"All For A Time" by Pressure Busspipe [Zion High Productions]
"Pressure Busspipe & Zion I Kings": That is far more than enough to get my attention and, if you have any sense (literally ANY AT ALL), it's the same case for you. Absolutely MASSIVE news today as "All For A Time", a brand new project linking the two longtime favourites of ours, for the 900th time, has finally reached and you know we had to take a listen. I won't go over too much, but in their catalogue together, Pressure & ZIK have given us two albums which we've rated at 5/5: "Rebel With A Cause" and "The Sound", which we also named as 2014's Album of The Year. Individually, they're both also huge deals around here and I've been writing about them for... more than twenty years at this point. Whatever they do is enough to get my attention; together, they're potentially special. The new release actually lines up with the exact completion of Pressure's 45th rotation of the sun (I could be wrong but I want to say that he's actually done that before and, of course, you'll recall just last year when Chronixx did the same thing with his most recent album, "Exile") to add to the circumstances behind it.
"All For A Time" is basically an EP. It features ten tracks, half of which are vocals, the other half (DELICIOUSLY) are dubs, so it lines up perfectly for the mini-review format that I've been doing lately (actually stopped writing another one to dig into this one). Apart from that... I mean... IT'S NEW PRESSURE BUSSPIPE MUSIC! LET'S GO! "All For A Time" gets moving with the downright MAJESTIC praise 'JAH Is Worthy'. On its surface, the song is almost ultra-straightforward in terms of both delivery and how it is written and it is transparent to an excellent degree. When you do dig a bit deeper, it does have a more complex element but we'll deal with that in the second half when I tell you all about the wonderful dubs on this project. Next up is our title track. Let's talk about this song for a minute.
TEARS!
When they finished this one, I think it's clear everyone involved were well aware what they had on their hands. 'All For A Time' is SPECIAL! It is of a caliber that would see it rank amongst the absolute finest of the St. Thomas burner's entire career and it is THE main attraction on the release named for it. It is absolutely STUNNING! From that syrupy sweet opening throughout the beautiful track as Pressure tells us all that nothing, including the roughest of times, is permanent.
"Though it hard I nah sell out
Suffer so long and can't wait to get the hell out
I smoke some marijuana and get mellow"
'Shine' is the sole combination on "All For A Time" - featuring the well gifted Imeru Tafari (coincidentally, whose mother, Queen Ifrica, has a new album of her own releasing next week called "Breath Of Life" on what happens to be my own 45th birthday) and it's another one that excels via a powerful simplicity for the most part, although Imeru does turn up the fire just a bit later on for a riveting stretch which is not to be missed ["Binghi youth deh pon a mission, clinical wid precision. Your vision spiritual so you no need no permission"]. The old school rinsed 'Be Somebody' has a riddim which SCREAMS that I know it from somewhere and maybe I do but getting to know this song has been damn delightful!
"See your brother as you see your self
If I wish you good, you wish me well also
Everyone has importance-
From the homeless to the orphan"
Nothing no really impossible
ONCE YOU FLY YOUR VISIONS OVER OBSTACLES
Give it everything you got in you
You're the only one stopping you
Check ya attitude!
Cause nobody wants to be a nobody
Everybody wants to be somebody
Don't you take 'no' for an answer
Listen quick and slow your anger"
There is an infectious... almost JAZZY/BLUESY quality to this song that isn't entirely prevalent throughout but pops up during the chorus which absolutely CAUGHT me! The rest of the song is lovely also and I'll tell you that Pressure has more than one (GOOD) album that 'Be Somebody' would be in the conversation as being THE best song on. Did you see what I just said about 'Be Somebody'?? [If you didn't it's literally right there] The final vocal offering on "All For A Time", 'Rasta Children' is even better and CLEARLY so in my opinion. Ranking only second to the title track, the THICK 'Rasta Children', as you might expect, is a wonderful praising tune from Pressure and though you'll find a number of such outstanding similar efforts within his catalogue, even most of the best of them rarely reach such heights.
Let's talk about those dubs for a second put a conclusion on this one and call it a day. I'll bounce around a bit but let's head straight to the head since I did allude to it previously. 'JAH Is Worthy Dub' SHINES even brighter, arguably, than the original version. If you're unfamiliar at all with the work of the ZIK, the players of instruments include the typical esteemed cast (Tippy I, Jah David, Moon Bain, the late Andrew Stoch and the likes) (Stoch has been physically gone for nearly six years and we're still celebrating his work. What a life that man led!) with a different name or two in the mix as well. This time around, Roberto Sanchez lends his monstrous talents to the project and, as is the norm, it is fantastic. I've always said that I'm not the biggest Dubhead in the world but I've always appreciated the Dub work of the ZIK. 'JAH Is Worthy Dub' has to be amongst some of their finest. Also, you really get a feel for just how complex and detailed this particular sound is here which is constantly one of the main points of interest for me on these type of releases. Just as dense as 'Rasta Children', 'Rasta Children Dub' is another big winner here but in a different way than 'JAH Is Worthy Dub'. 'Rasta Children Dub' is a bit more on the spacious side and it is lovely. I could listen to this all day long. The Jazzy element that I spoke about on 'Be Somebody' isn't present at all really on 'Be Somebody Dub' and that's fine because what remains is more than solid and a big credit here goes to one Okiel McIntyre for his horn work which highlights the sound. 'Shine Dub' is all sorts of interesting and I was very curious as to how they would handle this one with two voices to attempt to mix into things. 'Shine Dub' actually is more skeletal but the thing that sticks out here is... I don't know if it's a flute or what it is (probably is a flute and if it is it is attributed to Zoe Brown) but whatever it is, it lights this track up brilliantly. It makes 'Shine' GLOW! Lastly, the all-conquering 'All For A Time' makes way for 'All For A Time Dub' which is nearly as enchanting (yes E N C H A N T I N G) as it vocal version. I won't even begin to try to work my way through everything that is going on with this one but I will say that, beneath it all, SOMEWHERE in there is an oh so slight and but PERFECT guitar. It becomes much more pronounced later on but up until then (and including then) it hits all the right notes... or chords, or whatever you call those things on a guitar.
Overall, like I said, I've been writing reviews for Pressure Busspipe's work for a very long time now and I rarely come away disappointed and "All For A Time" is not an exception and I knew it wouldn't be (and so did you). It's going to be next to impossible for me to believe that ANY fan of Modern Roots music won't enjoy this one. "All For A Time" features two of a our favourites, Pressure Busspipe & The Zion I Kings in outstanding forms.... they pretty much always are and that is more than enough for me.
