular and probably best albums of 2011. Excellent.

Rated: 4.5/5

Wash House Music/Ingrooves

2011

CD + Digital

J-Boog Music

J-Boog @ Facebook

Review #322

'Time To Shine': A Review of "Be Ever" by Blaak Lung

In retrospect, 2010 was not only a very good year for Reggae music, in general, but perhaps specifically, a very good one for Reggae music from America. Typically, unlike just about everywhere else in the world (with the exception of Jamaica, which is typically afforded the word ‘Reggae’ unless otherwise noted), we don’t tend to think of ‘American Reggae’ and instead things get more and more regionalized. I can talk to you about Reggae from New York, or Florida or especially the very Reggae-rich West Coast. Without observing those inner-regional regions, however, the States, as a whole, well impressed in 2010. Of course, at the top of the line has to be the fact that two of the consensus choice of best Reggae albums of the year came from an American artist and an American based artist for an American label. Clearly I’m talking about ”Black Gold” by Toussaint and Jahdan Blakkamoore’s outstandingly and increasingly good ”Babylon Nightmare” for Lustre King Productions. In hindsight, along with all of the remarkable things about both of those projects, one of the most interesting is that they very much so fell ‘in line’ with the more ‘usual’ settings of Reggae music. And I’ll elabourate on that more later (because I’m very much hoping that the artist in question here is going to get there as well), but if you follow Reggae music to any serious degree, certainly Jahdan and Toussaint popped up on your radars last year. What else? Definitely a lot of elder acts now call the States home and we saw a very nice collection of them strike in with big releases from the likes of Apple Gabriel and Ras Midas and they were highlighted by the critically acclaimed ”Mi Deh Yah” from the US based Clinton Fearon. Also we had labels such as Footprintz Music Group [Luciano’s ”Write My Name”] and Skank Records [Ossie Dellimore’s ”Reggae Music”] with big albums and not to mention the likes of Zion High Productions (who also participated in Toussaint’s successes) and definitely Itation Records who did BIG things with a couple of mega shot riddims. And that’s just how much I pay attention - There are so many American bands that I don’t listen to or even know about and I’m sure some of those were streaking highly as well. With all that said, however, an absolute GEM of an album, ”Rooted In Inity” was somewhat lost in the shuffle, but it really helped to get the year off to a good start . . . Now, hopefully this time next year we’re not saying the same thing about ”Be Ever”.

Blaak Lung. The mind behind both of those albums is that of the California based Alan Gordon [bka Blaak Lung], a producer and artist and probably one of the most decorated of US based Reggae producers. And although his own label, GreenSphere Records isn’t as well known as some of the ones I’ve mentioned such as Lustre Kings, Zion High or Itation (again, I‘ll get to that in a moment), they’ve really managed to string together a very impressive existence and should you follow modern Reggae music on a more than casual level, chances are that you’ve ran into some of the artists with which Blaak Lung has worked or you’ve actually ran into some of the work itself. As of late, however, as far as I can tell GreenSphere hasn’t done an album which wasn’t Blaak Lung’s since 2008’s "O’Pen”, which means that Blaak Lung, the artist, has been the main focus of the entire label, at least seemingly and , at least in my opinion, they’ve suffered NONE AT ALL because of it. I don’t care who the vocalist is, Blaak Lung makes fantastic music and when he isn’t active, it’s a bad thing for the genre as a whole and when he is, making LOVELY riddims for himself and others, American Reggae, Virgin Islands Reggae . . . Reggae from Indonesia - All of it is a MUCH better place simply on the fact of the circumstance and, presumably, it would be much easier for Blaak Lung to vibe a Blaak Lung album (having an unparalleled level access to . . . Himself) than for anyone else. And when you have results as he had last year with ”Rooted In Inity“, you really get into an issue of nothing being broken, thus nothing needing fixing. So with that being said, perhaps my initial feeling when I saw that Blaak Lung was returning just a year later with yet another new album, ”Be Ever” - Pretty surprised - Weren’t very warranted at all. Now, you shouldn’t be surprised either (because I’ve been alluding to it for this entire review) that what I would like to be able to do is to begin to move Blaak Lung’s music closer and closer to some of the aforementioned big and breakout pieces and stars of last year. In the review of last year’s ”Rooted In Inity” album, I openly celebrated the fact that we - Really heavy listeners and followers of Reggae music - essentially had Blaak Lung’s music to ourselves because he wasn’t very well known to most of the Reggae listening world despite obviously making world class Reggae music. Well, what a difference a year can make: I’m ready to share! Not too much actually, I don’t want to see Blaak Lung go ‘mainstream’ (whatever that means these days), but I definitely would like to see more light shone in his direction and I don’t think that putting him in a category as some of his slightly more well known peers is a stretch at all and there’s no time like the present. To my opinion, in terms of a marketing/publicity standpoint ”Be Ever” couldn’t have come a better time for the producer/artist and hopefully he’s thinking of a way to push it (although if he continues to make albums at this rate, and he might, he won’t have to wait very long for a next chance at getting it right) on a bit of a higher level. What remains, of course, is the question of whether or not the album is any good? It’s pretty good, but even more importantly, to my opinion, the album is a very strong display of the excellent music of Blaak Lung.

