I don't feel like writing an intro! LET'S GET TO IT!
{Note: No Soca, EPs, multi-artist compilations or complete dubs/instrumentals}
{Note 2: Haven't done one of these in ages, it was kinda difficult}
#10."See It Deh" by Ras Shiloh [Reggae Vibes Productions]
Had you told me at the end of 2023, that Ras Shiloh's name would be on a list for biggest albums of 2024, I would probably have been quite surprised. That shock wouldn't have come because I didn't think he could reach those levels in terms of quality but... I wouldn't have thought that there was much of a chance, AT ALL, that the year would bring an album from the decorated singer. Wonderfully, the project would come via JahMikes and the increasingly esteemed Reggae Vibes Productions (which has, QUIETLY, become one of the more dependable outfits in the entire genre in my opinion). Ras Shiloh & RVP should tell you pretty much everything you need to know about the actual quality of "See It Deh" and, with carrying a tune such as the downright GLORIOUS 'Hail The King', it did not disappoint.
#9."Levite" by Zacheous Jackson [Red Ground Jamaica]
"Levite", the twenty-four track monster set from the well gifted Zacheous Jackson, equally bludgeons and finesses its way onto this list through some truly beautiful vibes and the sheer size of the project. Perhaps the single greatest credit that can be paid to Jackson & "Levite" is to say that it doesn't contain an ounce of 'filler'. It was twenty-four good songs which were of all of a certain quality which made it one of the BIGGEST (literally) albums of 2024. Standouts were all over the place such as 'I Wish' and, NINETY MINUTES LATER, 'Look Within' and 'Unda Mi Medz'. I didn't end up hearing much about this one which is too bad but hopefully its shelf life is greater than its launch because, clearly, there is so much good to be heard on "Levite" and it'd be too bad if not too many people got to experience it.
#8."Ganja Man" by Linval Thompson [Irie Ites]
Legendary vocalist meets CLASS outfit on "Ganja Man" as the esteemed Linval Thompson links with the brilliant Irie Ites. Together -- TO THE SURPRISE OF ABSOLUTELY NO ONE AT ALL -- the duo mined gold. "Ganja Man" was complete musical treat of an experience, uniting some of the most captivating vocals the genre has ever heard along with Irie Ites' typically extremely high level, classic sound. The best of it was the title track, 'What Time Is It' and the outstanding pair of Ligerians (more on them later) scored tracks, 'Trod Along' & 'Get Ready' but the entirety of "Ganja Man", dubs and all, was an outstanding contribution to 2024.
#7."Outrospection" by Twan Tee [Baco Records]
While 2024 didn't completely introduce me to French artist, Twan Tee, it did do so formally via his LOVELY album, "Outrospection". Produced by the one Oddy (who, apparently, produces all of Tee's work), "Outrospection" was a really good time, featuring work which ranged from straight forward Roots Reggae, to Dancehall music of varying eras, though it is clear that a large chunk of Tee's inspiration can be tracked to a more classic sound of the music which he has captured excellently here. Highlights included 'Bridges', which featured Warrior King, the outstanding opener, 'Put It Pon Replay', the HUGE 'Stamina', 'Undercontrol', 'General' with Niggle, 'Babylon Walls' alongside Omar Perry, 'Underwater' and others. Didn't see much about this one and were we more active, I would have definitely slapped a giant review on it and.... hell, I still might after I clear out a bit of space. "Outrospection" was sublime.
#6."Apex" by Bugle [An9ted Ent/Evidence]
Despite the fact that he's already held in fairly high esteem, the case could be made that Bugle actually stepped it up a notch or two through his incredibly well done and well received 2024 release, the CHILLY titled "Apex" (you KNOW that title is cool as all hell). Bugle is a case of someone who has enjoyed an overall raise of profile over the course of the past few years or so and the work that comprised 'Apex" is a giant example of the reason why and also why more casual heads of the genre are beginning to pay more attention to the Kingston native who is fond of exercising everyday and not still being fit. "Apex" thrilled with Bugle on his own with tracks like 'Promise', the HEAVY 'Bad Dream', 'Heads Up' ["Before wi even play di game, yow wi win already"] and the downright scalding social commentary 'Upside Down' and then... oh, Capleton, Buju Banton & Jr. Gong, Maxi Priest, Barrington Levy, Tifa and personal LONGTIME favourite of mine, Military Man were also on board.... just hanging out! AND HAVE I MENTIONED JUST HOW DAMN COOL THAT TITLE IS??!
#5."Shelter From The Storm" by Nadia McAnuff & The Ligerians [SoulNurse Records]
Had I done one of these lists last year, my #1 would have been "Freedom Legacy" by Queen Omega and THE Queen of 2023 passed the mic to the queen of 2024, Nadia McAnuff who, along with the aforementioned Ligerians, delivered what may just have been the single greatest sonic experience in all of Reggae for the year, "Shelter From The Storm". This album was IMMACULATE from beginning to and end and contain some downright halting material. At its pick, 'Waiting Room' laid claim to being amongst my absolute favourite tunes from the entire year ["Stop looking out of yourself, my son. Never stop fighting for repatriation"] and what it headed, fully, was nearly as strong. 'Shelter' (year's best album best-song-chaser), 'So Jah Seh', 'Yes We', 'Holy' and the FUNKY 'Freedom of Peace' also stunned but the album only had ten songs altogether (its only flaw)... so pretty much all of them.
#4."Free Man" by Norris Man [Tad's Records]
These days, Norris Man HAS ME. He just does. He cannot do much wrong and that was the case before 2024 began and the chanter would do nothing in the way of diminishing my support of his work throughout the year. In July, he would drop the looooong awaited "Free Man" (the album was literally announced in late 2023, if I recall correctly) and that album, for me, has grown and GROwn and GROWN. "Free Man" is gorgeous and EASILY one of the best albums that Norris Man has released to date. Despite only carrying eleven tunes it was stocked with big ones: 'Fighting For My Rights', 'Jah Is The Almighty', 'To Jah I Pray', the freeflowing 'Ahead A Dem', 'Going Out On You', the popular 'Burn Babylon' ["Mi bun dem more than a trillion times"].... and MORE! "Free Man" has still found a regular place on my players and, were we to revisit this list in a few years or so, I wouldn't be surprised if it ranked even higher AT ALL.