Over again. It tends to be easier to remember certain things when there is a significant moment or occurrence tied to them. If I were to ask you what you remember about some random year that you lived through, perhaps you'd have something specific to say or perhaps not, but if I then reminded you that it was the same year that someone you knew died or that someone else was born, then maybe it might bring back waves and waves of specific instances that you could suddenly recall... because you now you have something in particular to give you a timeframe to attach them to. For example, do you remember 2002?? Musically speaking, in particular? No?? Okay. 2002 was the same year that Capleton and VP Records shipped "Still Blazin'" and had as all wondering if it were some kind of disrespectful to say the album was POSSIBLY as good as or even better than the album which preceded it, the all time great "More Fire" (over twenty years later, it wasn't disrespectful at all). Bring back any memories? No?? Okay, later that year Sizzla Kalonji would put to bed any rumours of his musical demise by giving us "Da Real Thing", providing a hint that the genius behind "Black Woman & Child" and "Praise Ye Jah" was alive and well and still burning. And just in case you needed anything more from the 2002, there was also an album released called "Dutty Rock", which would go to find its star, Sean Paul, and a few of his peers, taking over the entire world for a nice amount of time. There are periods like that which we live through and are fortunate for it but, even more interesting, there're also longer lasting stretches where.... things are just SO DAMN GOOD that it is important while you are in the moment to appreciate what it is that you have because you have enough life-experience to have lost things that you long for, that YOU KNOW are never coming back. Last year we reviewed an album which would go on to be one of the better of 2023 by the name of "Ah Mi Yard" by Achis Reggae favourite Perfect Giddimani. That set was excellent, although on the shorter side of things (had fourteen songs but really just seven with dubs for each one making the second seven) and, looking back to it now, it has aged quite well. A year on, there are two tunes in particular which stand out from "Ah Mi Yard", the title track (normally the case. Just like in the premise of this review, if I asked you what you recall about 'Ah Mi Yard", you're probably going to start singing 'Ah Mi Yard') and another one called 'Give Me My Flowers'. The latter of those two will likely always stick with me because I absolutely LOVE the sentiment behind it of giving someone their credit and their due WHILE THEY ARE AROUND TO APPRECIATE IT! That song and that album, and probably a dozen more or however many more and the one we're dealing with today have lead me to think that maybe it's time to give someone their flowers and not just for one sweet year that they gave us. It's been a really long time coming.
"Ah Mi Yard", like pretty much everything Perfect does these days, came partially via his own Giddimani Records label but this time it was in association with the actual producer of the set, I Grade Records and the Zion I Kings. I'm not going to attempt to run down the list (well I am, but I won't bother you by writing it out) (I'll do it in my head instead), but I have written SO MANY reviews, previews, re-reviews and other features on ZIK released material (and even about IGR prior to their linking with the Z and the K (more on them in a second) or at least prior to my knowing about it) (.... now that I think about it, I also wrote about the Z and the K before I knew about the collaboration as well) (you know what else came out in 2002??? "Culture Dem") over the years. Even with all the time we took off, between dealing with all of the various Akae Beka sets (still have one on my front page to finish, one of these days, for 'Mek A Menshun") and various other things, I don't know if there's anyone else on the planet who has written more about the ZIK than I have - especially given the way I usually write. I absolutely LOVE their work and it has been every bit as influential on what I write as the golden years of Xterminator which would birth the likes of Sizzla Kalonji which really got me interested in writing in the first place. CREDIT is due and I have no problem continuing to pay it.
In the midst of the Akae Beka albums and others from Perfect and a few other wonderful artists (some of whom we will be talking about today), the Zion I Kings have maintained a riddim album series which has been both plentiful and fruitful (both of those probably mean the same thing, I don't feel like looking it up to confirm, but what I'm trying to say is that the series has supplied both quantity and quality). With the very first installment arriving in the summer of 2013, eleven years later we're now at number ten! There have been some BEAUTIFUL drops along the way with that number one, the Songbird Riddim, being amongst the standouts. The Lifetime ["Put a fyah in deh!"], the Perfect Storm, the Mash Down, H.I.M. Teachings.... I could go on and there's ten (technically nine, because this is number ten), so I'd probably end up mentioning SOMETHING from them all and justly so. They have given us, fans of modern Roots Reggae plenty to be happy with in the series over the years. The most recent entrant of the series, the Mash Down from 2021 which I just told you about, came via the "Kings", Lustre Kings Productions, and they have been very successful in alternating the label behind the actual releases (which sounds like such a healthy way to do business between three different entities) and in 2024, next up is "Zion", Zion High Productions, who carries the bat for the brand new Full Bloom Riddim, volume ten of the Zion I Kings Riddim Series. I hadn't been aware that this set was even in the offering and it came as a very much welcomed surprise. Norris Man, Ras Shiloh, Etana, Ginjah and now the ZIK all do brand new albums within a week of one another (and I'm going to tell you about someone else, who appears on this one, also having a new studio album out on the very same day as the Full Bloom). This is a FINE time to be fan of modern Roots Reggae and it is only getting finer. Of course, as is the case with any compilation, one of the most interesting aspects of the Full Bloom Riddim is the artist selection. Here, we have a roster largely of artists who frequent the ZIK itinerary (probably a poor usage of that word, but I'm keeping it!) with one or two surprises along the way and some very unique blends of styles jumping from one name to another. They also, delightfully, cover the critique of mine which would have been - 'I wish they would have had this type of an artist'. They're all covered and what results is..... well, it's exactly what you expect. They've been doing this for a really long time. Let's get into it!
Just as important as the names voicing it is the riddim, itself. It's pretty damn difficult to have a good riddim album without a good riddim (you know I'm now going through my mind, trying to think of a riddim that I didn't particularly care for but, somehow, made for a good album) and that is not an issue here at all. The Full Bloom is typical, mellow and ultra easy brilliance from the Zion I Kings which makes for a more malleable and versatile backdrop for its vocalists to shine across (and we'll talk about that more, later). Surprisingly, I'm going to make the case that NO ONE shines brighter than Imeru Tafari, who opens matters on the Full Bloom riddim with the absolutely SHATTERING '1930'. TEARS! You may or may not know Tafari from his famous bloodline and he is living up to his heritage and more with a song like this. I use the phrase 'praising tune' to describe songs like this, generally and that is just what this is, but this is a PRAISE of the HIGHEST POSSIBLE CALIBER! Along with the historical facet it puts on brilliant display, '1930' also brings in present, modern-day application for what history has taught us and puts on a lyrical performance which is not to be missed!