I promised myself that I’d try to refrain from comparing this album to its predecessor, but what I will say is that, just like ”Rooted In Inity”, one of Blaak Lung’s very established peers, the brilliant Tuff Lion, once again plays throughout the album, so immediately you know what type of music levels you’re dealing with. Also, just like that album (and this is more of a general characterization of Blaak’s music than a straight comparison), this album exhibits a great deal of quality control. I don’t like every song here (I’m about to tell you about a song I don’t like actually), but there is nothing on this album, AT ALL, which even hints at being BAD vibes. Still, with that being said, following an opener in, ‘Word Sound’, which is essentially an intro (and a nice one) the first full song on Blaak Lung’s brand new album ”Be Ever” is probably my least favourite on the entire piece, ‘Pushing Through’. Again, this tune is not a bad song and with its ‘BIG’ sounding riddim, it’s well going to catch attentions. The ‘problem’ I had with this song, however, is that it’s kind of mechanical - I made the comment listening to it to a friend of mine (biggup Linya) that it sounded like Blaak had a recording session and this was the first tune of the day that he sang - But that’s just the way it sounds to me and you’ll (hopefully) tune in on the lyrics which are very nice and the strength of the tune. Blaak is very quick to right the ship with the title track and the album’s definitive highpoint in next. I was SO interested in hearing this song because I didn’t know what direction he would take it in (for some reason I was expected something such as ‘Be Natty’ by Tuff Lion from the ”Utterance” album ) and when I realized what he did, I was very impressed. The song is about personal perseverance on several levels and it really makes its mark by its end and does so over a delightful riddim which I am FRUSTRATINGLY sure sounds familiar to my ears for some reason.

“Many signs are right in front of us
That babylon is on its last legs
So what that means for us-
It’s gonna get harder
So what that means for us-
We’ve gotta be stronger
Don’t give up
Look out and you can see the finish line
Don’t give up
Cause we’ve almost won the race”

The tune is LOVELY and no confusion exists as to why it was made the title track. Next is a bit of a lover’s piece in ‘For The First Time’ over a STERLING one-drop riddim. This tune I like because it’s not the typical ‘Baby baby I love you’ type of a love song, but instead what it appears to be is one which kind of recaps how Blaak met his special lady (thus the title - “from the first time I seen you, I wanted you”). The tune also just sounds so nice from a strictly sonic point-of-view and is one of the best on the album in that respect as well as in general. Also, I think I’ll mention the tune which follows ’From The First Time’, ’Getting Older’, because it kind of makes a similar leap in terms of being a very obligatory type of a song (a ‘Mama song’ in this case) on a Reggae album, but listening to it, again, it’s also a different type of a vibes. This song is actually a big ‘Thank You’ from Blaak Lung to BOTH of his parents who he apparently has a very healthy respect for and so many times I listen to songs where you’ll see an artist have that type of reverence for one parent (usually Mama) and a great deal of disdain or just indifference to the other and in this case Blaak exalts the qualities of both and how much of an impression they made on him and how thankful he is. This is a song which should just make you feel good and although it does have a direct significance and cause, I’m almost sure Blaak also had that in mind (and I believe I once saw a video of someone interviewing a man who claimed to be Blaak Lung‘s Father, incidentally). Also, later you’ll check the tune ‘Marijuana’ which covers another very usual Reggae base and, again, Blaak Lung, very refreshingly, doesn’t take the tune in its more standard course and, instead, favours to do things just a touch different, but the song doesn’t stretch ANYTHING and fits almost perfectly into the flow of the album (and it also comes with its own prelude which is simply amazing and not to be missed).

