Modern Classics Vol. XXXXIII: Taking Over by Sizzla

"Taking Over" by Sizzla [VP Records - 2001]

It's just been too damn long. It's been nearly ELEVEN YEARS since the last time we did a Modern Classics feature (it is the morning of the 25th of August as I start to write this, HOPEFULLY I can finish this in the next two and half months, otherwise I'll have to remove the word "nearly"). Originally (and still) designed to celebrate albums, specifically, of the modern era (I defined the modern era as everything after the year 2000) which I felt were just of a supreme quality; the series ran all the way to #42 in in nearly six years and, FINALLY, we're bringing it back to take a look at a release which, shockingly, has gone somewhat forgotten in recent times. 

In 2002, Sizzla Kalonji released "Da Real Thing". That album (also a Modern Classic) was and remains universally revered. It would be hailed as a return to the vintage form he had displayed on undeniable greats such as "Praise Ye Jah" and "Black Woman & Child" (the latter produced by the great Bobby Digital, just like "Da Real Thing"). Perhaps it is due to that epic set that we forget that, just the year prior, Sizzla would also produce a magical display in the form of the Xterminator helmed "Taking Over". Marked by a very cool explosiveness, "Taking Over" carried a pair of Sizzla's most well known songs to date but it was also CONSISTENTLY EXCELLENT, a quality which maybe we haven't done the best job of observing in the near quarter-century since its launch....

Let's do something about that. Today we give our greatest honour to yet another album from an artist who, when at his absolute best, may've been without an equal: "Taking Over" by Sizzla Kalonji. 

1. 'Thought For Today'

One perfect love. Though the case could successfully be made that it was done in a very broad way, 'Thought For Today' was kinda brilliant, if you really think about it (let's think about it!). Blessed with a most curious BOUNCE behind him, Kalonji turned in a social commentary of an unusual type (and class), aimed at the youths, specifically.

"Before you trod di badness, hail The King first" 

'Thought For Today' was an adventure. It was an action movie. It was two hours long and it was as exhausting as exciting. What stand out these days is how we take the punchline/title of the tune, address it is LOVE and then spread it around in a way.... damn near vicious! You will act appropriately. You will love yourself and others. You will do several things to improve yourself tangibly and spiritually and it will be "perfect". It was. 

2. 'Brand New'

Trample everything. Hip-Hop has never and will never be 'my thing' but I had less of a problem with 'Brand New' than I typically do with such tunes ("problem" is probably too strong of a term, I usually just don't pay them much attention) because of what it eventually turns into. While the vibe is there, it doesn't go anywhere, and it is respected; 'Brand New' goes on to, like many of the songs on "Taking Over" to enter a place where Kalonji locks in and what we get is this kind of heavily stylized track not entirely bereft of typical genre ideology. Yes it's fractured (which is one reason Hip-Hop doesn't appeal to me much) but 'Brand New' was all sorts of interesting as well.

3. 'Somewhere Oh Oh'

Most delighted. Despite its rather odd title, 'Somewhere Oh Oh' is and has always been an undeniably FANTASTIC song (and you could even go as far as to call it this album's third best altogether, in my opinion). It's also a very fun one to analyze. What I take from it these days is that 'SOMEWHERE Oh Oh' is about finding your 'happy place'. It is about find places and things and PEOPLE who make you happy and surrounding yourself with them as much as you possibly can. Something that REALLY stand out, lyrically, is how there doesn't really appear to be any strife or opposition in 'Somewhere Oh Oh'. Where in Sizzla's music (or in Roots, in general) there is this oppressor somewhere out there - IT DOES NOT EXIST HERE. You'll find it back on the next track but 'Somewhere Oh Oh' not only made a plea for us to find things that brought us joy, completely absent of conflict, it also presented itself as such an item. You find somewhere you want to be, find something you want to do when you get there, someone who you want to do it with and play this song while you're doing it.