"Haile Selassie give mi di mission and di battlefield
And Empress Menen give mi di formulas and strategy
No lose yuh sanity cause His Imperial Majesty-
Will help you overcome yuh trials and di travesties
MY MISSION IN LIFE IS NOT ONLY TO SURVIVE
DISGUISE DI TRUTH DEM IN LIES
I WANT YOU OPEN YUH EYES
THE KING AND THE QUEEN DEM WAAN FI DIVIDE
HAILE SELASSIE A LIFE"
When I heard this tune, it gave me the core idea for this review. There have been SO MANY times like this where I listen to a tune from the ZIK and it just... it floors me! I can go through albums full of them for the sake of nostalgia and just spend hours and hours HAPPILY enjoy the trip back. '1930' has just been added to that itinerary going forth (think I used it right that time). We go from The King of Absolutely Everything to The King of Fire as Capleton blesses the Full Bloom with the outstanding 'Hold Your Head'. Nowhere near as active as he once was (and that's perfectly fine), these days I don't take appearances from King Shango for granted and he makes it very easy not to because he is as dependable as ever. I don't think this is 'officially' the first time Capleton has worked alongside the ZIK (he was actually on "Culture Dem" but that was probably before ["CYAH EVEN SI DEM, WHOLE A DEM AH HIDE!"]) but it just may be and, regardless, I would LOVE if he made it a more frequent stop of his, even these days. Capleton has long been one of those individuals who has something which, perhaps, overshadows his talent. The ENERGY that man has brought Reggae has been unrivaled but, anywhere even remotely near his best and he's one of the most lyrically gifted lights the music has ever produced. Things stay easy here (for the most part, he does give us a bit of spite, here and there) on a big inspirational vibe which worked excellently for me and it still is. Micah Shemaiah is certainly no stranger to the works of the Zion I Kings and he returns to also have a bit of the Full Bloom via the infectious 'Dis Ya Rockers', turning back the clock to a sweet era of the music and doing so on a very fitting platform. Along with paying homage to yesteryear, 'Dis Ya Rockers' also does a great job of something that can be very powerful: HE MAKES THE LISTENER FEEL GOOD! 'Dis Ya Rockers' is soul food. It's really pleasing for the senses and it isn't in this kind of vacant way, either. There is substance here as well and I ended up coming back to this one quite often (and I still do), for good reason. Very soothing.
The Full Bloom Riddim carries tunes from four of my favourite current lyricists today and neither of them disappoint and turn up with big winners. First in, appropriately, is GRAMMY AWARD WINNING Kabaka Pyramid, with 'Start My Day'. I didn't recognize this track my name but when I got the very first taste of it, I started singing along with parts of it ["Besides you is the warmest place"]. It may've been the first sample of the forthcoming Full Bloom that we received when it dropped earlier this year. With seemingly the easiest of efforts, the Pyramid spends stretches of 'Start My Day' positively DAZZLING the listener. I'd call this one a love song, it basically is, and it's relatable as can be: 'Start My Day' is a song about the realization that you have found your PERSON and all of the wonderful feelings that comes along with it. Whoever they are and wherever you are with them, that's the person you need to be with and Kabaka Pyramid made a great song about it. If you've spent any time at all hanging around these parts, chances are more than decent that you know that I have been a looooooongtime staunch supporter of the lyrical prowess of Lutan Fyah as well and he's given me decades now of ammunition to show why. Here, he teams up with veteran Little Roy to push the SMOOTH 'Jah Can Count On I'.
"Like thief in di night, when all at rest
Everything calm and no one expect
JAH CALL AND DEM NO READY SO DEM WASH WID COLD SWEAT
And when di heavens declare, The Most High mek a step"
There is a BEAUTIFUL blend of MOODS on 'Jah Can Count On I'. The chorus, arguably the most intoxicating on the entire riddim, is so easy and relaxed but then the Fyah does kick in occasionally, bringing in a nice amount passion, giving the tune such a strong dynamic. Easily one of the strongest selections here as Lutan Fyah & Little Roy prove to be a MAMMOTH pairing (and forgive me for a second for being a giant nerd, but the ZIK have a history of bringing together very interesting styles on tunes for combinations and this isn't the only time it happens on the Full Bloom Riddim). My expectations went straight through the roof when I got to track #10, 'Greatest Thing', as the name behind it is another longtime favourite of ours and someone who has shown herself capable of downright DOMINANT lyrically, VI wizard, Reemah. On this track, she's simply giving thanks for waking up another day and being able to enjoy life. The song is a very basic (not really) CELEBRATION OF BREATHING and the artist, once again, continues to fuel rumours that she is.... either from another planet or from another era where they have time machines because this shit is just not normal:
"When I wake up inna di morning time
I grateful that I si di sun shine
GIVE THANKS FOR EVERY BIRD, TREE AND VINE
Count up mi blessings and a di more I find
Know that life is a precious design!
Coulda never unda none di dollars and coins
STILL APPRECIATE EVERY HILL WEH I CLIMB!
AND LIFE IS A GIFT FROM DIVINE!
Life is di greatest gift weh I know
AND LOVE IT A DI SEED AND THAT'S WHAT I SOW
So watch it and grow bigger than silo
Yeah, mi spread it from di UK down to Cairo
You no si a life - dem ah waste it
And when it gone, wi could never replace it
STILL AH SMILE THROUGH DI STRUGGLES WEH MI FACED WITH
AND IF A LOVE, WITH OPEN ARMS WI EMBRACE IT!
More life and a dat wi embrace
Haffi mek a choice and wi cannot hesitate
MINDSET AND OUTLOOK, A DAT FI RENOVATE
But it begin from within, so that first fi elevate
Got to focus on di positive
Cause life is there to teach, no matta what it is
YEAH. AND WHEN I LAY DOWN ALL MI BAGGAGES-
I SEE LIFE IS JUST BEAUTY WRAPPED UP IN DIFFERENT PACKAGES
Wi know life is di greatest thing
And I am grateful for the joy it brings"
WHAT! PARDON! EXCUSE ME MA'AM! Again [!], give thanks that you live in a time where you're able to hear 'a person' (or whatever she is) who is capable of doing things like this. Off the top of my head... I can't recall the Zion I Kings doing a full album for a female artist (there was an EP by someone who we'll be talking about in just a minute), if/when that time was to come, surely Dezarie would have to factor into that, but so would Reemah. A sharper pen in any genre of music that I listen to simply does not exist. Unsurprisingly, also making an appearance on the Full Bloom Riddim (he and Lutan Fyah have been on each and every riddim in this series) is St. Thomas supernova, Pressure Busspipe, checking in with the towering 'Ever Need'. Wayyyy back on the aforementioned Songbird Riddim, now nearing eleven and a half years old, there was a tune by the name of 'I Know' by Danny I (biggup Danny I). The very first words spoken on that song, "WHEN I HEAR THE SONGBIRDS, I THINK OF YOU", for obvious reasons, provided that track with its SIGNATURE moment for me. When you speak of the Songbird Riddim (or even if I just hear the WORD "songbird", in some other capacity), I instantly go in my head and start singing 'I Know'. I bring that up here because I'm not surprised if, a dozen years from now, someone says "full bloom" and I'm thinking:
"Jah love is all I ever need"
In its complete simplicity, Pressure lands what may just be the single mightiest blow on the Full Bloom Riddim; and thankfully (and predictably), the line is surrounded by typical brilliance praising His Imperial Majesty.
"This moment, I've got to say-
Life is amazing, it's what you make it
Every morning I meditate, so doing some good, as much as I could
I'm grateful for everything
We thank you, Jah, for restoring life
His mercy endureth for i-ver and i-ver
In His name, I rejoice
Jah love is all I ever need
The war and crime bring misery
Jah love is all I wanna see
Inna Zion, there is no poverty!
