So Jah9 has a new piece of work. It's an EP and I gave it an initial spinthrough and my original idea was to add it to the next edition of What I'm Listening To but then I came back and had another listen; and what little common sense I do have kicked in. It was better than I was thinking. UNSURPRISINGLY, Jah9's latest set, "The Open Heart Project" from VP Records, gets better and BETTER the more you listen to it and while I'm going to attempt to refrain from reviewing it in the traditional sense... IT IS EXCELLENT. So, we do what we do with such releases around here - track-by-track, LET'S GO!
"I can bring my own damnation if I judge and doubt what I do
OR I CAN BUILD A WHOLE DAMN NATION AND MAKE ALL OUR DREAMS COME TRUE
With a focused mind"
The song, literally, sounds like it took YEARS to write. Like she detailingly (might not be an actual word) scrutinized every single syllable for months and months before committing them into the final version. What did make the cut is, from a purely "lyrical" standpoint (and I hesitate to say "lyrical" because the next thing I write on will be about.... shooting someone or smoking something and I may give the writer praise for their "lyrical" creativity on that topic (and deservingly so) but this is MUCH different), MIGHT just be one of the best songs that I have ever heard. 'Open Heart' is ultimately a CHALLENGING piece of inspiration and motivation. If you don't have an idea in your head, it ain't for you. I can't imagine it's going to jumpstart that engine. HOWEVER, if you're brewing on and idea or a hundred ideas and you need a kick to maybe push you in the right direction, 'Open Heart' may just be one of the most powerful pieces of music that you will ever come across.
2. 'Mind Ripples' featuring RoryStoneLove
I'll spare you the specifics but not too long ago, I told you about how such moments could go wrong or unnoteworthy at best, but here's a situation where a VIBE works to near perfection. 'Mind Ripples' is just GOOD MUSIC. It comes through as almost Neo-Dub (SURELY such a thing exists), with minimal vocal contributions from 9 (from 'Open Heart') and longtime collaborator, RoryStoneLove. Portugal based producer Shaka Lion (who we'll hear from multiple times today) takes the title track and streamlines it to an infectious degree and one which really highlights a sound (including those BEAUTIFUL, subtle (Dubtle???) horns) which gets comprehensively overwhelmed in their original form due to Jah9 going insane and losing her mind with words.
3. 'Match'
'Match' was a very rare ilk. It is a bona fide BRILLIANTLY written love/romance song. Think about it. There are many a FINE songs on the topic but how many of them do you listen to (I mean really listen to) and come away impressed on the word side of the tune? It isn't frequent even when they're really good. 'Match' is in the stars somewhere.
"I seem to have a little strain from you putting on my back
I know that are strong but I never know you could do that
You made yourself available to me at he drop of a hat
Staying in my flat
Playing with my cat
Invited yourself over but you always ask permission
You come to dominate and let me know it's my decision"
Something that really stands out here -- PROBABLY in direct relationship to the name of the song -- is the EQUALITY that Jah9 is dealing with. You think of a "match", in this sense, and you think of an equal. You've 'met your match'. You've found your equal. And Jah9 speaks it PERFECTLY when she says:
"You take up so much space but yet you know your place. You're never in my face"
That's what a good relationship is. You put up with my shit and I'll put up with yours but... damn it almost never sounds this good. The riddim behind it is minimal but it's there and it's serving its role as well as could possibly be imagined.
4. 'Big and Serious'
And speaking of riddims, once again, just as on 'Mind Ripples', the music of 'Match' takes center stage on track chasing it, 'Big and Serious', courtesy of Shaka Lion. Unlike 'Mind Ripples', however, this one takes things in a decidedly more old school route and does so DIVINELY. 'Big and Serious' is HEAVY and, it is the single finest tune of its kind on "The Open Heart Project" in my opinion. There's something so familiar and comforting about 'Big and Serious' to the degree where I can confidently say that, as an entire tune, I've probably listened to it more than any other on this release. Take a listen. You will know why.
5. 'Hurricane'
Where do I even start with 'Hurricane'?? I had to listen to this one several times in order to get even my first idea of where I thought it was ultimately going. Where I would arrive (at least for the moment) is how we cope in relationships and I'm probably the only one who comes to that conclusion but I will explain myself. The idea of that "hurricane" is the... shock, the explosion of that comes, particularly in the initial stages of the relationship. It's powerful. It's fascinating. It's exhilarating... It's stressful. It's annoying. It's potentially DANGEROUS. It's all of those things and it's also a most natural occurrence over which we all have very little/no control. It's like a hurricane.
Musically, 'Hurricane' is well on the minimal side but I'm sure Shaka Lion will have something to say about that....
6. 'Category 9'
... and he does, with 'Category 9' (I must be psychic or something!). I know that I said that 'Big and Serious' was the best piece of music that you'll find on "The Open Heart Project" and I stand by that (at least for the moment) but not too far behind it is 'Category 9'. This thing is SYRUPY, SUGARY sweet and it fits somewhere between the old school comfort of 'Big and Serious' and the new school forwardness of 'Mind Ripples' (with a slight lean towards the former, for the most part). What sets in is almost kind of Reggaefied R&B type of vibe that does not drift very far at all from 'Hurricane' and accompanies it sublimely.
7. 'S.E.X [Sacred Energy Xchange]'
If you had the same questions in your head that I had in mind when I saw this title then you were mightily damn curious as to how a tune named 'S.E.X' coming from JAH9 could possibly sound. On top of that, you add to it a subtitle/explanation like 'Sacred Energy Xchange' and I think that I was expecting something downright mystical. That is not REALLY what 'S.E.X' is and it's also not exactly... carnal and you knew that it wouldn't be. Musically, in its first form, 'S.E.X' is delightful and it's another one that kind of blends something that is more traditionally R&B with Reggae. Probably my least favourite of the lot but a solid addition nevertheless and, of course, I'm still working on it.
8. 'Set The Stage' featuring RoryStoneLove
Turned over to Shaka Lion, 'S.E.X' becomes 'Set The Stage' and it also becomes undeniably fantastic. What goes on here, musically, rivals any of his work on "The Open Heart Project" and bests most of it. Though you will find a lot of different sounds on this one (and it almost seems to level up with around a minute left), what really stands out for 'Set The Stage' for me is its simplicity. That's not something that you typically associate with Dub because of the dozens and dozens of little sounds that you hear added on to the original but, even within that, there's something very straightforward and CENTERED to this one, making a genuine highlight and an excellent way to end "The Open Heart Project".
Okay so, last time we quickly mentioned an interesting fact that on the first of March this new year already set was a couple of albums from Exco Levi and Julian Marley in a move reminiscent of the 24th of March last year (when Queen Omega and Chezidek pushed what turned out to be my first and second favourite albums of the year, "Freedom Legacy" and "Never Stop", respectively), that day is getting more and more crowded as joining the lot is sweet singing young veteran, Romain Virgo, is back with VP Records for his latest creation, the cool-titled "The Gentle Man". Boasting production from the likes of Seani B and the legendary Don Corleon as well as a vocal group of collaborators which includes the incomparable King Of Fire, Capleton, "The Gentle Man" figures to be, at least on paper, one of the biggest Reggae releases of 2024... and, at least in my opinion, Virgo has always proven to live up to expectations. From the earliest of stages of his career, the singer has seemed to have a bit of a different 'air' about him and those who are mostly (or completely) deaf can hear the quality of his music.