4. 'Taking Over'

NOTHING TO FEAR! 'Taking Over' belongs to a very select group of songs that Sizzla has done in my opinion. It takes a seat at the table of any conversation regarding his absolute single best work and... if you wanted to call it his best, that case could be made. Why, exactly? I noted the "cool explosiveness" of the album named after it and that is a quality best demonstrated here. While 'Taking Over' never settles down fully, it does display increasing and decreasing levels of intensity where, at its heights, it reaches downright euphoric levels (he's agitated, clearly, but Sizzla was in a great mood when he voiced this song, I'm convinced).

On top of that, the riddim behind it was gorgeous, made perfect for it and 'Taking Over' does not a put a lyrical foot wrong, it is absolute genius and one of the single greatest musical revolutions that a genre, known for revolution, has ever produced. 

5. 'Fare'

Wear a crown. 

"Never belittle her strength

Or else you'll be missing her strength"

I've never been the biggest fan of Sizzla's love songs but "Taking Over" featured a few of them which would rank very highly in the category in my opinion. The first of them was somewhat unusual and I actually hesitate to call 'Fare' a "love song" (even though it clearly is) (I have issues) because it gets more into areas such as empowering love and women, in particular (using the reference to MAKEDA), and relationships, in general.

"Remember: Your friends and foe may talk 

No evil force can tear us apart"

The song also has an infectious and interesting almost Jazzy sound to it and Sizzla made the most of it with an offering fitting snugly into this album.

6. 'Higher Heights'

Be able and be willing. For WHERE it is situated on this album, you can look at 'Higher Heights' as warming the vibes up for what is to come after what it follows but it is SO MUCH more than an 'undercard'. 

"How about caring and giving?

People working hard these days just to make a little living

Prophecy fulfilling

Righteousness, just be able and be willing

Getting nowhere with this ruthless killing

Hot like a fire when some a dem chilling

BABYLON A DESTROY, CONGOMAN KEEP BUILDING"

'Higher Heights' is HUGE! Like several of the efforts on 'Taking Over', it heads in many different directions but as its core was a wide-reaching spiritually braced statement that brought the HEAT that would fully ignite on the next track. 

7. 'To The Point'

START A FIRE! Along with the title track here, 'To The Point' is what I was referring to when I said that this album contained a pair of Sizzla's most popular songs. Where 'Taking Over' is this soaringly brilliant and brooding trip, 'To The Point' is The Matrix. Shit explodes, there is controversy and there are casualties and no one is safe. In the midst of the madness, 'To The Point' was a dazzling statement of several ideas, so there was SUBSTANCE to be found here and such material would be best highlighted in-person as, if you've ever been so fortunate to actually see Kalonji perform 'To The Point' then you may share my opinion that it may be his single best song EVER in that format. CJ handed him his Tixx Riddim and Sizzla returned a shredded... mess. 

{Note: Apparently this tune is no longer included on the digital version of "Taking Over", however, the disc remains readily available.... and it's all over YouTube as well}

8. 'Reach'

Must reign. Despite the fact that it takes several different routes to show it, what is at the heart of 'Reach' is quite clear. This tune is an inspirational one. It's about giving people that bit of POP they need to push further to go after the things that're important to them and, in that alone (and everything else it tries to do), it is well successful. With that being said, however, 'Reach' is also a praise. It's a social commentary. It's a celebration of music. It is solidly all of these things and you can pick either one out (and probably a few others) and it thrives, again, on that specific front.

There's also the issue of the music on this one which is somewhat complex and damn near melancholy but, ultimately, LOVELY! Fully, it makes for one of the single greatest experiences on "Taking Over", whether we realize it or not. 

9. 'Whirlwind'

Keep the fire burning. Sizzla channels the great Marcus Garvey via 'Whirlwind' and pays him tremendous homage in the process. This tune has always had an almost primal vibes to it to my opinion. What I mean is that, as you progess through it, 'Whirlwind' becomes CLEARLY less situated and rehearsed and what we hear are flames from the core of Kalonji. The pattern is disrupted (though never quite grounded in the first place) and what we get is straight-forward, grimey, toiling Sizzla Kalonji and with a purpose and intent. One of the best songs on this album whether we realized it or not. 