#3."The Gentle Man" by Romain Virgo [VP Records]
It never even occurred to me to actually review "The Gentle Man" by Romain Virgo because it got to the point where I believed that everything that was to be said had already been (or was being) said. I may be overlooking something but, off the top of my head, I can't think of another album from 2024 that was as widely critically acclaimed (not saying it was the run away regarded BEST but, given how popular it was, the sheer amount of praise that it has been given may be #1). All of that stuff (ALL OF IT) was warranted. Romain Virgo broke stuff and ripped it to shreds on "Gentle Man" in did so in several different ways. Sometimes it was more aggressive ['Been There Before' and 'You Must Pay'], while others required a more careful hand ['Good Woman' and the MASSIVE 'Driver'] and, brought altogether, what we ended up with was not only one of the best albums of the year but, in all likelihood, the single best album of Virgo's entire career... but I think he can do even better someday. Masicka, Jesse Royal and even Capleton featured.
#2."Deep Medz" by Eesah [King I-Vier Music/Loud City]
In terms of debut albums (ALLLLBUMMMMS, not big EPs), no one did finer in 2024 than Eesah who impressed in a major way (and BROKE STUFF) with "Deep Medz". Eesah's talent is an EASY one. It is effortless. The man could probably give you studio quality renditions of some of these tunes fresh out of his bed because what he does appears to come SO naturally to him. You could hear it saturating tunes like the all-conquering opener, 'Behold The Conquering Lion', 'Jah Give Me Strength', 'Uprise', 'Red Alert', the overlooked 'Push On', 'Irie' and 'Empress Menen'. That was one story behind "Deep Medz", the other was the ridiculous supporting cast of artists who joined Eesah like Capleton & Lutan Fyah [on the same damn song], Perfect Giddimani & Pressure Busspipe [on the same damn song], Kabaka Pyramid, Million Stylez and even Sizzla Kalonji leant their names, collectively, to HOPEFULLY attract attention to a project that deserved some of the brightest shine that the genre had to offer in all of 2024.
#1."Living Testament" by Akae Beka [Trinity Farm Music/Go A Chant Productions]
Noted as the final album recorded by the legendary Vaughn Benjamin, "Living Testament" would, in my opinion, send the legendary chanter on his way taking the biggest prize of the year. I did not hear its equal in 2024. I've come to a place as a listener of Akae Beka's music where I'm able to decipher, relatively quickly, how I feel about what I'm listening to. The work that comes afterward (the "journey to comprehension" as I've come to call it) notwithstanding (that adds to the overall experience but I can't assess how fun that is at the time with new material), I'm USUALLY able to catch on when Benjamin is a particularly effective form - such as was the case ALL OVER "Living Testament". Credit goes to the grounded Trinity Farm Music -- who would later release a dub version of the album -- for providing a captivating background for Benjamin, which has not been/is not always the case, making for one of the more digestible albums in his catalogue in my opinion. You could probably have a fairly good time digging into "Living Testament" as a casual listener. It doesn't require ALL of your attention in order to be pleasing.
HOWEVER, should you have chosen to give it your 100% (and you should, you have no reason not to), what awaited fans in 2024 was 'intoxication of a certain kind' (biggup Gentleman). Tunes like the giant opener, 'Stone Of The Corner', 'All Around Man Yard' and 'Cream Of Joy' hit on a VERY HIGH level but they were topped by 'Rebellion Running', 'Who Is The Rejector Who Is The Reductor', (I'm listening to 'Rebellion Running' right now. With these horns... tune song is PROBLEMS! ) ["Let hearts be fertile to receive goodness. Let soul be receptive to rationale and reason"], infectious single 'Who Wil Go For Us' and the all-conquering 'Holding The Amen Key', RIDICULOUSLY, skyscraped (YES! I just turned SKYSCRAPER INTO A VERB! WHUT!) the quality of "Living Testament" and it soared not only to being one of the best Akae Beka albums but also THE BEST REGGAE ALBUM OF 2024.... among the ministers of The King's High Court.
Spreading. How we register and identify a level of growth in artists can be kind of tricky and broad. Typically, it is something which, specifically in Reggae music, we'll only either use in terms of describing the career trajectory of someone over a period of years (generally from youth into adulthood and becoming a veteran) or someone who's experienced a grand shift in their work (thinking of someone like Buju Banton or Capleton). That's just how we talk about development and I think that is, at best, incomplete because the talents that line of thinking inherently alienates so many wonderful talents who we did not come into contact with until they were well into adulthood or who exist, at the core level, in the exact same way as they were when we did originally stumble upon their material. Gifted veterans can (and do) continue to grow and progress and shift throughout their LIVES, musically, and while it may not as obvious as going from "boom bye bye" to "blood deh pon yuh shoulder", the journey to realizing those subtle changes can be a VERY sweet and satisfying one. I'm going to give you three names (technically four, including the guy whose name is at the top up there), one (two) you're expecting and two you aren't as examples of individuals who have demonstrated a lovely amount of a more subtle progression while being at such an advanced stage in their music. I may not even recall listening to music without Spragga Benz being around if I really think about it and, all these years later, the man is still making a sound which is so completely refreshing and COMMITTED to the point where, though he may not get that credit, I think we've arrived to a place where I am well comfortable saying that Spragga Benz', overall, is one of the greatest talents Reggae music has ever produced and you'll still hear it pulsing on virtually anything it touches these days. Similarly, when's the last time you listened to Luciano?? His case is so powerful because while we typically look at 'The Messenjah' as this beacon of consistency, one could just as easily make the point that it isn't so much his ability to continuously press the same buttons over and over again, but the ability to quietly and carefully add new facets and wrinkles to his game which keeps him relevant to newer and newer and audiences (go and find a tune called 'My Heart'. One the single best tunes I've heard from Luciano in a very long time). Of course, I'm also going to mention Norris Man who's currently enjoying one of the most impressive stretches of his entire career a quarter of a century into it. Now, again, on the surface you could look at each of these cases and style them as 'consistent' or 'durable' or 'enduring' and you'd be correct in all of those descriptors but, with as fickle and wavering as the tastes of music fans can be, CONSISTENCY will only take you so far. WE WANT TO HEAR SOMETHING NEW!