In my opinion, Blaak Lung’s true talents lie in the production side and, to no surprise at all, the music throughout ”Be Ever” borders on the spectacular. And as the album goes on, it gets to the point where I don’t even think I actually appreciated, initially, just how well done the riddims here are. Example you say??? One of my personal favourite compositions sits behind the tune ‘To Know’ which is a bit of a social commentary. The riddim there is just so nice and easy that you kind of wish Blaak had given it to us in a bit of an extended form and he uses it to maximum effect in delivering a big tune. ‘Truth & Rights’ is another tune with a very ‘BIG’ sound to it and it also happens to be one of the best songs on the whole of the album as well. Blaak kind of changes his delivery just a bit and goes after the song in somewhat of a fiery spoken word type of conveyance.

“Like Daniel thrown in the lion’s den
But we’ll never get eaten
Like, Shadrach, Meshach and Ibednego
Tossed in the fire but they never get burned
Like the brothers and sisters of the day
Holding firm for the love of Jah
Holding firm for the love of Jah”

“We are the servants of The Most High
We are the soldiers of The Most High
We sing ‘bout truth & rights”

From out of the fire (and not getting burned) (of course) of that tune we get a nice and cool breeze on the very next song on ”Be Ever”, the very pleasant ‘We Made It Up’. This song moves in an inspirational direction and what really kind of struck me about it was the kind of ‘simple confidence’ that Blaak Lung emits in his tones. He’s speaking (actually) about all of the things the oppressed people of the world have endured, but if you listen to HOW he says it, it’s almost like he’s saying - And if we need to do it again . . . That’s not a problem - We’re ready!

The second half and latter stages of the album also offer very strong musical highlights as well as ‘Prepare’, the album’s only official combination which features VI Reggae superstar, Pressure Busspipe. I’m a huge fan of Pressure’s (so are you) (and so is Blaak Lung apparently and thankfully) and I was actually excited just to see him present here. As expected, he doesn’t disappoint, he almost never does, and he and Blaak Lung push a thoroughly message-packed and dazzling vibes on the tune and as is most often the case these days, Pressure is in a fine lyrical form.

“Afrika, it is my home and destination
Ghetto youths fi know seh repatriation
Marcus Garvey Starliner haffi sail
Nothing can stop the wicked from fail
Yow, know your roots and culture
Babylon only waan fi nyam your flesh like vulture
Dem go bow to dem idol gods and sculpture
Yow, Rastafari’s the lone conquer
Reaching out to all sun-burnt faces
With those Red, Gold and Green laces
Babylon ah try fi trick wi inna dem maize yeah
But we still amazing”

You probably recognized a couple of lines from Pressure’s MASSIVE old tune ‘Zion Is Home’, but it definitely worked in this case. Also functioning properly is that GORGEOUS riddim behind ‘How Could You’, with that very strong drum supporting Blaak Lung’s praising tune as he poignantly asks, “How could you live your life without acknowledging your creator?” There’s also a next lover’s song ‘You’re Special’ - I really like this tune - It’s one of the upful on the tune and while it is more typical than the earlier such selection, ‘From The First Time, it’s still a unique vibes and it’s definitely going to get more than a few heads knocking (including yours) (and mine). ‘Too Much Mix Up’ sounds strange. It just does. But it’s an excellent song and for some reason it was the first song on the album that I ended up hearing and I’ve been more than just impressed ever since. It comes over so easy and the riddim, although completely minimal, is an utter JOY to hear and Blaak Lung actually seems to change things up to perform near his best on it as well. And that big tune is chased by another in ‘Life Joy’ with another simply fantastic riddim. I mean . . . The year isn’t a month old while I’m writing this, but an album, anyone, is going to have to REALLY do something special to top the sonic feel of ”Be Ever” and on that note it would have been one of the better of 2010 as well, in a year full of such enjoyable sounds. As for the final full song on the album, ’Keep Climbing’, just like the first - It isn’t amongst my favourites, but in this instance I think it’s starting to grow on me and I wouldn’t be surprised if on my next full listen through it grows even stronger to my senses. The actual final thing heard on the album, ‘Black Ites Gold & Green’, is essentially an outro and a HUGE one at that as Blaak Lung gives a final thanks to say goodbye.