10. 'Profile'

Immaculate. Unlike 'Fare', the next track and that monster four songs on, 'Profile' isn't a love song at all, really. This is the woman-buttressing piece which exists only to uplift women of African descent. What really strikes me about 'Profile' is that it doesn't play things entirely safe. Things get a little edgy at times but such things happen in everyday conversation and approaches. You talk to people like they're people; so, to that extent, the song comes well rooted in reality. Furthermore, the song also takes the next step of speaking to men (and other women, and whoever is listening) about the importance of treating women right and showing respect where it is due.

"Yow she want one of Jah Rastaman fi keep her up

No teach her no fuckery and later on, you beat her up"

11. 'Kebra Negas'

Alpha & Omega. Extending on 'Profile' from right before it, 'Kebra Negas' also sets a course and drops anchor on uplifting women and the relationships we ("we" being WHOEVER and "relationships"  being of all types) have with them. The change here, however, is that 'Kebra Negas' is FAR more broad than what comes just ahead of it. This one has a much more general take and, delightfully, attempts to construct a NATURAL bridge that in supporting women is also supporting positivity and good works - as His Majesty intends. 

12. 'Naw Shield Corruption'

Open up your eyes! Somewhat reminiscent of 'Higher Heights' in terms of its pacing (and only in its pacing) and WHOLLY emblematic of Sizzla's more Dancehall centered style around the turn of the century, for me at least, 'Naw Shield Corruption' may just be the most overlooked and underrated song on the whole of "Taking Over". It wouldn't do much outside of its presence here but.... DAMN! If you were living a positive and productive life and doing what you were supposed to do - you were just fine. If not - 'Naw Shield Corruption' was damn near lethal as Sizzla turned up every stone in every corner of the planet to look for corruption and those who aided in it going forward. BOOM! 

13. 'King Taco'

Incient king.

"Yuh seh you a di nail

Seh you a di sledge

Seh you a di hammer

Seh you a di wedge

Seh you tough like seal when you did melt like lead"

'King Taco' was lyrically PERFECT. I hadn't heard this tune in quite some time but when I started putting this together, I remembered the melody in my head and started singing a b i of what I remembered of the words and it started to come back to me. When you dig into the body of the actual song... I don't want to overrate it but, strictly as a praise, 'King Taco' has to sit amongst the best put together of them all. It also comes off SO DAMN EFFORTLESSLY (more on that in closing) and, as the joint second longest tune on "Taking Over", 'King Taco' is nearly as EXHAUSTIVE (and I mean that in a great way) as it is brilliant as Kalonji puts forth an effort fit for The King. 

14. 'Hold Her In My Arms'

Precious jewel. Don't take this literally but 'Hold Her In My Arms' is kinda filthy. There is something almost guiltily intoxicating about this song and there always has been. It is the definitive love-ish song on "Taking Over" and, without question, one of the finest of Sizzla's entire career. It is surprisingly DARK and HEAVY as well - vibes you just do not encounter on or associate with love songs ever. Melodic, lyrically top tier (if you REALLY pay attention) and just a stunning track, 'Hold Her In My Arms' was and remains IMMACULATE.... in a grungy kind of way. 

15. 'Streetside Knowledge'

GROW! On one hand is the knowledge you gain out of studying and going to school, being educated and then there's what you gain from a more general life-experience. Though I'm certain Kalonji is a supporter of the greater importance of both, it is the latter that is focused upon on the scathing 'Streetside Knowledge'. One of the most interesting aspects of this tune is the fact that it sits as one of the most tangible on the album and, perhaps, one of the most tangible that he's done to date. There isn't a ton of spirituality involved with the building of 'Streetside Knowledge' which is what you would hope and expect to be the case. Such a background makes it entirely more transferable and relatable to by the masses as Professor Collins delivers a lesson on everyday for You, Me, Him and Her. 