2010
Here's something else new you may want to hear. About a decade and a half ago we came across an individual by the name of Zacheous Jackson. If I recall correctly (probably not) we initially heard Jackson's music through his work alongside the once mighty Rumble Rock Recordz (who, delightfully, appear to be still around these days in some form) from out of Hawaii. That label was responsible from pushing a few top notch compositions in the early 2010's and while it appears that they didn't enjoy the longest of runs, RRR DEFINITELY left a large impression on me and they also left me wanting to hear more of Zacheous Jackson. Very fortunately, by the time I had already began hearing him on Rumble Rocks riddims, Jackson had already brought forth his very own debut full project, "The Truth Shall Be Told", way back in 2010 and it gave me an opportunity to go directly into it. This is INCREDIBLY fascinating (especially for a nerd like myself) because if you can think about that situation for a second: You become introduced and immediately impressed by someone's work and, then you do your research and come to find out that, just the year before, they'd released a SEVENTEEN track album (more on that in a minute) which was just sitting there... waiting to be consumed.
And I devoured it. Zacheous Jackson's work stuck with me for a couple of very distinct reasons. First of all was the lasting NORMALCY and SIMPLICITY of his craft. Reggae music and Roots Reggae, in particular, is often associated with a handful of foundational tenets (and even Dancehall has that, actually, for as flimsy as it may be) (it is). I won't waste even more of your time by going over exactly what they are because chances are high that if you're reading THIS far into a review like this, you're already at least fairly acquainted with the genre and what it does - Jackson had them all covered completely. Secondly, Jackson displayed a certain INTELLIGENCE in his vibes. That is a trait you don't often hear someone credited for but, generally speaking, I would be of the belief that having attained a certain level of mental proficiency would allow one to write 'better' words and, although his sound wasn't this revolutionary type, the bases that Zacheous Jackson hit were so solidly dealt with that the listener came away thinking that this man had spent a lifetime learning about what he was singing. So, what does someone like Jackson do for an encore, for a second round? He does "Levite". Fourteen years following the release of his his debut album, "The Truth Shall Be Told", the UK based vocalist returns with his STUFFED sophomore effort and, in listening to it (fairly early on) (after, admittedly, going back and spending some time with "The Truth Shall Be Told"), the prevalent thought was that Jackson had spent the last fourteen years BUILDING. He was working on something and, presumably, it came through on "Levite" (damn, I hope it did!).... because this album has TWENTY-FOUR TRACKS ON IT. IT IS NEARLY AN HOUR AND THREE-QUARTERS LONG! 2024's release comes via the same Red Ground Jamaica Music imprint that has done so much of Jackson's work throughout the years and he's made it alongside longtime engineer (they've literally been working together since I was a small child and now I'm old), Mike Westergaard (who also aids on backing vocals throughout "Levite"). Between projects Jackson had remained busy, dropping a relatively consistent stream of singles throughout the years (had a very unfortunately necessary COMMON SENSE anthem a few years ago by the name of 'Pull Up Oonu Pants', while we were on hiatus) but, unbeknownst to me, he was in the lab COOKING. The man himself would link us (as I'm sure he did more than a decade ago when the first album came about) (very nice person. Very informative) and told me that he had a new album that he would be pushing soon and that it was EIGHT YEARS in the making. For someone who is as structured and detailed as Jackson seems to be, I am not surprised to hear that, in retrospect. I would have been quite surprised, however, if it appeared that he had wasted his time in constructing it...
No such shocks exist here, my friends. The production end of "Levite" is handled by SoulFyah Productions and the well esteemed House of Riddim, who we've covered several times throughout the years (and will surely continue to. They're excellent) and Zacheous Jackson utilizes their efforts in a delightful way, beginning with what is, effectively, the album's title track, the heavy 'Levitical'. This one had big shoes to fill as it was preceded (technically) by '400 Years', the GORGEOUS opener of "The Truth Shall Be Told" and here we find Jackson telling the story of the Tribe of Levi and although it is ultra-specific, he finds a way or two to broaden the message ["No limit to the inheritance of the Levis. Because Yah, alone, is their inheritance"] .This places a core of 'Levitical' wholly more relatable than one might imagine, which is very powerful. Also, even if you do take it in the more direct manner, 'Levitical' still thrives, it sounds lovely, and is a fine way to get things started. Even stronger is the next tune up, 'I Wish' which stands as one of the greatest songs on the entire album by its end.
"I wish the people did deprogram that Willie Lynch syndrome overnight
I wish mental slavery fi drop weh and dem do what's right
I wish di youth dem would stop di post code war
Pick up dem book, go a school , learn fi turn doctor, lawyer
Teacher, physician or, a leader
So, from di crime dem, tun far
RAISE DI MIND, HIGHA"
BOOM! I've used this phrase before but I'd add a bit of petrol to it here: 'I Wish' is a very clever social commentary. It has a kind of a running punchline which you gravitate towards as a listener (it will be long gone and you'll still be sitting there singing, "I WISH!"), but when you follow along further than that, 'I Wish' is ripe with content and a beautiful selection. Quality levels remain high with 'Two Roads', a bit more centered and personal of a piece in my opinion. I had a lot of fun with 'Two Roads' because it is so wonderfully emblematic of something that fully displays Zacheous Jackson's style to my opinion. It is VERY simple: The more you go through life, you will find yourself faced with choices and there will often be situations where you have to choose between positive and negative... but it isn't THAT simple. What is 'good' and what is 'bad' isn't always so crystal-clear so you "think good before a choice you make" and weigh your options heavily and be sure to "be aware because your soul is at stake". This is a composition about its obvious base, which is readily apparent, but 'Two Roads' is also about MATURITY and EXPERIENCE and MAKING MISTAKES AND LEARNING FROM THEM. All of these themes go right behind supporting this incredibly simple idea... like I said, the man was building. I have yet to mention a song that I rate higher than the all kinds of interesting 'Plant Based Rootsman'. AGAIN, there is such a grounded core for this one ["When you eat dead meat, you deh nyam dead flesh. It rotten. It dead. It no fresh"] (CANNOT make it more obvious for you), but it ends up blossoming out in more directions than where you might think it would. Jackson speaks about things like the effects of dairy and alcohol on the body, cirrhosis and other things dealing with the total health of the body (like the importance of exercising and keeping fit) and, not to give out too much of the man's business, but Jackson told me that the tune came as a result of a personal health crisis he had gone through just a few years ago, before turning his life around. You often wonder how certain ideas for lyrics come about (or at least I do) and, besides surely extending his own time on the planet, Jackson's own experiences also led to, arguably, the single best tune on "Levite". The very next tune, 'We Calling Conscious Rasta' doesn't deviate too far from 'Plant Based Rootsman' at all and almost sits an extension of that/those very same foundation idea/s. This could hit a few people in 'some typa way' (as the kids say) but Zacheous Jackson has serious concerns about how you may be REALLY living your life... while talking about how much you love The King.