Got to live a little
With the life Jah give you
HAVE ALL THE CASH AND, WHEN IT GONE, CAN'T TAKE IT WITH YOU
Do so everyday, freedom is the only way
The negative will get you caught in the middle
DO SOME POSITIVE AND THEN YUH BLESSINGS TRIPLE
LOVE AMONGST THE PEOPLE NEVER COST A NICKEL
Fi yuh owna happiness, yuh responsible"
The highlights continue to roll through the Full Bloom Riddim and from many different directions. Certainly one of the most (and maybe even THE most) curious comes in 'Too Dread', a giant combination bringing together a pair of ZIK vets, Arkaingelle (will always give a massive credit to Arkaingelle for dropping one the single greatest tunes I have EVER heard from anyone, 'Manifess Joy') and Jalifa, as Guyana meets Trinidad. Back in 2020, Arkaingelle would release "Nuh Watah Down", a beautiful album (which would make for a really nice Vault Review someday), courtesy of ZHP and two years on, Jalifa would do the same with her EP, "Incient Ras"; so neither being here comes as a shock at all but it doesn't seem like an obvious combination at all and whoever had the idea is showing a bit sagacious planning behind the scenes, themselves (same person was probably responsible for pairing Norris Man & Pressure back in 'da day ["WHEN YOUR TIME IS UP, DON'T CRY TO ME! YOU WERE WARNED ABOUT THIS!"]) because 'Too Dread' is as sublime as it is colourful. What I took from this one is the importance of standing up for what's right, no matter the circumstances and if it 'invites' negativity from some others, or if some take "offense" to it, then so be it. I'll refrain (as much as I don't want to) from transcribing anymore lyrics in this review, but Jalifa BLAZES throughout, especially during her final verse ["Don't call yourself a lion. You're a frog"], while the Arkaingelle keeps us grounded. I wouldn't expect it to happen again -- I didn't expect it to happen this time -- but if these two.... wanted to make another tune (or two or three), you wouldn't get a complaint out of me. Earlier this year, Peetah Morgan from the famed and GRAMMY AWARD WINNING Morgan Heritage made his transition, but he has left us with years and years of works to go through and enjoy and dissect and his latest creation, 'Who Run The World', is a golden social commentary on the Full Bloom Riddim. Questioning the genuine 'super powers' of the world, Peetah suggests that IT isn't necessarily he or she is loudest of most visible (or who "hold a glock") but is, instead, someone keener on keeping a lower profile while things play out on the forefront. Peetah has (not had, he HAS) a very interesting voice. It has a really large PRESENCE to it and his music, inherently, stirs up some type of emotions in his listeners and when you put it together with such a well written and structured composition as you have in 'Who Run The World', the results are damn impactful and biggup Peetah Morgan.
The album for the Full Bloom Riddim released officially on the 19th of July, 2024. On that exact same day, another album by the name of "Feeling Irie" also launched on LTK20 Rechordz (now why would you spell it like that???). Besides a genre, both share the talents of the great Glen Washington. Here, the ever present ZIK fixture ["The joy! That Jah blessing brings"] stands up for everyone, everywhere and gives us 'Rights For Everyone'. I loved the way this tune starts combined with where it ends up:
"Open your eyes and see what Reggae music is doing for me
People are out on the floor, saying 'pull it up' and 'play it some more' "
[Last time, I promise] The Clarendon native goes on to speak about several different topics but the one I think that brings them all together is the idea of speaking up and speaking out when things are not right. That's what Reggae music does. That's what you do to bring honour to His Majesty. You don't allow corruption to exist and not say a damn thing. You make songs like 'Rights For Everyone' and if you can't do that, then you play it for anyone who will listen... or you write giant reviews and suggest that others take a spin. If you missed out on Kabaka Pyramid's 'Start My Day', then maybe the first time you laid ears on the Full Bloom Riddim came courtesy of Jesse Royal on the absolutely GORGEOUS and quite clever 'Love That Don't Change'. Do you have someone in your life, WHOEVER IT MAY BE who you know that you can just depend on, regardless of the situation. If you need any type of help they're there for you without question. 'Love That Don't Change' isn't a song about honouring that type of person or thanking them (though you should do both of those things. Right now and every chance you get). It is about BEING that type of a person for others. Being dependable and caring about your loved ones and demonstrating it at every opportunity. 'Love That Don't Change' is also golden. Along with the sentiment, it just SOUNDS divine. 'African Pride' also sounds nice (the song and just in general) as its star, MediSun, delivers a very slow and easy BURN in the name of the African Diaspora. MediSun also appeared on the Mash Down Riddim (with the blistering 'Hands Off') and if you've been paying attention to his output in recent times, you've noticed that he has been enjoying a FINE form over the past couple of years or so (and it continues. He has a couple of other new tunes, 'Extra Heavy' and 'Mek A Sound' which are also top notch). Still, with that being said, 'African Pride' ranks healthily alongside his very best as MediSun continues to prove himself someone difficult to ignore. 'African Pride', as someone of African descent, just hit me in so many nice places and I spend the vast majority of my time listening to it with a smile on my face as my default position. A definite highlight on the riddim and were it not for the fact that I've already put entirely too many lyrics in this review, I'd have no problem including blips from 'African Pride' as well, but here's a paragraph break so you can actually hear the tune for yourself.
"Like di lions in foreign cages-
Dem send di missionaries out to miseducate us
500 YEARS OF DI WHIP COULDN'T BREAK US
NOT EVEN DI ATROCITIES WI SUFFERED ON PLANTATIONS"
[I couldn't help myself] Swiss chanter and another returner from the Mash Down Riddim, Ras Teo, stops by the Full Bloom Riddim as well to teach us about 'King Lalibela' with a song that should have probably come with a warning of sorts. Teo's music, at least in my opinion, has an extremely straight-forward charm to it. For the most part, he seems to keep it relatively simple and when you have actual talent (and he does) and you make a sound like that, I think that it provides your music with a very OPEN dimension to the point where if you were to ask me which tunes on this riddim I would recommend for more casual listeners of Reggae, 'King Lalibela' would definitely be in that lot. The warning it would come with would be at the chorus. It is so simple and so nice but it will GLUE itself to your brain and it will not remove itself. It just won't. When you dig into the actual verses, you'll come to notice that much of the rest of the song (pretty much all of it) is also just as hard to shake as 'King Lalibela' is just one SWEET sound and it also has depth to it as a lovely. Speaking of lovely, also included here is 'Full Bloom Dub' and I'm not going to insult your intelligence by explaining what that is directly, but I will say that I always enjoy clean versions of tracks on riddim albums, particularly ones from the ZIK. I lack the musical education to explain exactly what I hear but I will say seems to be a staple of theirs is the amount of detail that goes into their work. I know that sounds ridiculous but what I mean is that when you listen to a clean track from the Zion I Kings as opposed to it with vocals (although sometimes you'll hear it there as well), the thing just BLOSSOMS. IT BLOOMS! It develops and reveals itself to be something more than you noticed originally. In this case, what always stands out is this lovely horn which is ever present but not domineering and when you take it in sans vocals, I'm now fixated what I presume is a drum (meaning it most certainly is not a drum) which almost sounds like a heavy-handed clap to my ears. You knew it was in there -- it's Roots Reggae music, it's always in there -- but DAMN does that thing grab you when you remove the vocalist as does the guitar work. I don't have credits for this one but biggup all of the producers and players of instruments who also do excellent work. I also want to mention that, when you do add the vocals, there seems to be a BOUNCE And I think here is a nice spot to give credit to the artiste as well. The cover art here so nicely fits the material. The Full Bloom blooms EVERYWHERE! It blooms on the countryside and it blooms in the ghetto!