For example, check the absolutely MAMMOTH 'Good Woman' which is carried by "The Gentle Man" and fans might also recognize other big, big efforts such as the infectious 'Switch You On' and the class personified 'Driver'.
I'm convinced, I don't need to hear much of this one to confirm it (still gonna listen to it though). Want a big album?? On the first of March, check out "The Gentle Man" by Romain Virgo and you will have your prize.
2. 'One More Time' [Don Corleone Remix] by Jah Cure
3. 'Don't Say You Love Me' by Aza Lineage
4. 'Soulmate' by Lutan Fyah
5. 'Open Heart' by Jah9
6. 'Nah Sell Out' featuring Kabaka Pyramid by Alborosie
7. 'Cyaah Done' featuring Iwaata & Country Hype by Konshens
8. 'MUGGER' by Intence
9. 'Happy Living' by Jahshii
10. 'Only Room For Two' by Gyptian
11. 'Gyal Dem Time' featuring TeeJay by Shaggy
12. 'It's Guaranteed' Remix featuring Bounty Killer & Busy Signal by Christopher Martin
Okay so, while we aren't too sure who's showing up these days and, if they are, when exactly they'll be arriving, I am damn pleased to say that we definitely are getting a shot of one of the most reliable compilation series in... in ever, as the latest installment of one of Reggae's most reliable sets, "Strictly The Best 63", is set to reach in just a few weeks' time. VP Records delivers as always in a time where "STB" remains quite consistent, having missed only one year in recent times, by my count [2021], despite one of the label's other large annual releases, "Reggae Gold" (which just may be the genre's most identifiable collection), being a bit more of a mystery in terms of scheduling these days. I took a quick look at the tracklist of "STB63" and a couple of things that I saw caught my attention and did so in a good way.
The first thing that I noticed was that they kept it simple. You get a dozen tracks and in those tunes (and the second thing that grabbed me) you get a very healthy mixture of artists and styles. Compilations and albums in general can be too damn long at at times and I was very happy that they chose to keep "STB63" on the more 'cozy' side of things. As for the sounds you will hear here, how about this: You get people such as the incomparable Jah9, Lutan Fyah, Alborosie, sitting Reggae Grammy holder, Kabaka Pyramid and Jah Cure, then we make room for the likes of Romain Virgo, Christopher Martin, Gyptian and Aza Lineage and not to be excluded, we'll also cover the Dancehall with Bounty Killer, Shaggy, Konshens, Busy Signal and Intence (or whatever they call that stuff Intence makes) ('Mugger' is not Dancehall. I don't care anyone says) (not saying it's bad, IT IS TERRIBLE, but it isn't Dancehall). So the vibes on this one are HEALTHY to say the least. "STB63" also boasts of four exclusive tracks, including efforts from the Fyah (a new Lutan Fyah tune??? Works for me!) and Aza Lineage as well as several selections which have never previously been available on disc (if you're old as hell, like me, and're still interested in prehistoric physical media) (just make a contraction out of anything. What the hell is "and're"??) (Andre who???). So, it seems as if they've taken great care with assembling this year's edition of the esteemed series.
How well does it work? Well, you can join me in figuring that all out when "Strictly The Best 64" releases on the 15th of December from VP Records.... but I can tell you it's probably going to be pretty good.
Only one. In case you haven't been paying much attention recently or throughout the years, we, Reggae fans, are kind of spoiled. There're certain aspects and facets of our genre which simply do not exist in any other in the world and I know fans of pretty much any kind of music would likely say the same thing.... but we'd be right! Though we've had more than our share of conspiracies and controversies (and will have many, many more of both), we really do have quite a bit to be thankful for. I very rarely bring up this man's name as an example because it's always my desire to kind of introduce and reinforce the work of other, lesser known, artists, but we do have a guy named Bob who, to this day, towers over the entire genre. I don't know if another genre in the world has that in a single person. I think once upon a time it may've been true with Rock with Elvis Presley (then again, it may not have been), but in 2023, just as it was it 1983, and just as it is likely to be in 2033, the dominant and most well known figure in the history of Reggae music is Bob Marley and he just happens to be one of the most revered musicians ever. Period. So that's something! So much is that the case, also, that even the NAME Marley, on anyone anywhere, is also often associated with Reggae. Think about it the next time you see it written outside of a musical scope. Speaking of reverence, along with other legendary figures such as Peter Tosh, Bunny Wailer, Dennis Brown, Lee Perry and others who get a certain type of more MATURE appreciation, we also have DANCEHALL! Though I will continuously lament the current state of the music (as the crotchety old ass man that I am), that very nice international (and FLEXIBLE) level of respect given to the likes of Beenie Man, Shabba Ranking, Bounty Killer and Buju Banton is definitely something to be proud of; and I also must mention that Reggae music is one which, of course, has its own walk of life and culture as were I to say to you to tell me what most immediately comes to mind when I say "RASTAFARI", you wouldn't get very far down your line, AT ALL, before Reggae or something inherently Reggae-related would come out of your mouth. You could surely think of genres such as Gospel and... yep, Gospel, that have more spiritual elements tied to it, but examples of that are very few and far between ESPECIALLY to the saturation that is exists in Reggae. Go look over to the tags on the right of this same page and you will literally see DOZENS of individuals making music with a spiritual and culture core and doing so in a way which is not a niche at all within its genre. Like I said, we have things which do not exist anywhere else.
You know what else we have in Reggae which, by definition, simply does not exist in any other genre of music in the world??? It just so happens that THE greatest SOUND every put into anyone's voice, EVER, is property of someone who sings Reggae music. It isn't Opera or Pop or R&B or anything else you may come up with, it is Reggae as long controversial Kingston native, Jah Cure, has.... damn wonder in his voice. If you have not heard that man sing, then you have not heard anything like that man singing and, again, he has spent a long (detour-filled) career utilizing it singing Reggae music. I'm going to write this review at least attempting to ignore the obvious 'elephant in the room' (dealing with why you will not actually SEE Jah Cure, himself, on his new album) but were the Cure to call it a career at this very moment, he would be known for two things: Being very 'interesting' outside of making music and being blessed with one of the greatest musical 'instruments' the world has ever seen - reaffirmed virtually every single time he opens his mouth.