"My brothers cut out di alcohol so you don't get man breast and big beer belly
Because the estrogen energy chemistry would change your temple drastically
CUT YOUR NATURE, STOP YOUR MANHOOD FROM FUNCTION
PUT IT OUT OF ACTION
But you caan please your woman and give her loving or any satisfaction
I man nah make it up as mi go along, this is fact and not fiction"
You might not want to hear that and no one's perfect but what you find on 'We Calling Conscious Rasta' might be some food for thought the next time you shout 'JAH RASTAFARI'! And (speaking of Jah Rastafari), the first quarter of "Levite" wraps up with a solid and pretty catchy praising tune, 'Most High Bless'. You won't find anything here that you've yet to hear from others with this piece (you'll find more than one of them on just about every single Roots Reggae album made.... in ever) and you tend to find ways to separate praises from the ever-increasing pack. This one, in particular, has a COOL sound to it. It is nice lyrically if you get into it and serves the precise purpose that I'm sure it was intended to (and I wouldn't be surprised if 'Most High Bless' was more on the spontaneous side, despite being so clearly well-structured).
The second lot of songs from "Levite" finds Jackson, again, questioning the true intent of certain individuals despite what they may say or how they may present themselves and doing so on more than one occasion. Check both 'Where Are the Real Garveyites' and 'Jesus Christ Is Not His Name'. The former is fairly direct as it calls, matter-of-factly, upon those who still truly follow the teachings of the most honourable Marcus Mosiah Garvey and not in a fashionable type of way. Jackson does take things in both historical and current routes (he even mentions J Edgar Hoover) and I'll make the connection to not only the first album but much of Zacheous Jackson's music, in general: Zacheous Jackson is a Pan Afrikanist. It comes through constantly in his music with 'Where Are the Real Garveyites' being the biggest obvious piece of evidence of it on this album (and though you might think Pan Africanism and Roots Reggae go together. I wouldn't say that is the case INHERITANTLY for EVERYONE in the genre, in my opinion. At least not in the perpetual sense). Oh, and the riddim on that song is GOLDEN! The biblically geared 'Jesus Christ Is Not His Name'.
"Scripture says you have to call the right name to receive Salvation"
It takes a certain level of confidence and COURAGE to make a tune like this one which is probably going to piss off more than a few people and spark discussion (hopefully of a healthy type, but maybe not. You know how people can be about their religious beliefs). Listening to it, I actually get the feeling that Jackson is at least a little upset at the usage of the far more popular name and although I wouldn't necessarily call it INTENSE, there does exist a level of passion on this one that pulses throughout. He's frustrated and, in his own way (which is through telling you what he's learned), Jackson places it here which is another example of GROWTH on his part (more on that later) on what is, unsurprisingly, the longest tune on the album by over twenty seconds. You'll also come across the BIG 'Butterfly', which well ranks amongst the absolute finest "Levite" has to offer. It finds Zacheous, seemingly fed up as can be, ready to pull up his wings and fly away, leaving the madness behind while railing against those who are not as they appear to be. Situated very interestingly, there's almost a running spoken commentary behind 'Butterfly' which adds a nice aspect to it (and it isn't the only time we hear the artist SPEAKING) as well. Also here, you'll find the downright LUSH Tosh-esque 'Justice' as well as the also inspired 'No Weapon'. I'm going to go ahead and predict that 'Justice' will go largely overlooked and underappreciated on by a lot of people and "a lot of people" are going to be 'mistaking' because this song is excellent in every way. From the way it is written and sang and the very minimal but FITTING riddim it sits atop, 'Justice' is a large winner of a social commentary. 'No Weapon', only in terms of its sound and pacing, is somewhat similar to 'Justice' but this one, just as the track before it, the aforementioned 'Jesus Christ Is Not His Name', has a more biblical theme and, in this case, it almost seems as if Jackson has turned scripture into a song, directly, and what results is something far more straightforward than what comes before it. He does broaden it by, as he has done previously, making an attempt to open it up for people who may take a different path in life (in saying the PROTECTION of The Almighty extends to so many) - always a quality you like to see on such tunes. There's also 'Predicted Requested Created and Deployed', a tune I actually attempted to DISLIKE to some degree but was unsuccessful at pulling off. Zacheous Jackson's take on the recent pandemic (I'm just getting tired of those songs and the topic, but because of how the time works out and how long some of these albums take to put together, you're just NOW starting to see so many of them as they've been in the works for some time now). 'Predicted Requested Created and Deployed' has its moments. I think what sets this one away from the pack is that it isn't solely just about the current times. He brings up AIDS and even smallpox as kind of a historical backing from what we've recently experienced. I won't call this a favourite of mine but, again, it is better than I thought it would be going in and it's still growing on me (nice riddim there as well).
The highlight of the third quarter of "Levite" is simple: It features some REALLY, REALLY good songs. There is a MIGHTY trio of selections which lead the way, but every one of the six have at least flashes of brilliance in one way or another. Probably the mightiest of them all is the shattering 'Babylon Validation' as, once again, Jackson has some questions to ask of some folks' real intent.