And I also briefly want to draw attention to the backup singers on ”Be Ever”. Credited as Nasambu Wamalwa and Alreca Smith (whose name sounds familiar), they do an exceptional job, particularly Wamalwa who is THE main backing voice heard.

Overall, what I’m feeling after having wrapped this one up is a sense of how PROFESSIONAL the album is done. I stressed the music here enough, certainly, but you really get the feel that so much, if not everything, of what turned out to be the ”Be Ever” album was rather carefully planned out and even if that isn’t true, then the people, particularly Blaak Lung of course, involved just simply know what they’re doing. The basis of this review, however, is to see if this is an album which can really take Blaak Lung’s career and popularity to the proverbial ‘next level’ and while he may not actually care and someone like me - If I’m the ONLY one listening - I don’t ultimately don’t care either, but I think it would be so nice if a lot of the fans who got into people like Toussaint, Jahdan Blakkamoore and others in 2010 have ‘hung around’ and stumbled upon Blaak Lung in 2011. If they are going to, what they’ll find in ”Be Ever” is yet another beautifully crafted stop in a career which is seemingly ready to shine. Well done.

Rated: 4/5
GreenSphere Records
2011
CD + Digital
Blaak Lung

Words of The Week: 'Long Road' by Jahdan Blakkamoore

'Long Road'

Wi tell dem fi watch out fi traps and di snare
Tell di youths dem beware
Babylon is a scare yow

Yeah weh Ras Blakkamoore tell dem seh
Alright!
Yow. Hey. Boom. Yow

It’s gonna be a long road
But oh Mama, I’m strong
I’ll put up the fight, I’ll carry this heavy load
They love to hate I, dem can’t eliminate I
Covetousness - Mi fling dat overboard
It’s gonna be a long road
But oh Mama, I’m strong
I’ll put up the fight, I’ll carry this heavy load
They love to hate I, dem can’t intimidate I
Filthiness - Mi fling dat overboard

Well dem ah try slander mi name, try put mi to shame
But mi neva get weary yet
Stumbling block inna mi way, try turn mi astray
But mi neva get weary yet
I give thanks for mi life, for mi health and mi strength
Cah mi neva get weary yet boom!
Nuff ah dem ah hate and ah discriminate
But mi neva get weary yet
All dem ah go down and ah send peer tricks
And mi neva get weary yet
One ah dem try perpetrate war, dem instigate
But mi neva get weary yet
Dem ah come inna mi face and ah intimidate
But mi neva get weary yet
I man ah keep up di pace and ah hold up di faith
Cah mi neva get weary yet
Blakkamoore caan get crackin if mi don’t set straight
Cah mi neva get weary yet
Trust in The Most High
HE’s the defender!
And always remember
Alright. Yow. Hey!

It’s gonna be a long road
But oh Mama, I’m strong
I’ll put up the fight, I’ll carry this heavy load
They love to hate I, dem can’t eliminate I
Filthiness - Mi fling dat overboard
It’s gonna be a long road
Oh Mama, I’m strong
I’ll put up the fight, I’ll carry this heavy load
They love to hate I, dem can’t intimidate I
Covetousness - Mi fling dat overboard

So what’s your reason - fighting good people down?
You take away their rights and now they cannot be found
You’re destroying their communities, dem gone underground
Soon, anywhere you go you ahgo hear the gun sound!
Still no peace nowhere to be found yeah
Yow

It’s gonna be a long road
But oh Mama, I’m strong
I’ll put up the fight, I’ll carry this heavy load
They love to hate I, dem can’t discriminate I
Covetousness - Mi fling dat overboard
It’s gonna be a long road
But oh Mama, I’m strong
I’ll put up the fight, I’ll carry this heavy load
They love to hate I, dem can’t discriminate I
Filthiness - Mi fling dat overboard