2015 & 2019
Largely because of that tool (and, to his credit, when he is at his best, he is a very good songwriter as well) Jah Cure's music always comes with a 'built-in' interest. If he makes something and you don't like the melody and you don't enjoy the lyrics, there's still a chance that the tune could be of interest to you because of what he may do vocally. If he turns in an epic performance, you're going to want to have a listen and it is a situation that I found myself looking at late last year or so when news popped up that a brand new album from the Cure was forthcoming. It's been well over a decade now since the last time we actually reviewed a Jah Cure album, but he most certainly has not been idle and, in that time, he's done some relatively impressive work, though I do confess I remain a bigger fan of much of his earlier material (back when we are downright mystified by his backstory, wondering if his actual name was truly Siccature Alcock and still trying to figure out exactly what the hell we were listening to) (... I guess, technically, we still are trying to figure that out, aren't we) ["Run come love me toniiiiiiiiiight"]. Most recent was 2019's "Royal Soldier", which was decent, featuring some more than solid combinations with Damian Marley, Capleton, Yami Bolo, Junior Reid and others (like Mya). Ahead of that was 2015's Grammy nominated "The Cure", which was a fantastic set arguably rivaling almost any album before it in quality. That album, if I recall correctly, also did quite well commercially and, listening through it nearly eight years on - I am not surprised. Now, keeping with his four year release schedule, early 2023 sees the release of "Undeniable", the ninth full album release from Jah Cure. Like most [all] of his recent work, the new album also comes via VP Records and this time it features production from a K-One from out of Sweden [by way of Iran], who I'd never heard of before, but subsequent research has placed his background, largely, in Hip-Hop, though he's also worked with European Reggae veteran, Million Stylez and the venerable Clive Hunt was also instrumental in the realization of the new project (Hunt is one of those people who has done more work on more music than anyone will ever know and it's probably literally IMPOSSIBLE to credit him for everything that he has done at this point). Jah Cure has previously done work which seemed to place him in a more international spotlight as far as the style of his work (for some reason I tend to recall the SoBe/Danger Zone years as being more 'mainstream' than they actually were. if you go back and listen to an album like "The Universal Cure" now: That's a Reggae album) and when I began to dig into the 'meat' of what we might encounter on "Undeniable", for some reason I just presumed that we'd see more of that (listening to "The Universal Cure" right now - DAMN! What a beauiful album that one was as well). While I wasn't entirely wrong on that, what "Undeniable" does turn out to be is a piece of work which has one predominately constant direction split into about three different styles. The results, while certainly not vintage Cure, at least have a chance in making a nice impression on many of his listeners. Let's take a listen.
That one constant course that I alluded to being present here is the fact that "Undeniable" is, basically, an album full of love songs. When you see the tracklist, you quickly come to that conclusion and it is proven true throughout. The range of sounds, to my ears, roam somewhere between Reggae, R&B and even Zouk (though I'm going to assume that I'm probably the only one who is going to make that leap) (love some Zouk). As you might suspect, that makes for a colourful sound and I'm thankful for that as it definitely spices things up here, musically. Jah Cure and K-One are sure to put their collective and proverbial best foot forward on their brand new album, "Undeniable" as its heaviest hitter altogether and title track sets things in motion. 'Undeniable' features up and coming big voiced singer, Kaylan Arnold, who definitely manages to hold her own alongside the Cure on this POWERFUL vibe. This tune is dynamic, it's fun to listen to and, just on its surface, it does not come off like a stereotypical 'love song', at all (we've become accustomed to calling Reggae love songs, "Lover's Rock", as a sort of subgenre. This is not Lover's Rock. It is something else). It is also quite apparent that everyone involved knew precisely what they had on their hands as well as, by more than twenty seconds, 'Undeniable' is the longest track on the album named for it (and the fact that they did call the album "Undeniable" is probably more evidence of what they thought about the music). BOOM! The album's second offering, 'Everything', is also its second and final combination, this one featuring the STALKING Stonebwoywho seems to feature on everyone's album [Note: Small world. Kaylan Arnold has an EP to her credit - 2021's "Hydrate", that album has one featured guest.... his name is Stonebwoy). I actually read an article where the Cure spoke on just how close the two artists have become over the years and how he felt compelled to make sure Stonebwoy was involved on his next project. Their work here doesn't reach the levels of the opener (nor do any of the next nine songs) but it is pretty solid and very unique. If you think about it (though I may be wrong), I don't think you see a lot of combinations featuring two male artists on a love song. It is something which seems to be somewhat rare and 'Everything' is a piece focusing on that maddening post-breakup portion of the relationship where you sit around, driving yourself crazy, thinking about 'everything' you did wrong and wondering whether or not it is too late to correct at least some of them ["Promise to do you right this time, around, if only I coulda rewind"]. 'Everything' also has a very nice vibes to it and I wasn't shocked to see it receiving a single treatment for "Undeniable" in the slightest. 'Trust' (biggup Buju) comes through next and it brings with it the first tinge of a bigger sound with that lovely piano intro, before ascending into some sweet Reggae/R&B hybrid (probably 65-35 in favour of Reggae). 'Trust' is just a very nice tune about... exactly what you think it is about. I wouldn't be surprised to see this one go overlooked to a degree; it won't change lives, but it definitely does help flesh out the body of "Undeniable" with its attractive and appealing sound. Then there is the sweetness that is another of the biggest winners here to my opinion, 'One More Time'. Again, maybe (probably) it's just me, but when I got here, I hear BEAUTIFUL, GLORIOUS Zouk from the intro and throughout this one and what happens is that 'One More Time' begins to build and build and, eventually, comes to a point where what you have is EASILY one of the most satisfying selections on the whole of "Undeniable". I'm going to stay right there as well because the very next drop, 'Good Life' (biggup Cocoa Tea), is similarly vibed in its sound, though just a bit more straight forward to my ears. Regardless of where you feel it is sourced (as it progresses into that SWEET riddim), I'm thinking anyone who hears 'Good Life' will not only appreciate it flatly, but also enjoy how the theme of the tune so perfectly matches its nature. You WANT to be a part of the Cure's idea of this 'good life'. It sounds fantastic.
'Think About It' was another piece that had me... thinking about its origins as it also sounds well Zouk-ified (probably the most so on the whole of "Undeniable). It literally sounds like sparkly, beached out Zouk and it actually turns out to be one of my favourites on the album, though it did take a few spins to arrive at that point; so if you're struggling with this one, I would suggest you maybe give it a bit more time before heading it on because (like several other tunes present here), 'Think About It' is quite easy to dismiss as just another pretty 'face'. Better still is the very next track in 'Be The One', which just may be the album's second strongest selection altogether in my opinion. There's some... very cool, slow-burning intensity on 'Be The One' which is quite odd because it doesn't take very long to make itself noticed at all. I heard it from the very first time I listened to the song.
"Give me that energy
Roll it and light it, then roll around with me"
I'd probably put it more on the R&B side which works well with the nature of this one - just a very solid, romantic piece which I expect to find a fairly sizable audience. 'Find My Way', on the other hand, just may be a future hit with everything going on there, musically. Armed with what is likely the single finest composition on "Undeniable" (that thing is SO NICE!), you can very well just lose yourself to a degree here as it is damn hypnotic at times within its brevity. I'd likely come back and criticize it, near closing, so I'll just do it now: At the end of this song, I think K-One and Jah Cure and whoever else really missed an opportunity to just allow that riddim to play on a bit as, pretty much, we get the final half-minute without vocals; were that closer to a minute on the very short track (the second shortest on the album), I think it would have gone a long way to showing off its finest asset. The tune itself is kind of a motivator set within a love song, which is nice touch but, again, everything bubbling around it is GLORIOUS and I think they could have made more of it.