"Nuff ah seh dem chant down babylon
Some even seh so inna fi dem Reggae song
Nuff ah seh dem chant down babylon
But still ah look fi babylon validation
One ting mi no understand, so please something to me:
You seh you fight against the babylon system, but you deh fight fi award weh known as Grammy
the grammy is a babylon accolade, but you think if you get it, you set to made
To me, that a pure hypocrisy
MI HAFFI ASK, WHERE IS YUH MIND SPIRITUALLY
Nuff ah seh dem chant down babylon
Some even seh so inna fi dem Reggae song
Nuff ah seh dem chant down babylon
But still ah look fi babylon validation
Nuff a dem ah write big song-
Seh Africa a The Homeland
But dem live inna di heart of babylon-
Europe, America & England
They seh wi fi uplift di nation, but nah left babylon deh mega plan
More lip-service dem talking, living comfortable inna babylon
To me, there's no sense of direction, it come in like mass-confusion
WHERE IS THE ANCESTOR'S MINDSET?
WHERE IS THE ROOTS REPUTATION?"
You're just not doing right! You have come to your 'Two Roads' and you have no chosen wisely! Please go back and, this time, go the other way! Should you struggle the second time in making your choice (although I don't know how that would be possible, but it might be), perhaps you should 'Trust In Yah', "and you will be guided through", as Jackson says during another of the big highlights held by "Levite". 'Trust In Yah' is smoooooth. It is what I'm calling a FUNCTIONAL praising tune. There is one thing to just give thanks and praise to The Almighty for the sake of giving thanks and praise, but this is more showing appreciation for what has been done for us and what continues to be done, going forward. I also took this one to be about CONFIDENCE and instilling a level of assurance and COMFORT in people that the more you're doing positive things and maintaining the right ways of life, THE LESS YOU HAVE TO WORRY ABOUT (you don't have to be so paranoid, constantly looking over your shoulder, hen you know you've done nothing wrong). The third pillaring tune of this batch (biggup Batch) is the pin-pointed 'More Love'. You've seen this exact title (or something very similar to it), countless times (there may, literally, be HUNDREDS of Roots Reggae tunes called 'More Love'... as well as a few albums) but this is not what you're expecting it to be, just as it wasn't what I was thinking it was. 'More Love' is an observance of how things are moving in the world and in Jamaica in particular. It applies to Jamaica beautifully here (you listen to that track!), but EVERYWHERE else as well. If you turn up the love, you turn up the positivity, the mood, the PRODUCTION and just make for a much better way of life. I'm very tempted to put unity anthem 'Togetherness' in this special group as well and because I make the rules here.... why not?! 'Togetherness' is VERY strong.
Jackson not only stresses the importance of coming together and being sure to make room for your fellow man and woman but he also begins to get back into more of the African Diaspora and how far (and from where) the children of Africa have come and where we've arrived in the world. To do that and to still be numerous is powerful alone but when you have your brothers and sisters next to you still and you have HUMILITY, you are potentially sat upon a goldmine of power, whether you realize it or not. The other two offerings in this portion, 'Open Yuh Y'eye Dem' & 'Come Mek We Talk' are better than average as well. 'Open Yuh Y'eye Dem' also deals with more of the journey of African people (especially with the call together at its end) across the world, but this one stresses the general importance of self-awareness and education. He talks about studying the bible and world history as 'those who do not know their history are destined to repeat it'. That song is nearly outstanding and... probably just as strong as the first four that I mentioned. Like I said: The third quarter of "Levite" is FIERCE. I'm almost certain that I know the riddim from 'Come Mek We Talk' from somewhere, that glowing HOR creation. Here, Jackson has a few things on his mind, he has some questions he'd like answered. Amongst the things on his mind are the social conditions of the world, the violence, poverty and the responsibility of those in power to make changes ["Imagine, in this day and age, people still starving"].
The final section of songs from "Levite" is well compelling as, though it may not feature material as strong as what comes before it, it PROBABLY carries the single best tune on the whole of the album as well as one or two others firing near that level as well. I'm first going to mention one which I really didn't care for very much when I first heard it, but it grew on me very rapidly, 'When I'. Just in terms of a listening experience. 'When I' does not leap out at its audience very much, if at all. If you give it a cursory and more casual spin, it doesn't really stand out at all. HOWEVER, when you scratch just slightly beneath that surface, what lies below is A GEM!
"When I think of The Most High, I man get high
It's a spiritual elevation
When I think of The Most High, I man get high
It's a spiritual meditation"
'When I' is another song that is giving praise to The Almighty and, as far as pieces which serve no other immediate purpose.... it may just be THE best on the entire release to do that. Like I said, I won't blame you if you don't realize it and go by (I almost did it), but if you take another minute or two not only do realize just how strong 'When I' TRULY is, but it also IGNITES. It SOUNDS much better to my ears these days than it did when I originally heard it and were you to tell me that, in a few years, I'd come back to "Levite" and go through it and 'When I' was actually my favourite song on it, I wouldn't give you too much of an argument on that. It is definitely possible. Check the refreshing closer, 'Unda Mi Medz', where Jackson eschews more typical forms of "medz" in favour of natural, organic and old-fashioned MEDITATION. The tune is a very solid one but what sticks out here, for me, is this SWEET portion during its middle where the track is just allowed to BREATHE and stretch its legs a bit as just an instrumental. The riddim here is intoxicating (fittingly) and I loved its opportunity to shine. Speaking of nice riddims, enjoy the one underpinning the also nearly special 'Look Within', a track which had me very quickly. I've tried to make the case here (as I always do) that I so appreciate when artists who come from their own personal side of beliefs -- as we all do -- at least make an attempt to open that side for others (even if I am someone who shares in their belief system) because it makes this wonderful music more accessible and helps to spread the more tangible messages as well, like the need of helping one another more which is something that anyone can understand and agree with. There're EIGHT BILLION people in the world to think that each and everyone would walk the same path and hold the same beliefs is unrealistic and downright SILLY, but when you make a song like 'Look Within', explaining that this wonderful KINGDOM is not my place for you. It's your own personal place and YOU can get there on your own ["a inside you fi go"] and to illustrate that point, Zacheous Jackson talks about the importance of individuality and how maintaining it helps us to find what we are seeking "within". This is delicious stuff for me. We are all EXTREMELY similar but not EXACTLY the same and what works for me may not work for you... and there is nothing wrong with that.