Synopsis

I want to take a quick look at the 'state of the times' around "Taking Over", at least in the form of some of its immediate 'siblings'. If you go a year or two in either direction, you'll run into other similarly vibed Xterminator produced sets such as 'Words Of Truth", "Royal Son Of Ethiopia", "Bobo Ashanti" and a personal favourite of mine, "Rastafari Teach I Everything" (which was also released in 2001). While you could well make the case that none of them rise to the level of "Praise Ye Jah" (and they don't. That's fair) -- generally regarded as THE best album produced by the duo and no worst than Sizzla's second best album overall --given the sheer amount of work done and its quality, you could also point to that stretch being the PRIME of Sizzla's work alongside Fatis and Xterminator. It was heavier on the Dancehall side, it was decidedly modern and, for the most part, it was absolutely gorgeous. The level of writing and the delivery of the material was SO high and I'm not going to name any names, but if you listen to what SOME of Sizzla's peers were doing at the same time in terms of combining Roots messaging with Dancehall sound.... there is no comparison. At that point, Sizzla was miles ahead of them.

In terms of "Taking Over" specifically, while you could rank it in any place you like in terms of the aforementioned other albums of its day, for me "Taking Over" was spectacular and has aged incredibly well. From its packaged presentation (courtesy of Chris Chin and VP Records. In my opinion it is very subtly one of the best album displays they've ever created (various spellings of Fatis notwithstanding)) being this ultra-cool and understated cover, ahead of the explosions that the listener was in store for - "Taking Over" hit all of the notes that it needed to in order to cross the bridge from being just a GOOD album, to being a GREAT one. Again, I'd like to pay respect to the general quality of Sizzla's work at the time and just how damn fortunate we are that he was as [overly] prolific as he was because we have such powerful examples of, in my opinion, THE single most talented voice Reggae music has ever produced when at his best. "Taking Over" was both a thundering and downright FROSTY example of this. It was also a BONA FIDE, MODERN REGGAE CLASSIC! 

What I'm Listening To: Audio/Visual

 

'Hold On' by Dezarie Phoenix [Dezarie]

Okay so, we have a couple of ANVILS this week and the first up is from someone who many would already deem a legend, the great Dezarie (who is, apparently, going by Dezarie Phoenix these days), who has struck with her first video clip EVER for the song 'Hold On'. The songs ranks as one of the biggest winners from her 2025 set, "Guardian". I actually remember a couple of other VI standouts, Vaughn Benjamin & Ras Batch, going fairly deep into their careers as well before doing a music video, so perhaps this comes as no surprise. Regardless of the circumstances surrounding its creation, the visual side of 'Hold On', unsurprisingly, matches the beauty of its audio. It's an amazing song with an amazing video from a very powerful human being.

'We Are One' by Arkaingelle & Fyahstone [Saj Moor Dub]

Next in is another big winner, courtesy a pair of old favourites of ours. The next [regular] review you'll read on these pages (there's an irregular one coming ahead of that) features work by Guyanese chanter, Arkaingelle who, as I have mentioned in the past, once made one of the greatest songs I have ever heard in my entire life (I'll remind you of that in the review). Now, Arkaingelle links up with a producer that we're well familiar with from out of Morocco by the name of Saj Moor Dub. You may recall his work on a label by the name of West Coast Studios, specifically (PROBABLY), with Ras Attitude. Back in 2014, WCS would set out the LOVELY Kif Kaf Riddim which would include offerings from the likes of Attitude, Perfect Giddimani and even Ras Indio. Also on the Kif Kaf was a tune called 'Rastaman Ah Chant' ["Kill dem wid di love, light shine so bright. Nyabinghi, no time fi no rewrite"].... from Arkaingelle, so this isn't the first time artist and producer have worked together and it doesn't sound like it from the level of musical chemistry we hear on 'We Are One'. Also present is gifted Trini veteran Fyahstone, with whom you are probably most likely to be familiar via his fairly recent work with Lion's Flow Productions, however (small world), about a decade ago, Fyahstone and the Arkaingelle made a song together by the name of 'Lion Can't Cool' so, again, to the surprise of absolutely no one given how well they sound together, the two vocalists on 'We Are One' also have some history with one another. Hopefully all three have some future together as well as 'We Are One' is excellent. 

"We are all children of The Most High

Put away your sadness, don't cry

So stand up tall, be wise and use your third eye

Rastafari go before I"

The song is a unity piece and I do these things and attempt to place meaning into words but, delightfully, that is done for us here. Watch the video to the end and you will see the lovely message at its end. Hopefully there is much more activity from Saj Moor Dub as the maestro has relocated to California and placing himself amongst all of the seemingly never-ending Reggae activity in the area.