After finding its way, I actually think "Undeniable" loses a bit of ground in closing as a couple of its final trio miss the mark in my opinion (and the other isn't great either), with both the BRIGHT 'If I Had You' and the closer, 'Turn Off The Lights', really just being average. Both sound quite nice (as does every other song on "Undeniable, that is undeniable), but they don't sound exceptionally so and the rest of them don't do much either for me, really. The latter also has the unfortunate circumstance of being entirely too damn short and it is the single briefest effort on the entire album by some ten seconds (remember I just told you that I wish that they had taken more time with 'Find My Way' and done more with it??? 'Turn Off The Lights' is ten seconds shorter than that). 'Beautiful' does come with this delightfully very BASIC vibe to it (that never develops much, which is a good thing) and it also does more lyrically ["You've got royalty in your genes yeah, but you're living in a skin-deep world"] than 'If I Had You' and 'Turn Off The Lights', but a few weeks from now, when I think back to this album, I cannot imagine any of these final three have made much of an impact on me. 'Beautiful' MAY be the exception, as it does have its moments, but those points still do not see it even near to the class of "Undeniable" for me.
Something I do feel inclined to mention about the way "Undeniable" plays out (because I harped on it so much in setting it up) is the fact that we never really do get THAT vocal display from Jah Cure within these eleven tracks and thirty-four and a half minutes and it's kind of a disappointment. It could have definitely used a BITE to it and, in retrospect, what aggression it does have probably comes most via Kaylan Arnold on our title track, so it would have been nice had the Cure, himself, taken off that harness and unleashed his greatest asset more.
Overall, judging it by what IS present, "Undeniable" is likely best seen as a nice display of music... I know that sounds absolutely ridiculous, but you know how much I love to elabourate, so here we go. The growing point I attempted to make here was just how nice "Undeniable" SOUNDS! Even some of the lesser tracks have a certain charm to them which is pleasing at the very least and, at the higher end, represent some very talented work on behalf of K-One, Clive Hunt, Jah Cure, himself, and others who worked on the production here. That is what "Undeniable" is. It is a very nice sounding project and not a whole lot more, actually. As strange as it may sound, however, I don't feel particularly disappointed with what happened here as (apart from the voice not being fulling represented) (that part definitely IS too bad because you'd think that if you sounded like THAT, you'd use it to its fullest as often as you possibly could), looking back now, I don't necessarily think that my expectations were extremely high and, again, there is enough material here which is going to make me (and a lot of other people) FEEL GOOD and there is a value in that. So, while "Undeniable" certainly is not one for the ages in displaying this one of a kind, amazing talent, it is a decent enough of a stop before the hopefully inevitable next time where THE Cure can be RELEASED again... in more ways than one.
Okay so, set to light up early 2023 is the first album release from a big named artist that I can see currently scheduled as the always interesting Jah Cure is back with a brand new album, "Undeniable", for VP Records on the 17th of February.
Don't know who's producing it and I don't know what the music will be like but, from what I can tell, it'll be more on the love song side; BUT it is Jah Cure, it's the greatest singer in the history of the world, so you're interested. Just thought we'd let you know.
On Tuesday, the 19th of November 2002, the legendary Sizzla Kalonji released an album by the name of "Da Real Thing", which was produced by the even more esteemed Bobby 'Digital' Dixon, on VP Records. Almost immediately when the project reached (and probably even prior to it, in retrospect) word began circulating that Kalonji had, once again, soared to levels previously reserved for his 'dualling' opuses, 'Praise Ye Jah" and "Black Woman & Child", respectively. The latter of those sets (which is my favourite album all time) was also produced by Digital and, if I recall correctly, I once heard Sizzla in an interview speaking on the background of "Da Real Thing" as he had intended to name it after what would become one of its best known tracks; before Digital suggested that they name it "Da Real Thing", perhaps in response to criticism the August Town native was receiving for recording more controversial material. What ended up happening was absolutely remarkable and places it in a very select group. To my opinion this class would include album such as Buju Banton's "'Til Shiloh" and "More Fire" from Capleton - as modern Roots Reggae music which grew to a point where they began to receive more international and, dare I say, 'mainstream' attention. Roots, historically (at least in the hands of anyone not named Marley), has not been as 'transferable' as its sibling, Dancehall, for obvious reasons, but we have seen the odd tune here and there, and the even odder full album, reach that level where the wider-reaching musical world has a very difficult time ignoring, despite the fact that it has made NO concessions at all and sacrificed nothing in its sound. "Da Real Thing" was fairly straight-forward and TYPICAL Roots Reggae for its time. It was also absolutely brilliant.
Three years after its initial release, VP would send up "Da Real Live Thing", a re-release of the original album, containing three more selections including the golden Bobby Digital produced 'Bright Sunshine' and the even stronger 'Be Still' ["Thou shall not kill. Be still. Go hold a sabbath on the hill"] [BOOM!]. "Da Real Live Thing" would also include a DVD which included a pair of interviews and, most notably, a WICKED Kalonji performance from VP Records' 25th anniversary celebration in Miami in 2005 which included, unsurprisingly, renditions of several tracks from "Da Real Thing". I should also mention that the re-release version was EXQUISITE. It's probably one of the finest put together albums that the label has ever done and, holding it in my hands today, more than seventeen it has a certain FEEL of importance to it and, though pretty easy to find still these days, I am very happy to own a copy.
It has been a minute from the last time I dusted off my copies of the album and took a listen and, these days, I'm being TORTURED (and I mean that in a good way) by songs which don't get the biggest level of attention such as the.... amazing 'It's Amazing', 'Trod Mt. Zion' ["Dem act as if dem don't got no sense"], 'Rejoice' and, in particular, the simply STUNNING 'Bless Up'. This is an album which, from a lyrical point of view (a staple, really, of any piece of work by this artist when he's anywhere near his best), all of these years later, has me thinking of new ideas STILL. I'm literally wondering if it is CHANGED through the years or if I'm now more open to it; either case is just fine with me.
Today we celebrate twenty years of life with one of the greatest albums ever created by (anyone) my personal favourite of all time, the immortal Sizzla Kalonji who, on this day in 2002, once again demonstrated just how potent he could be with the landmark "Da Real Thing" - an album for the ages.
Irregular. I don't want to spend too much time talking about that.... thing that happened last year and pretty much locked everyone in the house for a long time and wiped a lot of us out, because I'm tired of hearing about it and that's not what we do around here. But there was definitely a resounding impact to be felt virtually everywhere in the world and, certainly, music was not one of the rare exemptions. When you really think about music, although it is appreciable in almost any situation, is actually quite visible and the further we go along in terms of time and technology, the more that becomes the case. It is also, as it has always been, a unifier. It brings people together in many different ways (literally and figuratively, especially considering the type of music we cover around here) and when, suddenly, actually coming together becomes a potentially fatal thing (that's just a fucked up thing to type out) you can, at least temporarily, WOUND music. Almost instantly there were things such as virtual performances, concerts (virtual clashes) and full-on virtual carnivals and, a year later, we're still seeing much of that now, with the total return (presumably and at least in most cases) set to come in 2022. And of course, there were also dozens (maybe even hundreds by now) of songs (a personal favourite of mine being the genius 'New Hail' by Zagga) and we'll probably still being seeing those for at least a few more years. And that's fine; likewise it's just another topic to sing about. But music will heal. It will restore itself and it will do so immediately. Obviously something like a concert will inherently lose a bit (just about all of it) of its appeal when you remove the crowd. It basically becomes just a television show and there just so happens to be a certain genre for which "a television show" will simply not suffice. Of course, I am talking about my beloved Soca which almost NEEDS a crowd to reach maximum effect and, should you remove that crowd, it turns into almost some type of a social experiment (which, again, hopefully ends COMPLETELY in 2022). It also does not help that the genre is somewhat 'seasonal' so, unlike in Reggae, you kind of don't have that entire year to expect certain things (and I've likened it to movies. Generally speaking the longer movies tend to be dramas. I am willing to drive you crazy and play with your emotions for three hours, but I cannot possibly beat the shit out of you for the same amount of time, which is why you don't generally see action films of that length). HOWEVER, the business and the practice of Soca music did go on and will go on.