I typically firmly declare a favourite song in reviews and I'm going to do that passively here, reserving the right to change my mind before I've completed my conclusion, but AT THE MOMENT (with a respect to 'Plant Based Rootsman'), that distinction goes to 'Clique'. Somewhat digging into the sentiments expressed on 'Babylon Validation', the artist goes into specifics of all of the difficulties he's gone through in getting his work out to the masses. You know such things go on behind the scenes but, apparently it has happened to Jackson so frequently that the man is sick and tired of it.
"Dem have dem clique, but mi nah inna it
Because I man natural, original, unique
Dem have dem clique, but mi nah inna it
Because I man natural, unique
There is a clique inna England where some DJ only play di music of dem friends
And give dem one all promotion, this unfair to other musician
It deh bring down di music to destruction
Maybe money deh pass between smaddy hand
'Pay fi play', abomination!
Mi hope that a no di situation
Those in di clique get all di show dem and get all di radio play
From Monday back to Sunday -
A di same every blessed day
You hear di same artist pon di radio
You hear di same song pon di radio
You si di same artist pon all di stageshow
Like dem no waan new artist fi come through and pass 'GO'"
I had to stop myself from writing... the entire song's worth of lyrics there because what Jackson goes on to do is to call out people to whom he's sent his work thinking they'd play it on their stations and, years later nothing is going on! You know how frustrating that has to be as you spend so much time and effort (and MONEY, let's be real) working on something with the notion that someone with the power will help you with promotion (to no cost of their own, their business is playing music anyway) and you get NOTHING from it. That is sickening and yet another reason why I've found myself gravitating so often towards not only artists whose music reaches me, personally, but who don't seem to be mentioned a great deal in the circles I keep track of and we'll continue to do that, precisely because of what goes on during 'Clique'. Finally, both 'Lost Identity' and 'Crisis' do good work, especially the latter. 'Crisis' is one of the more dynamic sets found on "Levite" and it's more than just a good listen as well. One of the first things that caught my attention about this one was the wording on the chorus, "The whole world inna spiritual stress", and it develop from that line of thinking as Jackson goes on to detail a large-scale lack of morality and decency that we're experiencing today. For its part, 'Lost Identity', with its very pleasant vibe, goes back to theme of education and history and knowing where you have come from and the route taken by your ancestors. 'Lost Identity' has some SPITE to it. It isn't delivered in a way that suggests that Jackson is upset but when you tune him in, he'll tell you exactly what he's thinking and how it's making him feel and he isn't happy ["A PEOPLE WITHOUT HISTORY IS A PEOPLE THAT DON'T EXIST"]. You may not be happy for listening either, but you will certainly be better informed and the song is well solid.
Just thinking about "Levite", as a whole, there're a few things which stand out. The first is the proverbial elephant in the room (literally): It is VERY LONG (and I know that's hilarious and hypocritical coming from me when I write reviews that look like this) (my wonderful Father always says that "everyone is a hypocrite"). That's fine but, because of that, my biggest critique of "Levite" is that I would have liked to see just a little more in terms of variation. I'm not looking at a Zacheous Jackson release and expecting... Dancehall, but I think maybe a combination or two would have brought another very nice facet to the total sound, particularly if that combination were with a female (or maybe even a prevalent female backing singer). "Levite", in full, is a better album than its predecessor but, with tunes such as the title track, 'Fi Wi Holocaust', 'Murder Eena De City' and others, "The Truth Shall Be Told", to its credit, featured a more varied and colourful prevailing sound (incidentally, if you missed "The Truth Shall Be Told", it is well worth digging up. Some LOVELY music on that album). Speaking to the length of it as well, it is the intent for "Levite", at some point later in the year, to come to physical (DOUBLE) form. Another very minor (probably kinda nerdy) thing that I noticed here and on the first album is the way Jackson tends to end his songs. I've become accustomed to the riddim, sans vocals, playing the song out at its end. This artist will sing the song out more often than not. It's something I picked up on.... probably from writing way too many reviews (no apologies!), but it most certainly is a changeup from what I'm used to. The other point standing out from "Levite" is the one/s I attempted to structure the basis for this review around: GROWTH. "Levite" is a more aggressively written album than 'The Truth Shall Be Told". It isn't always making points and then defending them, it's also calling others out for not standing up and defending them as well. It's challenging and thought provoking and as I've called Zacheous Jackson in the past (and present) a Pan Afrikanist, it is ENTIRELY AGAINST that line of thinking to not challenge the system on a whole and individually.
Overall, in retrospect, the changes that I did notice on the new album are a natural leap and it is reasonable to expect someone like Jackson to have gone from "The Truth Shall Be Told" to "Levite", ideologically speaking. It doesn't come off as forced or as if he's seeking attention unnecessarily. Also, with it having taken so long to put together, one would also expect a talent such as this one to display some type of new aspect to their work. So for everyone who may have a problem with a song such as 'Jesus Christ Is Not His Name' or one of the others, think about it: If they WEREN'T here, you may be complaining that it is too much of the same or that Jackson was playing it entirely too safe. I said as much in the review for the first album:
"I’d like to hear Jackson turn up the heat just a small amount on a future release"
Mission accomplished. So yes, it is incredibly long (there is no FILLER here. Typically when you say an album is too long, what you mean is that there is a run of songs which are just nondescript at best and could have just been left off) and I will still struggle to find a way to recommend another chunk of music from Zacheous Jackson to newer fans of the genre, with some patience and a mind opened to being challenged in a HEALTHY way, "Levite" should have absolutely no problem in finding a very passionate audience amongst people like You and I. Hopefully we pay attention this time. If not.. who knows what that album #3 might bring. Well done.