'Fling It Up' featuring Davido by Machel Montano [Monk Music]

Didn't take very long to get into the visuals for Machel Montano's 'Fling It Up' (which are exactly what you would expect them to be) before I... suddenly had no problem with it, despite it seeming quite random.The tune is probably coming up on completing its first year in existence and here's a video! Why? Who cares! The actual song, which features Davido, is CANDY, it is GORGEOUS Groovy Soca with a little KICK to it (check the surge about two minutes in) and from, arguably, still the biggest single name in the genre and on his own Monk Music label.

'Ginger' by Sean Paul [Dutty Rock Production]

Dancehall superstar, Sean Paul, may have a legit hit on his hands courtesy of his new tune, 'Ginger', which is outstanding and very OPEN as is Paul's tendency (at his absolute best, he's capable of making songs which fit entirely in Dancehall but are as accessible as anything that you will hear). 'Ginger' isn't quite there but I do expect it do some real damage. The video? The video for 'Ginger' is Ai'd to the gills and make no mistake about it: This video is creepy as hell.

'We Da Do It' by Boyzie [Wetty Beatz]

And lastly this week is a tune that is, easily, amongst the finest that I've heard from Soca in all of 2025, the delightfully over-chaotic 'We Da Do It' by Grenadian supernova, Boyzie. I've said it many times before, Boyzie is one of the 'best kept secrets' in all of Soca and that isn't true from the standpoint of actual fans of the genre but if you're more on the casual side, it's fairly likely, in my opinion, that you probably don't know who he is at all. Be that the case, now is a PERFECT time to become acquainted as he drops one of his finest efforts in years with 'We Da Do It'. Great workout song. 

{Note: I don't know which label actually released this song. I know WB was involved, so I gave them the credit. Thank you and have a nice day}

Signatures Vol. VII: Cocoa Tea

When I started doing this series, I never expected to be doing this one. As I've said in the past, Signatures was created to sort of make my own personal 'greatest hits' style collectives of artists who didn't have such compilations already to their credit and, presumably, were not going to have one anytime soon. That most certainly does NOT apply to the great Cocoa Tea who has, at least, one in the form of an installment of VP's "Reggae Legends" (which, literally, brings together more than FIFTY of his most well known selections, spread across four discs). So, you really didn't need me to tell you about his most popular songs, you already know them, save for one or two twists I may take you on. Unfortunately, however, earlier in 2025 we lost Cocoa Tea in the physical as he made his transition and respects are in order.

The well revered Clarendon native born Calvin Scott made a brand of Roots Reggae & Dancehall which can best be described as SWEET! Gifted with a style, a vibe, a voice and a presentation which were made for the genre, Cocoa Tea's music left an impression on fans around the world and his contributions to this wonderful sound is not to be overlooked or forgotten. Today we celebrate the SWEETEST of them all. Signatures: Cocoa Tea. 

1. 'Tek Weh Yuh Gal'

She can't take her eyes off me. More than twenty years ago, Cocoa Tea would pop up with what would prove to be one of the biggest -- and unlikeliest -- hits of his entire career, the downright hilarious self-produced 'Tek Weh Yuh Gal'. The song was almost charmingly basic. It was incredibly straight-forward and it did a serious level of damage in its day to the point where one could even go as far as to argue that 'Tek Weh Yuh Gal' is THE single most well known tune that Cocoa Tea did, EVER. He said what he said and he did what he did. It's time you came to terms with it. Your girl is gone. She's with Cocoa Tea now. It's time you moved on. 

2. 'Tune In'

Keep rocking. It does not matter where you are, under which rock you may rest in any remote corner of the world; if your ears are functional, you are not outside of the reach of Reggae music. You can be caught. You can be infected. You can be DOMESTICATED (it will literally tame you). That was the [illuminated version of the-] sentiment behind another sizable hit of Cocoa Tea's, 'Tune In'. This song is within the absolute core of tunes that make up the foundation of who Cocoa Tea is as an artist. It is amongst the quintessential building blocks of his magic. 