While the road remained clear this year, the vibes were not bare and you can even make the case that... certain occurrences have forced some artists to bring out a new part of their games as we're now beginning to hear songs which are talking about how much the miss the party and how much fun it will be when things get back to normal (EASILY the best of these type of songs is Skinny Fabulous' DAMAGING 'Pieces', but there're several others which are very good as well and I will tell you about a few more of them shortly). On the album side in particular, unfortunately, things haven't changed for the most part and the last couple of years, as the couple before that and the couple before that, haven't produced much out of the ordinary and unexpected. Save for the same two or three individuals, with the odd surprise here and there (which is also expected, actually), the business of Soca artists making albums has remained predictably slow. Still, regardless of who or what may've intervene, the genre's most recognizable release has not taken a year off.
Of course we're talking about "Soca Gold", the annual compilation from VP Records. The oft-scrutinized release has actually enjoyed a fairly good spell over the course of the past two years or so, at least in my opinion, with the most recent two (I was about to name them, as if you couldn't figure it out) (I dare not insult YOUR intelligence like that) (I'll insult mine all I want, thank you very much) being pretty good installments of the series. "SG2020", in fact, though it may've lacked the absolute biggest tunes (it did), did contain a handful of real winners, including what may've just been my single favourite from the year (a tune called 'The Struggle' from an artist who just happens to have the biggest tune on this year's edition as well) ["Get ya dictionary, learn about the esophagus"]. "SG2019" wasn't quite as strong, but it was another more than decent compilation which, as you would hope, featured some of the biggest names from the genre with a few stellar efforts. So because of that and the fact that I just always do, I was damn interested to seeing what would become of "Soca Gold 2021" which has now arrived. First of all, let's give it the credit of the eye that it deserves because they clearly put a lot of effort into it: There is that cover. While not very different from its most immediate predecessor (it isn't very different from any of them, actually - beautiful woman in some type of pose "Soca Gold" and a year written somewhere around her) (although "SG2019" gave you a double shot, which was a first for the series), it is outstanding. This model, whoever she may be, is gorgeous just like last year's (my personal favourite remains 2003's cover which featured Camille Marshall and all of her wonderful Camille Marshallness) and next year's most likely as well. And pretty faces are nice (and so are pretty bodies), but what about the music? A very casual glance at the names which fill the ranks of "SG2021" should make you quite happy. Some of Soca's biggest active names have supplied the ammunition for this year's project and you also have one or two pieces from names who may not know at all and should keep an eye on for the future. You also have one moment which, though wholly unexpected, is a most welcomed addition. Although with that being said, when you get down to scrutinizing it just a bit (which is the fun part!), you see something a bit unusual about it at the end (literally). Dig in!
If that world sized hanging cloud of... contagion were to have an effect on putting together a program such as this one, I would have thought last year would have been the time when we would have seen the biggest evidence of it, but it seems as if that cloud's lingering ass may have gotten into the batch in 2021. Until we arrive at that point, however, "Soca Gold 2021" is, honestly, quite fun. A nice sized chunk of those good times are had at the head of things in the most remarkable form of 'Jerusalema', a global hit from South African artist and producer Master KG and Nomcebo Zikode. This isn't the first time such a track has popped up on a Soca Gold, if you recall (you don't) wayyyyyyyyy back on "SG2010", there was 'Party Hard' from British artist, Donae'o (I don't know what became of Donae'o but he's not come up on my radars since then, but I'm going to assume that he has gone onto big successes, nevertheless), so VP has previously had an eye on securing more 'world music' hits to place on its projects. Does it have a place? To my ear, 'Party Hard' was not Soca music even slightly and probably would have found a more fitting place on Reggae Gold (although I'm not complaining about it being on the album, I had no problem with it), but 'Jerusalema' does have more Groovy Soca textures to it. If you took the exact same song and did it in English with a Soca artist, no one would say anything about it being on this album. As for the quality, you listen to a song like this and you do not wonder exactly how it grew to become what it was. It is all kinds of infectious and definitely one of the finest selections here, regardless of its genre. We leave the shores of beautiful South Africa and from there we head to more usual boundaries as we get 'Go Gal' from Bajan Soca Empress, the incomparable Alison Hinds. This piece of Soca royalty actually does a bit of genre twisting as well as 'Go Gal' is probably about as much (if not slightly more) of a Dancehall tune as it straight up Soca. Just like the tune ahead of it, however, you can feel free to call it whatever you like, but it is a lot of FUN. As far as I know, the tune is a new one and VP has gone all-in on it making it the first official single from "SG2021" and you're also likely to find a video for it somewhere in here (which means that there'll be a video both ahead and behind this paragraph) and with someone with a history and, clearly, a PRESENT like Hinds', it comes as no surprise (I'm also wondering if them focusing on her like this has more of a reason that just this one album.... hmmm). And also near the head of "SG2021" you'll find a song with which I have a problem (and another one with a video you may find somewhere in this review). 'Private Party' comes to us via Soca supernova, Machel Montano (who did give us an album this year, "The Wedding", in stores now) and it is excellent. Observing the current state of the world ["Times are changing, this is a different day. I nah waiting. Leh wi embrace the change"], Montano, in a very socially distanced manner, holds a private celebration and you're invited. You can shake ya ass and jump and wave in your own house and you don't even have to wear clothes if you want (just keep those curtains closed if you do). My problem with this song? 'Private Party' is featured on the same Origin Project which backs Skinny Fabulous' ridiculous 'Act Normal' -- one of my favourite Soca songs of the past half decade or so -- so everytime I hear any other song on that riddim, I immediately began singing 'Act Normal' in my head (including 'Selfish', Skinny's other song on it). That is to no fault of anyone's (I guess technically it is Skinny Fabulous we could blame) and Montano's tune is fantastic.
Machel Montano actually makes a second appearance on "SG2021", with the second shot coming in the form of the freezing cool 'Gud Gud', alongside Hey Choppi. I'm going to call it Groovy Reggae, but you can call the infectious, addictive offering whatever you like. It just has such a sweet sound to it and, out of all the songs they could have chosen for this album, they selected wisely in adding this one here as it now gets a healthy dosage of new ears and brains to dazzle. VP also did well to head back to Barbados and this time pick up Jus D, who supplies them with also excellent 'Single'.