There will come a point in the respective careers of just about every young artist when one has to not only score with the big hits which will ultimately attract the attention of the masses, but to generally begin to distinguish themselves from their peers in the music. Be it through their lyrics, the style, their image or (hopefully) their actual talent, something will likely have to set themselves apart from the pack in order to get that necessary attention from fans as well as to (again, hopefully), have any chance at having a lasting presence, of any kind, in the music. In Reggae music, this is true as well, but I find that when we specifically deal with Roots music, things are slightly different because doing something which is going too far away from the norm is something which is often frowned upon, as opposed to the raging ‘Carnival Du Ridiculous’ which is the Dancehall. In Roots Reggae, oddly enough, an artist can, sometimes, have even more successes when they stick closer to the tried and proven methods of old and, because of this in my opinion, it’s very important that Roots Reggae artists at or even near the highest level, whether they exhibit it consistently in their music or not, are at least capable of displaying that they comprehend the most basic principles and ’tenets’ of this wonderful genre. Roots Reggae, still today, is very much a culturally, spiritually and socially aware type of music which is meant to EDUCATE & INFORM (more on that later), uplift AND entertain its listeners. Now watch this: In Roots music, while it is still very important for an artist to be able to individualize themselves and to continue to do so, taking these most basic and ubiquitous premises of the music and sharpening them and perhaps even mastering them can be how someone makes a name for themselves. The audience of those seeking the proverbial ‘strictly Roots’, globally, is the largest that Reggae has (evident by both the number of tours and albums you see coming from providers of that form compared to those in the Dancehall and other forms) - So feeding this very heavy Reggae starved group is something which can keep you around for a very long and fruitful time - Having successes and actually getting your musical messages out to those who need it. For an example, I’ll use a favourite of mine in Lutan Fyah. Now WELL into his distinguished career, we pretty much know what the Fyah is all about, musically and while he surely has a bit of an unusual skill - Lyrically he is nearly in a class of his own - His music, on the large scale, is very USUAL. He doesn’t have to step very far outside of his comfort-zone to make winning music. Luciano, Bushman, Junior Kelly and several others are also great examples of artists who need not BE unusual to make music at an unusually high level and the name we find ourselves confronted with today is another who has obviously gone about accentuating the basics to get us looking and listening in his direction - Zacheous Jackson.
Album Sampler
Prior to late last year or so, I hadn’t even heard Jackson’s name and even when I did; it wasn’t anything which stuck with me. So, it was somewhat of a surprise when I saw his name on the quite recent Step By Step Riddim from the Hawaiian based, Rumble Rock Recordz, which made me remember having seen his name before from . . . somewhere. Oh! I had noticed his name while flipping through endless pages of album releases. One of which would have been ”The Truth Shall Be Told”, a full length album from none other than Rumble Rock Recordz (small world), but other than that, I knew nothing of the man. Well, as it turns out, Jackson, who makes type of music which emphasizes many of the foundational ideas of Roots Reggae music, and does so quite nicely, is originally from a place which, at least until very recently (with the arrival of wonderful names such as Gappy Ranks and Mr. Williamz), is very well known for producing these types - England! His family is from Jamaica, where he reportedly fell in love with Reggae music and that makes his journey to us quite remarkable - Taking a very different course, especially fro someone from the UK. Somewhere, located in the most simple recesses of my mind, I was already noting that ‘Zacheous’ sounded like ‘Nereus’, as in the WICKED UK based St. Lucian born singer and Achis Reggae favourite, Nereus Joseph. Little did I know they had even more than the vague phonetic name similarities in common. I could also mention the likes of another of my favourites, Lloyd Brown, and even the recent Adele Harley as examples of UK artists who, although remarkable in some instances, don’t tend to step away from the music, itself, to distinguish themselves within it.
Zacheous Jackson
As for Zacheous Jackson, in particular, what I heard when I really began to dive into his music was another artist who, while certainly not someone who’d draw adjectives out of me such as ‘dynamic’ and the likes (at least not ostensibly and hopefully I’ll come back to that), did strike me as being very INTELLIGENT and SOLID and there is skill and uniqueness in both of those. More importantly, if we are speaking in tangible abilities, Jackson proves that his sharpest quality is definitely his pen. He’s a very impressive lyricist and after a few more tunes I even began to draw comparisons from him to not only Nereus Joseph again, but another artist who once performed Roots music which came through in its most traditional form (and another with Western Jamaican ties, as Jackson does, as well), the legendary Peter Broggs. Take that and combine it with the vocal approach of something slightly similar to what you’d hear from a Horace Andy or a Bim Sherman and I’m interested and listening through ”The Truth Shall Be Told”, it was, basically, exactly what I was expecting. Let’s have a listen.
In terms of the subjectry that you’ll find on the album, to get things started Zacheous Jackson appears to be right out of the Pan-African line of thinking which, for someone who has obviously traveled as much as he has, isn’t very much of a surprise, but it is a very welcome addition when listening to his music - That so much of his philosophies fall within this frame of thought. The prime examples of this would be, fittingly, the three opening selections of ”The Truth Shall Be Told”, the debut album from Zacheous Jackson for Rumble Rock Recordz, ’400 Years’, ’Fi Wi Holocaust’ and ‘The Truth Shall Be Told‘. This trio of tunes examine different portions of the same prevailing topic, the Afrikan Disapora. What I found quite interesting between the three is how increasingly spiritual they become. The opener is a tune which drives up DIRECTLY to the doorstep of the oppressors of people of Afrikan descent.
“Dem no waan you fi know Di truth of who, you really are Dem waan you fi ‘tan inna ignorance Fight one another inna war From di truth and di light, dem waan you fi stay - Mi seh, well far From the knowledge of who you are - Dem waan you fi be a stranger”
Were there any questions (and there shouldn’t be), Jackson is sure to make known his musical intentions to all who will listen to this album.