3. 'Pirate's Anthem' featuring Shabba Ranks & Home T

Play what the people want. A legit, 100% signature track, 'Pirate's Anthem' is another tune in the discussion for being THE single most well known of Cocoa Tea's entire catalogue. Linking  together with the legendary Shabba Ranking (would rank very highly for him as well) and Home T (EASILY the most popular they've ever done), the Gussie Clarke produced song has aged incredibly well and is one of "those" (you know these songs! You rarely hear them but they give you a very good feeling of nostalgia when you do) that just give you all kinds of good vibes as the artists came together in the name of making the music available to everyone who wants to hear it.

4. 'Spin The Song Ya'

Jam jam. Sure. I get it. You could make the case that this rather random record from a rather random, nearly two decade old album wasn't the best written. It wasn't. HOWEVER, what 'Spin The Song Ya' did have going in its favour was VIBES! You listen to this song and tell me it doesn't do something for your nerves! It makes you feel good, doesn't it?! Carried by the Xterminator helmed "Save Us Oh Jah" way back in 2006 (I own this album, have been looking for it, off and on, for years. It's around here somewhere and I will find it!) (dammit!), 'Spin The Song Ya' found our star seeking supremacy for his sound and Cocoa Tea would not leave without the victory! 

5. 'Feel The Power'

It must be The Most High. I don't know the 'official' name of the riddim but it's the same one best known for underpinning Sizzla's massive 'Taking Over' (so I'm going to call it the Taking Over Riddim) but whatever you want to call it (the Taking Over Riddim), Cocoa Tea took his turn on the  track as well and the results were gorgeous with 'Feel The Power'. The song would title his 2001 Xterminator steered album for VP Records and was a downright PILLARING praising tune. All these years later what most stands out about 'Feel The Power' is its chorus. It sounds like he's smiling. Cocoa Tea CLEARLY had a great time singing this song and it came through not only in his performance of it but in its overall quality as well. This song was fantastic. 

6. 'Rikers Island'

Him gone. On what is, easily, one of his most recognizable and downright popular selections ever, Cocoa Tea relayed a very unfortunate story of wayward youth who'd lost his way in life and ended up in the infamous New York prison, 'Rikers Island'. Such a thing, unfortunately, has certainly happened dozens (thousands) of times throughout the years but.... it probably shouldn't sound this good. Rikers Island is kinda beautiful. It is melodic as all hell and will have you moving in the name of something so damn tragic. Not to be overlooked, yes, there was a message here but I would argue that the presentation of this song was just as important to its creators while they were making it. 

7. 'She Loves Me Now'

Glory, glory. Another gem produced by the Cocoa Tea + Xterminator relationship, 'She Loves Me Now' always struck me for having a bit of 'moodiness' to it. No one will ever confuse the singer for being the most fiery of vocalists but have ever listened to this song? I MEAN REALLY?! If you have dug a little deeper into this one, perhaps you've noticed what a fine vocal performance it is. Cocoa Tea does charge up things slightly (which makes you think/hope that he was having a really good day when he voiced it) on a song that, though it was well respected for what is was (and still is, today), probably doesn't get the full credit that it deserves based just on how beautiful it was. 

8. 'Israel's King'

Hail to The King! Fatis supplied his cut of Mr. Marley's One Drop Riddim for Cocoa Tea and, to him, the singer returned an undeniable classic praise in the form of 'Israel's King'. Maybe it's just me but this song as the almost unerring ability to MAKE ME SMILE (it literally does it EVERY single time) and with that signature easy Cocoa Tea style. That being said, however, 'Israel's King' wasn't just a vibe an bereft of substance. In fact, one could well make the case that it stands as one of the more detailed of its kind from his entire catalogue.

9. 'Love Me Truly'

Until eternity. This classic drop would ultimately get a remixed version featuring the aforementioned Shabba Ranks but it was the solo version, at least in my opinion, which soared highest. 'Love Me Truly' finds its groove relatively early on and it then GLUES itself right there and it does not move! For all of its EPIC simplicity, 'Love Me Truly' represents one of the sweetest love songs not only of Cocoa Tea's entire career (which is saying A LOT) but one of the best Lover's Rock tunes of its time, altogether. 