"If you have one man, well I could make two
And if you deal wid gal, well I could deal with she too"
Again, you take this song and leave it where it is and it becomes shut off to a degree (I could be wrong, but I don't think I've ever heard it before), but you place it within this project and though it is buried in here around bigger names who will surely get more attention, A LOT of people will now hear it who would not have gotten the opportunity otherwise and I predict A LOT of those people will love it. Jonnelle and Trinidad Killa may also be making first impressions with their work on "SG2021" and if so, there will certainly be a whole heap of people walking away impressed by what they here in 'Watch Ova Wi'. One of the more lyrical efforts on the album, 'Watch Ova Wi', is actually somewhat of a spiritually charged social commentary, with an outstanding chorus. It is damn difficult to shake out of your head and you will not be complaining about it. I was really happy that they chose to include a song like this one because not only does it potentially bring in new fans to the artists, but it's just a strong display of talent and, for this release in particular, in registers in its very own unique way. And also, those he's already appeared on three or four Soca Gold albums to date, maybe you aren't too familiar with the work of Ricardo Drue from out of Antigua (and if you are such an unfamiliar individual, allow me to recommend that you check out 'Vagabond' and become acquainted) and 'South Man' may be one of your first experiences with his work. If that is the case then you'll be on the hunt for something else that he's done (have I told you about 'Vagabond'???) because, though it comes and goes very quickly (at just two minutes and fifteen seconds, it is the shortest song here by nineteen seconds) it's another one which has a captivating sound. Dev joins Drue and though I haven't been the biggest fan of Dev's over the years, maybe it's time I gave some of his work another listen.
The remaining four tunes on "SG2021" feature, along with Machel Montano, some of the genre's biggest names and series staples and regulars. You may not actually get more "regular" Soca Gold than Edwin Yearwood who, in one way or another (be it solo or along with Krosfyah back in da day) has been on the majority of the Soca Gold releases. His track for 2021's edition, 'Resilience [Make It Work]' is another which is observational of the times and Yearwood is eager to rebuild and get back to the way things used to be. I have heard better work from Edwin Yearwood in the past (these days, for whatever reason, I find myself stuck on 'Chrissening') (all-time favourite may be 'Neighbour'), but it has definitely been awhile and you would really expect such a winner from such an esteemed artist as Yearwood. 'Resilience' is a PERFECT song to be on this one.
"But wi shall live
Stay positive
Love, let and live
Practice to give
Each one help one
Help the next man
Cause that is the ultimate"
In terms of active right now, Skinny Fabulous is probably my favourite Soca artist (if we're talking all time, that's still Destra), but if it isn't the fire breathing St. Vincent native (but it is), then it may just be Patrice Roberts. During our hiatus she delivered one of the best Soca songs that I have ever heard, 'Judgment Stage' and that followed just an fantastic career altogether. Hers is an amazing talent and she's someone who I most look forward to hearing every year. Her addition to Soca Gold this year is another winner for her vault, 'Dai Mine'. Coming through across on the lovely Fem Fury Riddim from NMG Music the track finds Roberts marking her territory and declaring what is hers. The song, on the other hand, belongs to me, you and whoever else wants a piece of it. We all can share it. And then there is the BOOM[s] (there's two of them). Lastly is a pair of songs on the same riddim from a pair of reigning Soca royalty, as both Bunji Garlin and Fay-Ann Lyons come through with dynamite on the 8 Bit Riddim, courtesy of producer, Xplicit Mevon. For his part, Garlin thrills lyrically (DUH!) on 'All House Is Road' where he says that 'the road' can exist anywhere you are. You don't need to literally go there (you can probably sit your ass right where you are and keep doing whatever you're doing, listen to this song and go there in your head). It is funny at times and just another brilliant piece from Soca music's all time lyrics king (an even more glaring example of that would be his downright EXHAUSTIVE aforementioned 'The Struggle', which was the best song on "SG2020" in my opinion)
"Dem laughing at Trinidad saying Carnival, wi doh have dat
Wi go tek speaker box and load it up on a van back
Put rum inna knapsack, THEN JUMP OUT INNA HAZMAT
Party in wi yard, yuh si di gate -
Wi not going pass that"
Lyons, on the other hand, is struggling. She's going all pass the gate and she has no idea how it happened on 'Sleepwalk'.
"Last night I had a dream, that's how I wake up outside
It was a scene, behaving like a landslide
All ova everything, to mi this was a fete-
Til someone shake and wake mi up, man look how I regret
WHY?!
Was the best part of di wine
And the best part of di grind
All on top of di stage, was di best part of di time
Only to realize, when I open up my eyes
Is sleepwalking, I sleepwalking
That's how they find mi outside"
You know you love you some carnival when, involuntarily, YOUR BODY GETS UP IN THE MIDDLE OF THE DAMN NIGHT AND GOES OUT. She cannot help herself and, though I know it must be hard on her, I'm glad that her condition has inspired work like this. Somewhere between 'All House Is Road' and 'Sleepwalk' is the best song on "SG2021". If I had to pick one I'd.... fuck that, I don't have to pick one.
Overall, though it's a bit on the short side, "Soca Gold 20...... WHAT! That isn't it?! WHAT! In a damn curious move, attached to the end of the release are six ultra-familiar and well traveled tunes. Why? I have no clue. None at all. It would seem that it was the easiest way to make the album just a bit more plump and that is what VP chose to do. As for the actual songs, briefly, they're all pretty good but you if you've read this far into a review, you almost surely know them all. There's Yearwood again with 'Everytime'. It's an excellent song. You listen to it and pretty much anything he's made and it's easy to see exactly why VP has loved Yearwood over the years. His style is very CLEAR and open and he makes easily appreciable predominantly Groovy Soca music. Rupee's megashot 'Blame It [On De Music]' may be two decades old ('Everytime' might be even older, actually) and I can say virtually everything I said about 'Everytime' about it as well. It all applies. The Soca remix of 'Hold Yuh' from Gyptian appeared on the same "SG2010" that carried Donae'o's 'Party Hard' and it's here as well. I actually enjoyed this one from a nostalgic point of view because it has been a REALLY long time since I've last heard this version. South South West gives the GOLDEN 'Thelma' which was also on Soca Gold from nineteen years ago. I love this song, I've heard it this year surely so it has no sentimental value for me, but I may be in the minority on that. 'We Maniac' was a highlight from Garlin's 2007 album, "Global" (which was just a SOLID release) from VP Records and I guess it's a highlight here as well for what it's worth. I would guess that it was included for just a bit of a mix as the first four of these additions are Groovy-ish (although 'Thelma' may be somewhere between Groovy and Power, it's a bit softer if you're calling it Power). And finally, for real this time, is another Power Soca song, this one from Iwer George, 'Gimmi Ah Bligh', which also featured on Soca Gold nineteen years ago. I don't love this one, all these years later, if I ever did, but it's here, it isn't bad at all and there you go. Also, if you are someone who will track down the physical release, it will feature a mix only for it done by DJ Puffy.