So make a joyful noise
And give thanks for life, you definitely raise me right
I represent the truth and mi bun out antichrist
I put a message in my music bringing insight
Wi revolutionary come to pay the sacrifice
So neva you worry, I’m protected by The Most High
HE leads the way and IS my guiding light
Well Blakkamoore him sing and mi seh

It’s a long road
But oh Mama, I’m strong
I’ll put up the fight, I’ll carry this heavy load
They love to hate I, dem can’t eliminate I
Filthiness - Mi fling dat overboard
It’s gonna be a long road
But oh Mama, I’m strong
I’ll put up the fight, I’ll carry this heavy load
They love to hate I, dem can’t intimidate I
Covetousness - Mi fling dat overboard

It’s a long road
But oh Mama, I’m strong
I’ll put up the fight, I’ll carry this heavy load
They love to hate I, dem can’t eliminate I
Filthiness - Mi fling dat overboard
It’s gonna be a long road
Oh Mama, I’m strong
I’ll put up the fight, I’ll carry this heavy load
They love to hate I, dem can’t intimidate I
Covetousness - Mi fling dat overboard

Taken from the album "Babylon Nightmare"
Jahdan Blakkamoore @ Myspace

'Meet Mr. X': A Review of "Babylon Nightmare" by Jahdan Blakkamoore

I think it’s the case with most serious collectors of music that we tend to try to catalogue and then categorize, within that catalogue, our collections. However you accomplish it, be it by genre or artist or year or maybe even by form, it is the built-in nerd inside of all of us who finds such things interesting and insists on doing so every once in awhile. In my own case, I once again undertook this most ridiculous of processes recently and, in doing so, I started to notice that there’re just a few artists who, when you really break it down and the proverbial light on their work, seem to have a very ‘antisocial’ standing when compared to their peers. Fittingly, it was just a few months back when an American artist by the name of Toussaint introduced us to ‘Soul Roots’ which made a lot of people like myself have to reorganize things and accurately so - his album, ”Black Gold” was thoroughly impressive and one of the best releases of the year. Surely it is a coincidence but, featuring on that album was another artist who is going to have music fans attempting to Feng shui their collections, the sharp Jahdan Blakkamoore. I could pretty much start anywhere in his case, but I think one of the most interesting tidbits of information about the artist is that he has now won “Reggae Album of The Year” honours from iTunes twice consecutively for albums which . . . Well they weren’t really Reggae albums. Last year there was absolute carnage when the premier digital music service gave the downright bizarre ”Buzzrock Warrior” the distinction and in 2008 Jahdan also earned the award as part of the group, Noble Society, for the album, ”Take Charge”. The latter of those two was far more Reggae-ish than the former, but that isn’t very hard to be. Previously, Jahdan was known, primarily, as being a member of said Noble Society group (with whom he apparently continues to tour) and although they reportedly had a very healthy following which stretched all over the world (and I remember constantly seeing their name associated with this wonderful label that I’m about to tell about and while I pretty much checked EVERYTHING this label did (including that strange EP with the Vaughn Benjamin and Lutan Fyah combination on it and a few very strong riddim albums) something about Noble Society just ‘told’ me not to go there just yet). That group, to my ears, was a Hip-Hop group who mixed in a lot of Reggae music and mainly - It was too much Hip-Hop for me. However, over the past two years or so, Jahdan Blakkamoore has begun to do more and more straight Reggae and in the process has shown himself a truly DOMINANT artist.