“Mi no inna di gun-carrying lyrics Writing - No Mi no inna di gun-shooting Lyrics writing - No Mi no inna di lyrics about skull boring No Mi no inna di lyrics about, marrow flying”
This tune, ‘Conscious Music’, at least in my overactive opinion, has a pretty large social significance, because it seems worthless to make it without it. Besides just saying that this is the type of music he makes, Jackson is also saying that he makes it for the purpose of not burdening society with negativity and burdening young people with it, in particular and it is a concept which he, directly and indirectly, refers back to throughout the album and one which he also places into practise sixteen times (no exceptions). To my opinion, the greatest exhibition of ‘conscious music’ on ”The Truth Shall Be Told” album is the LOVELY tune which comes through at song number four, ‘Hold On’. Ostensibly, this is the type of ‘holding firm’ tune that we’ve heard dozens and dozens of time before, but this one has something special to it - A bit of star quality - to my ears. It’s also just a very full sounding vibes and within that is something which draws the listener further and further into the message. I lead a line unswervingly connecting the message of that big tune to that of another big tune which ultimately closes the album, ‘Nah Go Get Weary’, which builds on the previous tune by adding a large spiritual element to it. Somewhere in here I began to make the connection of the ‘Luciano v. Bushman’ style of writing within one artist in Zacheous Jackson. Previously people would remark on just how much the two singers sounded like one another, but they’re totally different as writers. Bushman makes very tangible and real-world type of anthems, as opposed to Luciano who seems to musically teleport his listeners into the presence of The Almighty. Jackson does both (and sometimes does them both on the same song, and on the same verse of the same song), which is very impressive at its best.
I also, through the messages of the tunes, ‘paired-off’ both ‘They Are’ and ‘Politician’ which are songs speaking to world leaders/oppressors and their mis-actions which are hurting the world. The first of these is pretty decent and after a while it REALLY picks up nicely, the latter is just a great song in every way and listening to it with a friend of mine, he and I both seemed to remark at the same time, how nice it would have been had Jackson made the tune a combination with a fiery chanter, because the song is so nice and just a bit of added blaze would have taken it to an even higher place. The tune which precedes ‘Politician’ on the album, ‘Tribulation’, is another decent set and one which goes in a slightly different course to make a similar point. Jackson speaks on the troubles that he, himself, goes through living in England and what he’s experienced in his lifetime being who he is and being where he’s from. It’s a very relatable tune and one which he presents in a very straight forward manner. Jackson keeps it very straight forward and undeviating throughout, although the one minor musical detour he does take, ‘Better Dayz’ proves to be one of the album’s genuine highlights. The song has R&B type of stylings at work on it, but it’s very much of a Reggae-centric type of song, in terms of the message and, just for the changing of the vibes, I was very pleased to hear it and have my head knocking on what is likely the most ENTERTAINING tune on the album, which also features Jackson going the Spoken Word route in the song’s latter stages which is a real winning point and not the only time we hear it done on the album.
'Will My People Ever'
Of the remaining tunes on ”The Truth Shall Be Told”, ‘Will My People Ever’ is probably my favourite, even though I’m going to critique it shortly. The premise of this song is very interesting because along with offering the refrain of:
“Will my people ever rise? Will they ever truly be free Will dem overcome dis yah bondage - Bondage of mental slavery”
It also offers examples of exactly what Jackson means. He speaks about people bleaching their skin and raising their children carelessly, which seems to suggest this RIPE topic of self-oppression and self-imposed slavery in some respects and you may not completely agree with Jackson, but his methodology in composing this track is to be well respected. ‘Far Away’ has a similar vibes to it but . . . That’s right - It’s a song with a more spiritual incline to it. Here, Jackson expounds on poor actions of the people and the lack of EDUCATION (and other things - “Remember that deh letter by di one dutty Willie Lynch, he. Well nuff a wi still living the Willie Lynch reality”) being examples of things which are moving us “far away” from the ideal situation that The Almighty had in mind for us. ‘Murder Eena Di City’ has a different sound on this social commentary which follows a pretty impressive set geared, again, towards bringing up children in a more careful process, 'Fi Wi Yute Dem', which seems to be a very crucial element in Jackson’s writing. And finally is a very strong pair of tunes in ‘Come Away’ and ‘Day Of Yah’, both of which, arguably, are two of the album’s standout tracks. Personally, I found the former to be a mighty tune with its LARGE and pronounced vibes and Jackson imploring the masses to ‘come away’ from negativity and to come towards righteousness. The former - I’m still working with just a little, but it too is nice as Jackson warns all who’re living in a foul way to correct their ways because the ultimate correction awaits.
Looking at ”The Truth Shall Be Told”, as a whole, two things stand out in opposite directions. The first is the good - Despite the fact that I’ve kind of set the premise of the review as someone exceeding within doing the basic pieces of Roots Reggae music (and I still stand by that, clearly), the album very much has an identity of its own and that, in fact, is another part of that skill. If I can succeed doing what is expected of them, that’s pretty special and with Jackson‘s quick wit and sharp pen, it helps his cause even more. The bad - As I alluded to it (or at least I think I did), my only real critique of this album is a sonic one. On a few of the tunes, including ‘Will My People Ever’, there seems to be some type of disconnect between the vocals and the riddim. Ideally one would want a song where the two entities seem to MELT into one another so perfectly that you have a hard time imagining that riddim for another song and those lyrics for another riddim, but at times here, it appears as if there was a difficult time ‘marrying’ the two and I don’t know if that is a product of Jackson’s somewhat unusual vocal style or something else (maybe I’m just imagining it), but it’s what I hear, mainly in the middle portion. Oh, and it should be said that the artist is WELL supplied with some excellent compositions in general.
Overall, what we have here is a very solid Roots set from Zacheous Jackson. I can recommend it, but I’m only going to say to very heavy fans of Reggae music. If for some reason you are a newer fan and are considering picking this one up, you can do so, but I think it may be a while for you before you can REALLY enjoy it and come into the ‘fullness’ of the music as well. When such a time does happen for you (or if you’re already an experienced fan - likely if you’re reading a review like this one), what you’ll find is not only an artist who works wonders within the primary ‘confines’ of Reggae music, but someone who you kind of feel is capable of even more. I’d like to hear Jackson turn up the heat just a small amount on a future release and I also hope that he falls more into the ‘regular’ rotation of UK artists in terms of recording more and more. Until that time, however, we’ll have this fine introduction in ”The Truth Shall Be Told”.