Overall (I guess), if you take off the final six songs (or leave them, whatever), I think what you have is an album which is damn fun. It's way too damn short inn that case, but the eleven new songs on "Soca Gold 2021" are fun. They are beautiful and varied and are done by a healthy mix of artists at various points in their respective careers. The name attached to the annual release is often put on a pedestal (there are quite a few passionate people when it comes to criticizing this album each and every year) but again, if you just take it for what is here (most of those critiques that I have heard over the years usually start with the phrase "where is....."), it's a pretty good release. There is another quite strong Soca compilation which has popped up recently by the name of "Soca Universe" from Monk Music, this year's edition of that album has THIRTY songs on it (and I think last year's did as well), so if you're missing something, it may be there. However, in a time which may just be (HOPEFULLY it is) unlike any other, in its own odd way, "Soca Gold 2021" ultimately does what it is supposed to do every year and provides a very fun and colourful experience.
Faces.
If you take a snapshot of Reggae music in its current state there are so many
possible headlining stories you could come up with which could, furthermore,
lead into an endless line of directions. Of course the genre is one never short
on controversies -- and it never has been -- -- and it never will be -- but
just speaking musically, I maintain that we, right now, could be experiencing
what is a golden age. Surely that distinction would be best left for the future
but don't be surprised if years from now when You and I are old and grey that
we are wishing for music as good then as it is now. Within that I think a
major aspect has not only been the onset of the arrival of a talented group of
wide ranging vocalists over the last decade or so but, specifically, I think
something that has really helped to push the quality of the music has been an
extremely powerful and gifted cache of Women in Reggae music. What has come
with such an impressive globalization of the music has been daughters who are,
many times, even more capable than many of their talented in their own right
male counterparts. And while never has Reggae fully displayed a 'boys only'
type of 'mentality', I think that what we've seen in the past few years is the
full erasure of any actual or perceived gender line when it comes to the
highest levels. What happened??? Talent happened and people began to pay
attention. We started to notice that when it came to Lover's Rock the true heir
apparent to someone like a Beres Hammond was… someone like Alaine. We kept
watching and watching and one day, in the midst of a mountain of different
issues, you looked up and when it came to true talent Spice had very little in
the way of peers in the Dancehall, regardless of gender (I don't talk about Spice
a lot but when it comes to Dancehall she's one of only about five people who I
constantly listen to these days). And we kept eyes on the 'rises' of names like
Ce'Cile and Queen Ifrica and others and, simultaneously, enjoyed the expansion
which would bring in toweringly skilled individuals such as Jah9 who TOYS with
the power of spoken word, Queen Omega who belongs in a class of her own with
what she can do, Reemah who may someday place herself on a level with Dezarie
as far Women in Virgin Islands Reggae music and, of course, Sara Lugo [new
album, "Hit Me With Music", in stores now] whose most unusual
background still managed to lead her to Reggae music with a voice that
simply has no equal. And we could go on and on and it is wonderful! When we go
to the head, however, one that is true and has been for the better part of the
past five years when you talk about Women making Reggae music today, all roads
(eventually) lead to 'The Strong One’.
Etana
Etana has been the Mother of a recent conscious push which included the likes of
Tarrus Riley, Duane Stephenson [new album, "Dangerously Roots", in
stores now], I-Octane and others. And, leading into a next generation bannered
by the likes of Chronixx and Kabaka Pyramid, she's well maintained her position
and can comfortably be looked upon as one of the most popular Reggae stars in
the world today and THE most popular female. And while yes, you can find many,
MANY less desirable things to stare at, Etana's popularity has been largely
due to her incredible output and her catalogue over the past five years stands
in MIGHTY comparison to anyone's over that same period of time. Still, when it
comes to making albums, which is a talent of its own in my opinion (just
throwing big songs together does not always make for the best collection),
NO ONE (NOBODY!) does it as well as Etana.
"Better Tomorrow" [2013]
She
gave us another and a third powerful example of this just last year when the
downright special "Better Tomorrow" reached and wowed (although it,
reportedly, didn't perform as well as hoped commercially, so that may help to
explain the quick return). That album followed a pair of predecessors in
"Free Expressions" and "The Strong One" from two and five
years prior, respectively, which were similarly impressive and remain so today.
She's made wonderful albums and has made the type of anthem-like music which
has not only produced a consistent stream of hits but has also really helped a
lot of people, myself definitely included. So, with those type of lofty
accomplishments already achieved it's easy to imagine that Etana's next album,
whatever it may be and whenever it may arrive is definitely going to be heavily
anticipated and that is precisely the case going into "I Rise", the
brand new and fourth album from the reigning Etana. I was actually quite
surprised to see "I Rise" on its way forward. Like I said,
"Better Tomorrow" was just last year (albeit in the early part of the
year) and Etana's albums, fittingly, are some of the finest promoted in the
entire genre and that takes time! As has always been the case, "I Rise”
reaches courtesy of VP Records who is probably still the best when it comes to
Reggae album promotion (with Riley and I-Octane taking their business elsewhere,
Stephenson and Etana remain on VP's roster apparently) (and if you needed
anymore reason to love 2014, I-Octane, Tarrus Riley, Duane Stephenson and Etana
ALL RELEASED ALBUMS THIS YEAR) [WHAT!] [BOOM!] and features the handiwork of
the venerable Clive Hunt which is a first-time link for Etana who produces
executively and also carries some of the greatest musician talent that Reggae
has to offer, including Sly & Robbie and, of course, Dean Fraser. Now,
while we all were definitely looking ahead to the new album, even though it
came before we thought it might, we were just wanting to hear it. WONDERING
about its quality, on the other hand, was not an experience in regards to
"I Rise". It's an Etana album, You know what that means. Now let's
all sit here and talk about how great it is.
Before
arriving at the music on the album, I really do LOVE the cover of this album.
Previously, I've given the potential distinction of 'Album Cover of The Year'
(because we pay attention to stuff like that around here) to pieces which
featured artwork but this album surely enters the discussion because Etana
looks stunning here. As for what you actually do hear on the record - I do
have to say that "I Rise" has a bit more of a kick than most of
Etana's previous releases. There's a bit more intensity and force in the music
and it does definitely prove to fit her style which is highlighted throughout
by some sterling vocal displays. One such showcase does get us going as Etana
channels the legendary Bob Marley with the album's intro, 'Selassie Is The
Chapel'. The best way to describe this selection is to tell you its function:
'Selassie Is The Chapel' is going to make you cry. I cannot say that she set
out to make it for that very reason (though she had to know it was going to happen)
but a completely deaf person would be pushed to tears in the presence of
this towering opener. The first full song on "I Rise" is also one of
its definitive highlights. The giant social commentary 'How Long' is amongst
the rather sizable class here and, though fairly simple and definitely
straightforward the song has certain aspects, particularly in its delivery,
which give it a very complex feel and it was one which well caught my
attention. I also hear disgust and frustration in Etana's voice and, as I've
said in the past, I LOVE when the mood and arrangement of a tune matches its
lyrics and direction which is what happens here perfectly. A gem! Things really
get moving on the even stronger next piece, 'On My Way'.
"I'm
on my way
I'm
on my way
Though
the journey is so rough, I've got to carry on
I'm
on my way
I'm
on my way
Though
the journey is so rough, I've got to carry on
The
night is getting cold, no place to rest my head
Old
stone became my pillow, concrete became my bed
Although
the journey's long, got to keep on pressing on
The
battle will be won at the end of the day!