Overall, unless I'm REALLY forgetting something (and there have been some very good ones in there) (.... like pretty much all of them, but some of them have been smaller) the Full Bloom Riddim is now my favourite installment of the Zion I Kings Riddim Series. From beginning to end, literally EVERYONE, performs wonderfully. There are some MIGHTY performances to be found here and I think this set does what a great riddim album (and just a great compilation, in general) should do, in my opinion: It makes you want more. It gives you an impetus to begin looking up some of the artists you may be un/under familiar with and, when you see the "Vol. 10" on the cover, you're probably going to want to see what was up with the first nine. The first nine were all superb but #10 is something a little more. The Full Bloom Riddim is exquisite, they always are, but its album is downright immaculate and it is so good that it lead me down a road to thinking of all of the wonderful times we've had in covering the music of the Zion I Kings. They have spent the entire time of their existence making a level of music that has very little in the way of actual peers. The Full Bloom Riddim album is the best compilation of Roots Reggae music I've heard in a long time and MAYBE the best the ZIK has done since "Joyful Noise". AMAZING!
I have long developed a certain level of excitement and anticipation when it comes the music of one Vaughn Benjamin over the years which is unlike the feeling I get when looking forward to the works of anyone else. This is a vibe which is very much of the rare type of feeling that you used to get (or maybe still get) as a student who is actually eager to go to class on a certain day. Whatever the subject is, you're looking forward to learning more (I actually recall that happening far more at university than prior to that, when you had no control over what you learned and from whom) and you are also so very much looking forward to the METHOD of teaching. Will he be ever so slightly more direct? Will he meet you halfway or will Benjamin ultimately leave it up to the student ENTIRELY.
Another question you tend to have is who will he bring with him in order to get the message across. A group of his greatest and most fruitful of associates can be found within Zion High Productions and the Zion I Kings who... we've covered extensively over the years in regards to working alongside Akae Beka and many other extremely talented artists (I was about to go into that more and then I realized that I've probably done that DOZENS of times by now) (and did it not too long ago in a still forthcoming review, actually), so when I saw that the link had been once again behind yet another project, I got EVEN MORE excited to hear it and then when we talk about the actual artists involved - that took "Glory" to an even greater stage 'I REALLY, REALLY, REALLY, REALLY need to hear this'. Well, I've heard it and if you have about half an hour or so, I'd like to tell you about what I think of "Glory", the latest release of the legendary Akae Beka.
Each of the four vocal selections on "Glory" features Vaughn Benjamin working alongside another vocalist and the first of the quartet is the very gifted Jamaican chanter Micah Shemaiah who (has an album of his own this year, "Jamaica Jamaica") displays his ample abilities all over the GORGEOUS 'Aqueduct'. I have had SO MUCH fun with 'Aqueduct' and it actually helped me take this write-up in the direction that I chose to in the end because what I took from the opener is that it is about the CONVEYANCE OF KNOWLEDGE and how important it is to give something to someone in a way that they can comprehend it and be able to have more of a chance to actually apply it and retain it after the lesson. When I arrived at that 'conclusion' (and I use that word only because it sounds like where it would fit in, but it is most certainly NOT a "conclusion". If you ask me what I think of 'Aqueduct' a year from now (or in twenty minutes) my "conclusion" may've shifted), I got this wonderfully loose image of knowledge transferring seamlessly from place to place and never actually settling at one final destination - like an aqueduct.
"OVERSTANDING COME, INNA DEGREES DIFFERENT FOR SOME"
Musically speaking, 'Aqueduct' comes through on one of those ZIK riddims that you listen to and enjoy, casually, but when you REALLY dig into them, you hear such a wide array of sounds and mechanisms that don't stand out unless you spend that extra time working with them. Unsurprisingly, it makes for a lovely dub and one which can lay a large claim to being the single best "Glory" has to offer altogether.
'Glory' featuring Kabaka Pyramid & 'Glory Dub'
Our title track here features Akae Beka alongside the genius and current holder of the Best Reggae Album Grammy, Kabaka Pyramid and the two deliver a lesson which is downright HUMBLING! This song is a potato chip - you CANNOT listen to it just once. No chance! Along with the message being delivered, 'Glory' is delightful to HEAR. Benjamin will never be the most melodic of chanters (you will find dozens of tunes by him which will have you wondering if he can even hear the riddim at all), but he is in a fine form on that front on this tune (coincidentally, if you'd like to hear another good example of a more musically aware Vaughn Benjamin, check a tune called 'Daughtaz And Sunz' from the "Livicated" album, another ZHP set) (I wouldn't be too surprised if those tunes were recorded around the same time, actually) and when the vocals are removed, 'Glory Dub' continues to SHINE! Something which does really stand out on the original track that is wonderfully interspersed (that actually is a word) (...unlike "subjectry" which I made up and LOVE to use) is a horn (and later a saxophone, I believe) and it's little things like that which really make for a LUSH sound on these type of tracks. 'Glory Dub' is BEAUTIFUL!
HOWEVER, it's just pretty damn impossible to ignore and not be impressed when someone erupts like THIS:
"Luminous beings in dis yah physical manifestation
All working together, participating inna creation
Guided by The King, the highest idea of initiation
Balancing di material and esoteric in the equation
STEPPING OUT OF ATLANTIS, WHO CREAT DI THE FIRST CIVILIZATION?
IT WAS A BLACK AFRIKAN INNA ITHIOPIAN MOUTAINOUS REGION
Stretching forth from Kemet to the Indus-Kush Valley through
THE EVIDENCE OF THE CULTURAL CONNECTION BEAR DI RELATION"
I mean... what... what do you do with THAT! That Kabaka Pyramid - he's a wise one.