So, if we could somehow and someway manage to ‘borrow’ Jahdan’s talents and mix them in with just a little more Reggae music consistently (and by “just a little more”, I mean WAYYYYY more than is to be found on ”Buzzrock Warrior”), that would potentially be something truly big. How big? Thirteen months ago I called his forthcoming album, ”Babylon Nightmare” from Lustre Kings Productions, something to Look Forward To in the last sixty days of the 2009 - So, I have been well looking forward to the album’s release for more than a year at this point and over that same time, with exception of Buju, who found a way to remain in the news for other reasons this year, I haven’t had a greater response from you wonderful people who read this blog, about any other artist who hadn’t had a project out or who I hadn’t otherwise found terribly enjoyable (biggup Sara Lugo). Well here’s something to keep you talking as FINALLY one of my favourite labels delivers what is to be regarded, in some circles, as one of the most anticipated albums of the year from one of the most talked about artists of the year. So presumably, with Jahdan on a very Reggae-themed titled album such as ”Babylon Nightmare”, for such a label as LKP, known for doing full blown albums for the likes of Lutan Fyah, Norris Man, Turbulence and others (reportedly Perfect coming in April as well), what we’re going to get here is this Bambu Station-esque piece which is only 100% Reggae and nothing else. Right? Wrong. As I said, the material Jahdan did with Noble Society was somewhat Hip-Hoppish and of course the label I alluded to at that point was also LKP so obviously they had no problem with it at that point at least. Also, something I noticed fairly early on in ”Babylon Nightmare” just highlighted itself for me throughout the album (and kind of made me feel a little dumb that I hadn’t spotted it prior to the album) it - Adding the Hip-Hop flares . . . It’s just kind of Jahdan’s style. Reportedly born in Guyana and having spent a great deal of his formative years in New York City, it is no mystery at all to how Jahdan may’ve developed his vibes as such. Sometimes he reminds me, vocally, of Wyclef Jean to a degree who would be a next artist with a very similar set of origins and I wouldn’t at all be surprised to hear that perhaps the two have worked in the past at some point either. With me not being the biggest fan of Hip-Hop music, it clearly made me have to focus in even harder on what was being said and in doing that I found something else which was a highlight for the album, but this came as no great revelation to me and honestly, I feel that it probably has a great amount to do with why my interest in this release has grown so much over the past year - Jahdan Blakkamoore is a WICKED lyricist. The man says some MIGHTY things and while we, as fans, may prefer it to be delivered in a certain fashion and over a certain backing, I’d like to think that I am able appreciate good words when backed by NOTHING at all whether it’s rapped, chanted or deejayed (and Jahdan does all three here). Also, it does help that the album never really moves too far away from the ‘shadow’ of Reggae music as well. By its end ”Babylon Nightmare” manages to once again prove its authour to be an original as it dually manages to both satisfy the wishes of people like me, while not drifting too far from the artist’s obvious natural sound. Let’s examine!

'All Comes Back To One'

As expected, production on ”Babylon Nightmare” by Jahdan Blakkamoore comes courtesy of not Lustre Kings Productions, but also the roll of labels with which they associate. So you can expect to hear compositions from the likes of I Grade Records, DJ Child from Project Groundation and others as well. And I have been paying attention to Jahdan’s recent output (obviously), so there’re more than a couple familiar moments for me during the album. Such is the case with the opener, the funky ‘We Won’t Break’ . . . Although I cannot (AT ALL) tell you where I know it from, but it definitely sounds familiar. Whatever its origins, the tune is a SUPREME example of the good in the mix of Jahdan’s style of blending the Hip-Hop with Reggae because it is a hybrid of sorts. I hesitate to call it a ‘social commentary’, although that is the direction of the tune, but it’s such a vibes wrapped into something else and right off the top of the album Jahdan manages to set a BOOM for listeners (and that riddim is RIDICULOUS!). He chases the opener with the first official single for the album, ‘All Comes Back To One’. I’ve had a very interesting ‘relationship’ with this one because I have to admit that the very first time that I heard it, and associated it with this album, I was kind of worried because it isn’t the full-on one-drop backed type of tune that I was looking forward to hearing. But it’s also pretty good. Such a set of circumstances generally tells me to focus on what is actually being said, as it did in this case, and strange as it may be, the tune gets better (and much better) each and every time I hear it.

After the opening two selections, ”Babylon Nightmare” then does something fairly unexpected by placing my two favourites in sequence and I am utterly IMPRESSED! The album’s finest moment comes in the form of a very familiar track, ‘Flying High’. I believe I asked Tippy from I Grade Records his favourite tune on the compilation album he released last year ”Joyful Noise” (which you certainly have by now) and he said it was this song. I ultimately found ‘better’, but I was wrong. This is the best song on that HUGE set and it is the best song here as well.

“Back from mentally overcoming the psychological stress of post traumatic slavery syndrome
Like a fish out of water, we’ve been transplanted and still come fi burn down babylon kingdom”

“Babylon ah fight fi control over natural things
Them forgot all the blessings that nature brings”

WHAT!