Trodding
through the streets I go
Everybody
see me dun know
I
meditation, strict dedication, straight from the roots I grow
At
the end of the day, all of Jah children say -
'Clean
hands, pure heart, righteous thought, and The Most High will guide your day'
I
know when I get there, it won't be a sudden flight
Been
toiling from sunup, still toiling through the night
JAH
BLESSED ME WITH ENDURANCE, SO I'M KEEPING UP THE FIGHT
I'M
NEVER GIVING UP, NO WAY, AS LONG AS I'VE GOT LIFE!"
BOOM!
BREAK SOMETHING! Along with that great message, 'On My Way' is a full JOY to
listen to. Easily with the most sonically gratifying songs found on "I
Rise", this song is on its way to be a personal favourite of mine from
Etana ever and it is THE best song I hear on this release… which is saying a
lot. The opening lot of songs on the album is rounding out, just as it was
started, with an excellent remake, this one, 'Stepping Out of Babylon' a find
mould of the original sung by the immortal Marcia Griffiths.
There
is a very nice stretch of four songs in the middle of "I Rise" which,
although not entirely unexpected or unprecedented, definitely added to the
overall enjoyment of the album. Certainly we've seen albums in the past which
took a few love songs and dropped them right in the middle and that was that.
However, I don't recall one, immediately, which did it this well. The first of
the four, previous single 'Richest Girl' finds Etana getting her priorities
corrected, saying that no matter how successful that she has been, her greatest
achievement and the real wealth has been attained in falling in love. It is a
great song with some of the better vocals shown throughout this set. Things get
streamlined and simplified on the GOLDEN 'Love Song'. This composition is one
about an unconditional love (biggup Machel Montano) and staying with someone no
matter… how much ridiculousness they may put you through as long as the love
remains. I, of course, have absolutely no parallels with which to connect this
tune in my own life, but my Wife does. Check the swinging 'By Your Side' which
kind of echoes both of the pieces just ahead of it and it, in a very
comfortable and familiar way, sounds divine! The song also has a very loose and
organic vibe at times (especially during the second verse and at it is end)
which is delightful. And while 'Passing Thru' tackles the other side of love.
This is a selection about the emotional commitment given to and toll taken by
love when it isn't necessarily the best type. We've all been in situations
where we've done something DUMB for love (and some of us, PROUDLY, still do
them) so it's an entirely relatable tune in my opinion. In all, like I said,
this little streak of songs really made this album better and, along with
giving it a most essential dimension (you can't have an Etana album without a
love song - I think it's actually illegal), it also gave it four more REALLY
good songs.
Those
four songs, which both end the first half of and begin the second half of
"I Rise" are surrounded by even more MASSIVE output from Etana. A
song like 'Jamaican Woman', for example, which finds the singer finding pride
in both her nationality and her gender in a big way. I've probably listened to
this tune more than any other on the album besides the two songs which I
already knew because it really just makes you smile. The sound is somewhat
unusual, but in a good way, but as an entire composition, again, this is
definitely one of the best songs on the whole of "I Rise". The same
is going to be said for the eponymous effort but probably on an even higher
level.
"I
was born strong
I
was made for this
See,
I've met so many hard times
When
I though I couldn't make it
See,
I've had my trials when my pillow dried my eye
Then
the morning came and my wings took flight
I
rise!
I
RISE!
See,
I'm hurting but no broken
Down
but I won't die
I
rise!
I
RISE!
Soon
I will reach the sky and still, I rise
Some
say it's a mystery, how I still believe-
That
in spite of all I've been through, I can still push the wheel
See,
I HAVE A POWER THEY CAN'T SEE WITH THEIR EYES
It's
a little thing called faith that makes broken wings fly!"
TEARS!
'I Rise', like the album named after it, is spectacular and it gives the full
album this kind of signature moment in terms of inspiration which is,
obviously, one of the major themes for this project. Later, the big songs
continue to roll in such as another single from "I Rise", the very
compelling ‘Trigger'.
This song is SO fascinating because it deals with a
special kind of motivation which may lead a person into doing really bad
things. So many times you'll hear a tune about people taking up the gun because
they're attracted to flashy, material things but on 'Trigger', Etana shows that
isn't always the case on a wholly CRUCIAL composition and, of course, it would
take someone like Etana to lead us in that direction. An essential song which
is not to be missed. 'Ward 21 [Stenna's Song]' is one which, unexpectedly, hit
me personally. At its core, it is one about dealing with mental illness (and,
specifically, things which bring on conditions) and, as I've said in the past,
I'm someone who has dealt with mental illness my entire life and, though I
don't know if Etana can say the same, she definitely captures some of the
compounding and building emotions which lead people to that state. She does
this with what is also somewhat of a social commentary, but this song is magic
and, again, one which I heard myself in. I should also mention how I LOVE the
way it ultimately develops as the music is showcased during its second half for
a damn memorable section. Next is the all kinds of interesting 'Emancipation
[Spoken Soul II]' which, in my opinion, is just as much of a 'musical
experience' as it is an actual 'song', which I'm sure was the intent. Etana
UNLEASHES herself all over this track which is musically and emotionally
dazzling and it almost seems as if she just began to say what came naturally to
her mind. Eventually, as the song's subtitle suggests, she begins to SPEAK and
give her listeners a dissertation ["spirituality is a network linking us
to The Most High, the universe and each other"] which you definitely do
not want to miss. 'Emancipation' so vividly stands out on "I Rise"
because so many wonderfully occurring idiosyncrasies and eccentricities which
make it one terribly difficult to ignore. You'll also have trouble going around
'Jah Jah' (literally and figuratively). This song has… something about it
which is hard to explain but is so damn infectious! It may be like an R&B-ish
type of sound. I hear old school R&B in there somewhere but something else
as well. Whatever it is and whatever you want to call it, Etana uses it to
notch a FANTASTIC praising piece which is CANDY for your ears! And finally, I
have to give credit for creativity and originality wherever I find it and the
album's closer, 'Jam Credits' is brimming with them! What is this song about???
Just as the title says - it is Etana giving credit to her producers, her label,
her musicians, her studios, her backup singers - everyone involved in making
the music, set to music. I thought this was a great idea and I can't remember anyone doing it
previously. So, of all the great things to be thankful of when it comes to
"I Rise", the very ingenious 'Jam Credits', for what it is, is
definitely amongst the heaviest.
Overall,
unsurprisingly, she's done it again. To my opinion "I Rise" is well
on the level of its predecessors and though I don't like to compare albums like
this, I can comfortably tell you right now, it's better than either "Free
Expressions" or "Better Tomorrow". Like I said, I really like
the tone of this one altogether. She's always confident but on this album,
Etana is aggressive and it seems like she really had a point to make and, with
an effort like this one, I really hope that she's happy with it. Even if she
isn't, I am! "I Rise" is another large piece of evidence of why
history is likely to recall Etana as the mother of a generation of really
exceptional Reggae music and while we may not have the fortune of having the
hindsight of time - with an album like this one, you don't need it. A chunk of
gold in a CD case. SPECTACULAR!