'Son' featuring Mykal Rose & 'Son Dub'
I was pleasantly surprised to see the venerable Mykal Rose join Akae Beka for 'Son' and I don't know why exactly; it just didn't seem like a likely combination to come at any point, but after listening to it - I am damn happy whoever chose to attempt to bring these two together actually made it happen. 'Son' features such a powerful and almost addictive simplicity that I found myself listening to it not just because I enjoyed it or because I was trying to root out its meaning, but also because I just found it so comforting. For his part, Rose (who has been gifted with one of the most distinct voices that we've had in Reggae music) also thrives in the straight-forwardness of the moment and what you have hear is a nearly divine piece of music for the senses. LISTENING TO 'SON' MAKES YOU FEEL GOOD! That is a trait which well extends to 'Son Dub' as well as, although the its beginnings have more of a flare (I think that's a flute at the head of the tune), it settles into this ultra COOL vibe which dominates throughout its duration (you listen to it at ~2:10 or so, 'Son Dub' is in the STARS! It is so nice!).
'Still Small Voice' featuring Reemah & 'Still Small Voice Dub'
.....and then.... and then there's this.... thing. Were you to actually ask me WHO I would most love to hear make a song with Vaughn Benjamin, I'd come up with quite a few names. I'd name people like Luciano, Determine might be somewhere on that list and maybe even a wildcard like an Aidonia (because, why not!) (CAPLETON would also be there as well). Somewhere near the very top of my list would also be the brilliant Reemah and LOOK WHAT THIS IS! The downright SHATTERING 'Still Small Voice' brings together two of the greatest lyrical minds modern Reggae music has ever produced AND THEY DO NOT DISAPPOINT! I'm still working on this one (and that process will only end when I do), but where I am is that 'Still Small Voice' is about conscience.
"A still small voice, with principle speaking
OF WHY LOVE IS NEEDED
WHY LOVE IS NEEDED"
It's about that present tiny thought that we all have in the back of our heads that (hopefully) helps to steer us in the right direction when we have those moments of doubt. It is far too often overlooked (it comes with being flawed, which is what we all are), but IT IS THERE! Reemah puts 'Still Small Voice' to the sword and absolutely destroys everything everywhere with her contributions and, I have to say, virtually each and every time I hear her work at her absolute best, I have this feeling that we are listening to someone TRULY powerful and special. Musically, 'Still Small Voice' is interesting because it is so complex, to the point where you notice it even behind the vocals. The dub seems to be more streamlined at times, which is more of what you would have thought it would be and the mix ultimately does work.... as you knew it would for a dub of, easily, one of the best tunes of 2023.
You don't need a closing paragraph, don't act like you do! It's Akae Beka, it's Zion High it's the ZIK. That's all you need to know (.... along with all that other stuff I just wrote up there^) (that stuff is important as well). "Glory" is available now.
Okay so, wanted to quickly tell you about something which, I THINK, may've gotten delayed because I believe I recall seeing a couple of months or so ago being set to release (and either it did actually get delayed or the actual release date was just that far out). In any case, now set to release in just a few weeks from now is the latest project from the immortal Akae Beka alongside the flaming Zion High Productions and the Zion I Kings, an EP by the name of "Glory", featuring four original tunes with their dubs. Similar (identical) works have come from both Glen Washington ("JAH Children") and Little Roy ("Woke Up") and now, WONDERFULLY, Vaughn Benjamin is up next.
The four tracks feature the accompanying work of four big artists including current Reggae Grammy holder, Kabaka Pyramid, Micah Sherman, Mykal Rose and..... someone.... someone named Reemah... on a song named 'Still Small Voice'.... hmmm.
Yep! 'Glory" has a combination between Vaughn Benjamin & Reemah! DAMN! I've actually heard quite a bit of this already (because JunoDownload puts up damn near entire songs as 'samples' and they always have) and it appears the be the heights of genius that you would imagine on such a pairing. Still, I'm well looking forward to hearing the full project as I'm sure you are and you can join me in listening as Akae Beka, Zion High Productions and the Zion I Kings bring forth "Glory" on on the 11th of August.
"Jah Children" by Glen Washington [Zion High Productions]
There are certain names in music of whom I have no question, for better or for worse. These are individuals/entities that have established a certain level of output which they so very rarely do not fulfill that whenever I come across their work, I generally know what to expect. When that is good (and not because someone has shown themselves to be frequent providers of absolute trash) then we're dealing with someone who I ALWAYS look forward to hearing from.
Want an example??? I'll give you two of them. Veteran Clarendon born singer, Glen Washington, has spent the better part of the past half century making music of a certain quality and while it took me awhile to hop on (I was busy... being born and stuff), over the past decade and a half or so, Washington has become someone who, regardless of who he's working alongside, has been sure to get my attention. Just a few months ago, earlier this year, the vocalist would release a brand new studio set via one of my personal favourite channels Love Injection Productions, "Mr. Washington". LIP has also shown themselves to be of a certain ability and style and "Mr. Washington" was quality: It checked both of those boxes. Something even more substantial might be if Glen Washington were to work with..... ohhhh, I don't know, let's say the Zion I Kings, just for a quick comparison.
2012
Way back in 2012, Washington would give us all a "Masterpiece" and do so with Zion High Productions and the ZIK ["There is a JOY that Jah blessing brings. HE's righteous and holy, Royal Majesty"] on board and though I was late to his party, I think that a significant case could be made that "Masterpiece" was at least in the conversation of being one of Washington's finest albums to date from any source. Although a potentially shattering full sequel remains elusive, what we do have is an abbreviated followup as artist and label/s reunite to deliver "Jah Children". The eight track EP release features four original tunes alongside their dub versions. If you have not been paying attention in recent times, the ZIK has been amongst Dub's most active creators (if not THE most active) and are, far and away, my favourites when it comes to the genre. So today we take a look at a set which You and I both know is of extremely high quality: "Jah Children" by Glen Washington.
'Power Hungry People' & 'Power Hungry People Dub'
'Power Hungry People' is a tune that I've had quite a bit of fun working my way through over the past week or so as of this writing. If you give it more of a cursory listen, not only will not receive all (or... any of it, for that matter) of what it has to offer, you may actually even come away confused. There isn't a very distinct connection here between verse and chorus in terms of how it is written, instead, Washington leaves it to the listener to bridge the lyrical gap and he does that largely with HUMILITY. If you listen to how the verses are built, they're all about the value of putting others ahead of yourself and the JOY it can bring it to you. He never fully connects that to:
"Power hungry people trying to fight the youths down
Power hungry people, I see them all around
Power hungry people, their intentions are not sound
Power hungry people, they must get trampled down"
That's your job! Things are situated in a way in which the veteran vocalist seems to be saying during the verses that if you live like this.... you are sure not to be included in this disgusting, woeful lot of individuals. As for the sound and subsequent dub version of the song. It requires no bridge whatsoever. If your ears are functioning or you have some other way of interpreting sound, you'll be just fine with it. 'Power Hungry Dub', with an inclination towards more of the old school sound in my opinion (or even without, who cares?!) DAZZLES; and it does so in such a cool and laidback way (you listen to how that thing FLATTENS at around 3:42! It literally DIES for a second.. but it is not done with you and you will sit there and listen to the rest of it!).