10. 'Sweet Life'

Special place. If you've never at all heard of 'Sweet Life' and have NO CLUE who sings it and I were to tell you that it's by a guy named "COCOA TEA", you wouldn't be the least bit surprised. Whatever you played this song through -- WHATEVER MEDIUM OF YOUR CHOICE -- it was in jeopardy. The SWEETNESS would clog it up and you may never get to use it again as the sweetest to ever do it was in a particularly sugary form, painting a gorgeous picture on this personal favourite of mine.

11. 'Rocking Dolly'

No electric boogie. The Junjo Lawes licked 'Rocking Dolly' is another member of the quintessential Cocoa Tea songs which would render such a list obsolete were they absent. 'Rocking Dolly' is just VIBES. In a genre so known for producing dances, this one would lead to a track which, legitimately, stakes its claim as being THE sweetest of its kind - EVER.

12. 'Bust Outta Hell'

Time will tell. It's time to turn your back on your old, negative ways and do better for yourself and others. That's the sentiment backing the very upful 'Bust Outta Hell', another one of Cocoa Tea's most well known tracks. This tune had so much going on with it. Produced by the legendary Junjo Lawes, 'Bust Outta Hell' was chaotic at times and brilliantly so. It was also a song that demonstrated how sharp the singer could be, lyrically. As I'm sure I've said in here somewhere before, Cocoa Tea was never known as some fantastic songwriter, but you listen to this one and you'll see that you do not get as far as he did on voice and style alone. 

13. 'Hot Sweet Cocoa Tea'

Make it warm. Lastly, I don't think it is legal in any country on the planet to make such a list without including Cocoa Tea's LITERAL signature, 'Hot Sweet Cocoa Tea'. Just in case you forget with whom you are dealing, Cocoa Tea made it crystal clear all through this classic set.

"Seh nuff a dem did check seh dat di Cocoa did gone

But know a Cocoa Tea, him neva exit di lawn"

He's not gone, he'll never be gone and as long as our species exists, someone, SOMEWHERE will be singing a Cocoa Tea song. 

HUGE New Tune From Jah Defender

Okay so, I've been meaning to do this for.. the better part of a month or so because a tune that is amongst the (and has a legitimate claim for being THE) best songs that I've heard in 2025 popped up in late July, courtesy of an EXTREMELY productive union between the scalding Jah Defender and the fine people at House Of Riddim Productions, the MAMMOTH 'Haile Selassie I'. 

"Four corners of di earth Rastafari reach

Love and righteousness - Rastaman teach

HEATHEN AH RAGE WHEN SELASSIE I SPEAK

Keep di fire burning, flames and heat

All dem ah fight, dem soon retreat

Rastaman rise up, babylon gone beneath

Red, Gold & Green, pure & clean"

As I said, this tune is certainly not the first of this pairing of artist and label as they've been pushing some very strong material lately and HOPEFULLY some collection is in the offering. Until/unless/even then, enjoy Jah Defender's sublime praise, 'Haile Selassie I' and then you go and tell someone else about it. I just did my part. 

Soldiers: A review of Journey Of Gratitude by Abja

On foot. I guess, in some way, the case could be made that I am sitting writing and you are sitting