The song comes in even stronger here as it is now more than half a minute longer than on the ”Joyful Noise” version and the riddim does noticeably play on after the final lyrics have been told. Then comes a very FRESH and vibrant tune, ‘Soul Survivor’, which is the first of the album’s two official combinations, this one featuring Princess Menen (nice name), who is a next artist to keep an eye on from out of New York also. BOOM!

“No matta how hard dem ah try dem coulda neva eva eva keep I down
Beast coulda neva come tek I crown
What goes around comes right back around
Well hot!
Chant two psalm and bun up dem spot!
Blazing fyah man ah walk through dat
Barefoot lak mi name Shadrock
Rastaman ah chat and stand pon lateral
Beast dem ah come fi yah soul on collateral
When you speak out dem call you ah radical
Haffi return to mi home lak Prodigal
If mi haffi sail pon di sea lak nautical
Or fly high in a plane, aeronautical
I’ve got to live natural
Protect your soul, it’s all about your survival”

For her part, Menen more than holds her own alongside Jahdan, providing equal parts smooth delivery and FYAH in her impressive delivery.

Prior to the release of ”Babylon Nightmare”, there was a very official looking mixtape (called a Podcast) by the name of “Global Warning“, which (you people sent me about forty copies of) contained tastes of a few of the tunes which ended up on the album so definitely listeners who paid attention there will be looking forward to the full meal of some of these tracks even before the album comes through for them. Definitely one of the most interesting finds Jahdan taking a ‘Dim View of the World’. I GUESS I can call the tune a ‘gal tune’, but it’s kind of weird because how it actually sounds is that Jahdan has a number one woman in his life, but it doesn’t stop him from staring at potential number 2’s (and 3’s and 4’s) through the ‘cover’ of his sunglasses (thus the title). The song clearly isn’t the best on the album, but the course it takes is definitely ‘different’, to say the least. A version of ‘Songs Of Love’ was on that same mixtape and now, hearing the full version, I am impressed. The song utilizes what appears to be the same Pure Vida Riddim from Dean Pond that backs Pressure Busspipe’s EPIC ‘Pure Life’ tune and Jahdan well takes on the lovely creation to stirring results. ‘Down In The Ghetto’ is another recognizable piece as it not only appeared on the aforementioned “Global Warning” release, but it was also one of a handful of highlights on board a mixtape created by DJ Child, also named ”Down In The Ghetto”, from early last year (and check the ‘feature’ from Eek-A-Mouse as well). And there is also a remix to Jahdan’s riddim title track from LKP’s Proverbs Riddim last year (this time around it’s on a more Hip-Hop set), ‘Right Way’, which is a REALLY big tune and another track which is easily one of the album’s biggest choices, the moodily intoxicating ‘Red Hot’, which was Jahdan’s cut of the Grasslands Riddim, also from the ”Joyful Noise” album.

On the tracks which are new work to my ears, ”Babylon Nightmare” continues to impress. One which caught my attention in a very nice way was ‘Highest Region’ which comes over one of those strange and spiky sounding riddims that Vaughn Benjamin used on the ”Infinite Quality” album LKP released in 2007. Typically such compositions should be reserved for (and only for) Benjamin who . . . doesn’t really care what’s going on behind him very much and while this piece had “complete disaster” written all over it, Jahdan SHINES on the riddim because he basically goes after it. The results are so good it ends up being one of the best tunes on this big album. I could say the same about the tune which precedes it, ‘All Over the World’, which may be Blakkamoore’s attempt at a ‘dance song’, but as usual it comes out as so much more.

“All over the world
Everywhere you go the people feel the vibes
I love to see poor people shine

All over this world
Say they struggling to stay alive
And they’re playing Reggae music day and night”

I really like the basic NATURE of this tune because while it has elements of speaking on cultural and societal matters, it does it seemingly purposefully with a very upbeat backing to it and what I came away from it with, sonically speaking, was that the song is one on which Jahdan REALLY injects his own personality and mannerisms into. Very big tune and surprisingly ripe and complex as well. The inspirational ‘Mountains To Climb’ is apparently an older track, but it’s one which I don’t believe that I’d heard. The song kind of surprises on the surface because it comes equipped with the same sublime Kingdom Riddim which backs Chezidek’s big hit, ‘Call Pon Dem’. Jahdan tears down whatever Chezidek left with some of the finest lyrics to be found here. Again, the tune has a very free feeling to it and it still rings through firm enough to solidify a point which you simply have to dissect on your own - If you can’t focus on the lyrics on this one - Skip it. ‘Against All Odds’ features “Noble Society” (which I take to mean the group’s other two members, one of whom I believe is a giant named Delie) and is the most Hip-Hoppish on the whole of the album as the other two vocalists are straight forward rappers with American accents. I don’t hate this song. Like I said, I can appreciate it when good things are said and the lyrics here are strong, particularly from the first guest vocalist in my opinion who does a very good job.