'No Limit' & 'No Limit Dub'
PROBLEMS! BIG BIG PROBLEMS!! Let me tell you something; From the very first time I heard 'No Limit' it not only became my likely favourite from "Jah Children", but it IMMEDIATELY became a recent (at least) favourite of mine from Washington's entire catalogue. This tune.... DAMN! First of all is this very easy and downright serene backing which the veteran amplifies to its greatest possible levels with.... stuff like this:
"There's no limit to Jah love
Come to tell of His glory
There's no limit to Jah love
I COULD WRITE YOU A STORY!
Once I was lost, now found
Was blind but now I see
Jah made a way for me
HE gave me victory
Men tried to put me down, but I'm standing on solid ground
After all is said and done and all our hopes are gone
There's no limit to Jah love
Come to tell of His glory
There's no limit to Jah love
I COULD WRITE YOU A STORY!
Many will doubt HIM
Can't live without HIM
Jah is my shield and buckler -
My shelter in times of storm
Still only the other love of my Father
Blessings and peace my brother
Never a need for a loud alarm"
It is ALL POWERFUL, ALL CONQUERING and ALL COMFORTING! You could specify this one, as Washington does, or generalize it. Love is a fantastic thing and is the sentiment behind 'No Limit', easily one of the best tunes that I've heard in 2023 from anyone! I was quite curious as to how 'No Limit' might progress into a dubbed version given how cool it is initially and they went in the direction that I thought they might in taking a more laidback and lifting up that peaceful vibe even higher. There're moments here where you truly wish it would go on and on almost endlessly as a straight instrumental but the effects which're added do not diminish it at all to my opinion as it heads into its second phase, highlighted by a sweet guitar.
'Jah Children' featuring Chet Samuel & 'Jah Children Dub'
"Jah children wasn't born to suffer"
The project's eponymous piece does not stray too far from the nature of the tune which precedes it on "Jah Children" and to help drive the point even further, Glen Washington enlists the help of another esteemed and faithful servant of Reggae music, Chet Samuel. Though somewhat unlikely of a pairing (I hadn't heard Samuel's name in quite some time before he appeared here), unsurprisingly, the two work very well together. What brings them together is tune, perhaps, best noted because of its endearing simplicity. There is no smoke and no mirrors on 'Jah Children', it just a very basic, LOVELY piece of work and although its dub is a bit bigger than I would expected initially, eventually it too descends (or ascends, I should probably say) gloriously SETTLED vibes that I had hoped for. EXCELLENT.
'Good Ole Days' & 'Good Ole Days Dub'
Finally, "Jah Children" sends out with a bit of sweetness in the form of Washington sitting around reliving the glory of the 'Good Ole Days'. I do have to say that I was just a bit by the vibes on this tune because, for the most part, they're very nice and easy, but at the chorus.... they seem to get a bit more rigid, which makes for a very nice touch (it almost seems like the actual PACE of the tune changes a little during it). It also made me look forward to how that moment might be reflected in the dub. Aside from its beginnings, you don't really get that sterner sound out of 'Good Ole Days Dub' which is just fine because what you do get is rapturous. It is a simply GORGEOUS composition and, again, another piece which I just wished.... could play on.... for a few days.
The name GLEN WASHINGTON is attached to "Jah Children" so you know what to expect, in general. Add to it to Zion High Productions & the Zion I Kings and it goes even higher. Though only a quick taste, what "Jah Children" does manage to do in its time its time is enhance the ever growing reputations of its creator as one DELICIOUS release.
Candy. As I got into the release that we're looking at today, I began to attempt to try to come up with a list of the sounds, specifically in Reggae music, that I find most pleasing. This list was going to be from a purely auditory standpoint (because now is not the time to get into just how much fun I have in attempting to break down lyrics). These are to be sounds that, in just hearing them, it makes me feel really good - and I came up with some very interesting stuff! The first one was the most obvious and easy to come up with as I've recently been listening to quite a bit of his older music, but a dive through the vault of classics from Jah Cure is one having no equal that I've come across. Tunes such as 'Jah Bless Me', 'Guide Us Jah', definitely 'Songs of Freedom', 'Chant' w/Spectacular and a few others (like 'Western Region' and 'King in The Jungle' alongside Sizzla) are delightful in a way that no one else's music is. Of course this is exclusively due to the Cure's vocal prowess (many of them are also extremely well written but, again, we're not talking about that today) and on a similar note would be the pure sonic appeal of listening to artists such as Etana, Bushman, Natty King, Queen Omega and others (like Glen Washington) who can thrill listeners fully based on the capacity of their voices - even before you get into their actual material. The complete antithesis would that -- though yielding the same results, essentially -- would be a particular group of Dancehall DJ's who always tend to get my attention. The archetype of the style (its DAD) would be Bounty Killer. These are very cut and deep toned artists who come with a command and a presence that is damn hard to ignore for anyone in general, but if you do have a taste for it (and I do), what you're going to hear, at its , is some of the most thrilling experiences Dancehall has to offer. Along with the Killer are names such as Merciless ["Have mi owna image, mi trace like no gal. DJ fi know seh that mi exceptional! Mi no sound like no bwoy, mi have mi own vocal. Mi will murda dem foreign or local!"], Baby Cham, Kalash (biggup Kalash, new album, "Tombolo" should be out now by the time you read this) (features a tune with Bounty Killer) and Aidonia who would lead me into a next category of sonic thrillers, where he has very little in the way of company. What Aidonia can do with the spoken word, what Papa San did, what Saik could do (probably still can.... but it's been a minute Saik) (.....any day now sir) (Admiral T might even be another one) is so utterly impressing that I wish I could do anything that good. Having that type of control over almost anything that we, as a damn species, participate in so frequently (the usage of language), is a DEVASTATING ability and one not having to try too much to grab and keep my attentions and affections.
Something else really doing it for me (and I'm going to go ahead and assume this is the case for virtually everyone) is when I hear a BIG riddim. These are fantastic because many times they have a double impact: On one hand there is the track itself you are enjoying AND, on top of that, when you hear the first few notes of a riddim and your brain begins to register exactly what it is, what you're also likely to do it is to begin to associate it with a song on the riddim. Going a step further, if you've listened to the music with any type of regularity over the years, chances are high (they're 100%) that you've accumulated favourite riddims which may be in that category because they backed several tunes which you love or maybe even just because the riddim itself, as a composition, was impressive to you (and occasionally you will run into a very nice track that, for one reason or another, despite carrying a number of tunes, just doesn't seem to produce any of the quality of the music). That work and that credit goes solely to the labels, producers and players of instruments and today we find ourselves, WONDERFULLY and once again, dealing with genuine masters of creating some of the strongest Roots Reggae music of the generation.