'Mountains To Climb'

And as the album winds down we get another tune which sounds very familiar, ‘Long Road’. I’m pretty sure I’ve heard this tune in some form (probably on one of the other 900 mixtapes I’ve heard with Jahdan on them), but I’m even more certain that it’s never sounded this good! This song is absolutely sublime!

“Well dem ah try slander mi name, try put mi to shame
But mi neva get weary yet
Stumbling block inna mi way, try turn mi astray
But mi neva get weary yet
I give thanks for mi life, for mi health and mi strength
Cah mi neva get weary yet boom!
Nuff ah dem ah hate and ah discriminate
But mi neva get weary yet
All dem ah go down and ah send peer tricks
And mi neva get weary yet
One ah dem try perpetrate war, dem instigate
But mi neva get weary yet
Dem ah come inna mi face and ah intimidate
But mi neva get weary yet
I man ah keep up di pace and ah hold up di faith
Cah mi neva get weary yet
Blakkamoore caan get crackin if mi don’t set straight
Cah mi neva get weary yet
Trust in The Most High
HE’s the defender!
And always remember
It‘s a long road!”

At the end of this review I’m going to place my own distinction (granted I’m not as much of a genius as whoever makes the decisions at iTunes) (clearly somewhere there must owe Jahdan money) on this album and it’s largely because of not ‘songs like this one’ - Meaning plural - But this SONG. It his HUGE! Jahdan takes a well traveled course of telling the masses to hold firm when times get hard, but I don’t know that I’ve ever heard that messaged carried like this. DAMN! The HEAVY ‘Are You Ready’ and ‘Rewind’ close out this top notch set. The former is really strong and kind of ‘delicately dynamic’. What I mean is that the song comes off as being really big and fast paced, but it isn’t as fast as you think, but if you slow it down and hear it as it is, it isn’t as slow as you would think either. Somewhere in the middle of it all, ‘Are You Ready’ is still a big tune. ‘Rewind’, meanwhile, almost sounds like a total freestyle (and it kind of sounds like poetry at times also) across the same riddim which backed Messenjah Selah’s (remember him???) ‘Their Story’ tune. The song has some special effects energy to it that I’ll save for your ears to go through (not very hard to predict with that title), but I will tell you that it and thus the entire album comes to its end with a sweet dub effect over the base riddim: Music on top of music.

Overall: Yes. I am THOROUGHLY impressed and it was well worth the thirteen or fourteen months that I spent waiting for this album to release. As I said I was going to: I’m thinking that in 2010 I’ve yet to hear a better WRITTEN album than this. I‘d typically say such a thing about an album from Sizzla or Lutan Fyah, but ”Babylon Nightmare” is the best lyrical experience to be found in modern Reggae in 2010. Jahdan says so many really powerful things and the way he presents it, for the most part, is very ’resourceful’. To that end, he kind of reminds me of perhaps a more adventurous version of someone like a Junior Kelly (whose “Red Pond“ album is also very strong in that context) when both are at their respective bests and hopefully that is a quality which I’m not overstating and the masses really respond to this album from the lyrical aspect. As a whole, it’s also very well presented and while I’m no greater fan of Hip-Hop for having listened to and enjoyed ”Babylon Nightmare”, when this artist does it, I can do more than simply tolerate it (I do wish they would have stuck one pure Dancehall riddim on the album however) (oh and can someone get me a Jahdan/Capleton combination???). In reference to the premise of this review, after listening to the album I think it’s pretty clear where to place the music of Jahdan Blakkamoore - You are to keep this album in the same area where you keep your material marked “EXCELLENT”. Very well done.

Rated: 4.90/5 {got REALLY close to giving this a 5/5}
Lustre Kings Productions
2010
CD + Digital

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