Our readers will be ultra-familiar with the work of the Zion I Kings collective as we have enjoyed their output and featured it, in one way or another, throughout the life of this blog (our first post was on 22 February, 2009, the first time we dealt with something from at least one channel of the ZIK, NiyoRah's classic "Purification Session", was on the fourth of April). Along with literally SPRAYING Roots Reggae music with outstanding releases from various artists, the ZIK have also really done well in getting their own name out there and furthering their well earned reputation as some of the greatest maestros the genre has to offer. They've done this in a couple of ways, directly; one of them being their fine Riddim Series which are compilations featuring very talented vocalists atop some pristine creation of the ZIK's. At last count, 2018's H.I.M. Teachings Riddim marked the most recent installment of the Riddim Series (hopefully they get back to those in the near future) and along with that, the ZIK have also maintained a running Dub Series as well. Beginning with 2016's "Dub In Style", the Dub Series returned following a three year absence in early 2021, via "Zion Ites Dub", its fourth release (just in case you're curious (and you are) the best of them, until now anyway, in my opinion has been #3, "Digital Ancient Dub") and now the Zion I Kings are back again with another fine Dub release (which may or may not officially be a part of their Dub Series) (it isn't written on the cover as it has been for the previous four albums) the curiously title "Future Oceans Echo". As has been the case on both aforementioned "Dub In Style" and "Digital Ancient Dub" (which would represent the the odd numbered releases of the Dub Series and if this is one of them, it would be #5), "Future Oceans Echo" comes through the "Kings" outfit, Lustre Kings Productions and Andrew 'Moon' Bain (in association with Galactic Soul Music, and features the work of, of course, Zion High Productions and I Grade Records, respectively. Not to dwell on it too much, because I'm sure I've done it in the not too distant past, but I have been a massive fan of LKP's, in particular, for two decades now - since the label dropped "Culture Dem", one of THE most significant compilations I have ever come across to this day and since then, they've done nothing but build upon that outstanding set. This latest brick, "Future Oceans Echo", is a most interesting one as it is, sorta/kinda a 'concept album'. The term is one I typically dislike (because I'd like to think that all albums have some type of concept behind them), but it is definitely applicable in this case. As its title would suggest, "Future Oceans Echo" is centered around the earth and, specifically, the ocean and all things aquatic. Because of that, all of the productions have water-centric names and themes and you'll also hear occasional sounds of the ocean actually incorporated into the production. On top of that and DELIGHTFULLY, I've also read that a portion of the proceeds generated by "Future Oceans Echo" will go to aide in supporting clean waters and beaches on St. Croix where I Grade Records and its head, Laurent 'Tippy I' Alfred are stationed (I actually read that Tippy's own daughter is a part of the group which the initiative runs through via her school) (that goes to show you how special this release is, personally, to them - and what a GREAT idea to bring music directly to such a purpose) (and, just in case I don't find a way to bring his name up, also full credit goes to David 'Jah D' Goldfine and Zion High Productions (who have a new release out that we'll probably be telling you about pretty soon, if we haven't already) (biggup Jalifa). Unsurprisingly, along with being for a very good cause, the environmentally-friendly "Future Oceans Echo" is a scintillating display of Zion I Kings doing what they do best. Let's take a look.
While I've never been the biggest Dub head in the world, I'm always very pleased at just how popular the sub-genre continues to be. Not only have fans across the globe (it seems to have found a very fertile home in Europe) supported Dub, but also fans of all AGES. While it may be looked upon as something likely to be more popular amongst the older crowd, younger fans have also flocked to Dub and it figures to continue to be fruitful going ahead as well. If you doubt that, then feel free to take a listen to the new "Future Oceans Echo" from the Zion I Kings which gets started with one of its best selections, the downright EXQUISITE 'Night Surfer'. After beginning with the crashing waves, we settle into this SWEET vibe which eventually does pick up and develop, however, I would argue that the first half or so of 'Night Surfer' is one of the single finest stretches that you will find anywhere on "Future Oceans Echo". While it never does become what I would necessarily call "aggressive" at all, what does get added into the mix is a lovely infrequent horn and, altogether, the opener here is exceptional and it serves its purpose: You will want to hear more. And if you do stick around, the next track you'll encounter is 'Distant Shore Dub'. On this one I hear a kind of a 'moody' melodica (at least I think that's what it is), which seems to hop in and out as it desires between more typical effects of Dub music. At its peak, 'Distant Shore Dub' is hypnotic. You can put it on repeat and lose far, FAR more than the three minutes and fifty-one seconds that it clocks in at. Things take a step up even higher on the familiar 'Red Gold & Green Dubmarine' (I supposed this could be our cover track. Not 'title track', COVER TRACK). I don't know for certain, but I think I know this one from somewhere, it may be completely new and I'm just losing the rest of my damn mind, but it does sound well familiar. Whether an instrumental of an older piece or a wholly original construction for this album, 'Red Gold 7 Green Dubmarine' is SPECIAL. There is no warmup here, it doesn't give you a chance to stretch and get ready, from the second it drops in, it is so gorgeous. Horns steal the show here for me, but they do not fully dominate and about a minute in, we find our groove in this stunning laidback vibe (it doesn't stay there, but when it lands there, it is not to be missed), soaring as a real highlight here altogether. We're going to do a little bit of traveling for the next song and where we stop is 'Irish Moss Dub'. Unlike its subtly thrilling predecessor, this one has a bit more of a serious and almost somber tone to it and it took a little while to grow on me. I think that's because it is more OPEN. I'm thinking 'Irish Moss Dub' might serve very well as a backing track for a vocalist (if it hasn't been used in that capacity already). As it is, however, it is still stellar - pinnacling with a SWEET flute (I THINK) which becomes more and more present as the tune progresses and hopefully this won't be the last time we encounter 'Irish Moss Dub'. The first half of "Future Oceans Echo" wraps up with the HAPPY 'Dolphin Bay Dub'. Initially, I referred to this one as "jovial", but I think that word is just too big in attempting to describe the vibes and the presence here. 'Dolphin Bay Dub' is just a nice listen. It does strike me as something more for the old school crowd (of course that means that younger fans will eat it up), particularly during the final nintey seconds or so and at its very beginning. One of the best vibes you'll catch on this album, 'Dolphin Bay' begins the strongest stretch of material on the entire album in my opinion.
Overall, I hesitate to give "Future Oceans Echo" a sweeping, unconditional recommendation but.... I mean.... IF YOU ENJOY REALLY GOOD ROOTS REGGAE MUSIC, you will find something within it that will do something good for your spirits. That is virtually guaranteed. I understand that Dub isn't for everyone, but this work is so immaculately put together that even if you do not give it full attention and just allow it to play in your own background, it's going to improve the vibes (go ahead and give it a try, next time you have to wash dishes or wash the car or do some other household chore, play 'Wata Dawta' or 'Abyssinian Tides', for example, and see what happens) and I think that's probably the biggest compliment that I can pay to a set like this one. Furthermore, and for more 'seasoned' fans in particular, I can tell you that this release is definitely of the standard (hyper-standard) that you have come to expect from the Zion I Kings. When they are at their best, the group provides vibes which are amongst the most satisfying in the history of the genre. "Future Oceans Echo" is the latest golden example of that.