there reading, sorta/kinda because of Bob Marley? I would like to think that the word would have gotten out at some other point but... it didn't and a giant portion  of the credit for opening the door to the general popularity of the music is still given to Bob and deservedly so. That will likely always be the case and that's just fine. We would not be as RICH as we are without the work he did. Furthermore (and far more interesting than You (and most certainly) I) who knows who we would be listening to if Marley did not kick that door open and who knows how it would sound. If making this music wasn't something that could support someone to a certain level, despite the fact that I know that we have an extremely dedicated flock of vocalists and musicians, surely at least some of them would have found something else to do in order to pay the bills, at least hampering their musical activity, if nothing else. Fortunately, however, we aren't in that situation and the one with which we are faced is entirely more pleasant as, since the door was ajar (always did like that word) a (hopefully) never ending line of others have come through. Not only that but, of course, the vibes have traveled and we've seen similar 'micro' circumstances come through as well. For example.... I don't know... let's take a quick look at the Virgin Islands, for example. When I first started listening to Reggae from out of the VI, there were two very dominant entities which garnered the lion's share of the attention, initially. At least from the outside looking in, there were the Brothers Benjamin and Midnite and then there was Jalani Horton and Bambu Station. That's who GOT US.... they had help keeping us (and they're still getting "help"). Soon, there was also Dezarie (who, arguably, belongs in that first group), Pressure Busspipe, who probably served a similar role for people younger than me and then an extremely strong line of talents such as Ras Batch & Ras Attitude, Ras Army, Danny I, NiyoRah, Raffijah, Ickarus and the rest of the Star Lion Family (I may've named them all by now). There was Ikahba, Iba, I Grade Records, a guy named Willow (biggup Ancient King) Sabbattical Ahdah, Sistah Joyce and, later, the brilliant Reemah. There was just a devastating level of talent which, for the more attentive of listeners, had already produced so much powerful material available by the time we became aware that we'd become longtime fans of many of theirs as well, almost immediately (that was out of the ones I just named, definitely that applies to Batch, Attitude, NiyoRah, Danny I, Ancient King.... I should stop). And should you doubt the impact of these artists, feel free to check the tags on this same page (this is the third review I've written for a VI artist in 2025, alone). We LOVE them and for good reason.

2013

Another name that came to prominence as part of that Virgin Islands lot was someone else who we've talked about a bit over the years, Ras Abja. Chances may be pretty good that if you are familiar with the works of Abja that you came on board via one of his most well known releases (courtesy of the aforementioned I Grade Records), "Inna Red I Hour" & "Mahogany Road" from 2003 & 2006, respectively. I go back now and do background on Abja for this review and I notice just how delightfully received those two albums were. You'll find quite a bit of material online in regards to both at the time of their release which shows just how rooted the structure already was at that point, twenty years ago now (the same goes for Army and Batch as well) (Batch almost had this... almost mystical type of interest around him at the time, if I recall correctly. A combination of the word of mouth of the quality of his first two albums and the great difficulty that it took to find either one). Since then, the St. Croix native has had his hands in a few different projects, including at least a couple of albums, an EP and a relatively steady stream of singles for varrying maestros. We last dealt with his work way back in 2013 on his "Songs Fa Jah" album from Higher Bound Productions but, as of late, Abja has definitely been re-demanding a closer look and listen.

A large chunk of the credit owed for that is to be thrown in the direction of the suddenly flaming Trinity Farm Music (in association with Go A Chant Productions, of course). I'll spare you their credentials (because I'm probably writing another review for one of their other recent releases and I'll save it for that since it's a compilation), but if you've hung around here much recently (you poor, POOR thing) then you've surely seen us cover some of their work and may've also seen me allude to material Abja and TFM have done together as well. While that does include singles (some of which we're going to be discussing shortly), at the center was an actual album released earlier this year, "Journey Of Gratitude". Not too long ago, I wrote a review for another of Trinity Farm's releases, "Oath Of Akae" from the aforementioned Ancient King and it forced me (not really) (not at all) to take a closer look and listen to "Journey Of Gratitude" which was seemingly born out of a similarly curious set of circumstances. Like Ancient King, Abja had done a number of singles for Trinity Farm prior to the album's release and.... some of them would feature on the album and some would not. Even more interesting, perhaps, is that since "Journey Of Gratitude" landed he's done MORE work with the label as well. For me, that says that artist and label enjoyed one another's company and felt that their was a great deal of musical chemistry as well and, while I can't speak to the former, in listening to the output, I would firmly agree with the latter. Like Ancient King and many of the others I've named, Ras Abja makes a very straight forward brand of Roots Reggae in the musical sense. If you're looking for 'crossover' or something more 'accessible', you will do much better for yourself turning your head in virtually ANY other direction besides his. On top of that, his style, specifically, is one which is for more seasoned fans of the genre. Abja is a chanter - pure and simple. That's what he is and I would say he falls somewhere between the Ancient King and Vaughn Benjamin. You'll rarely hear the consistent level of aggression from Akae Beka that you will get from Abja but Abja also doesn't spend a great deal of time hanging out on that kind of torrid level where AK dwells. He's a little more reserved and his style works well for him as is apparent throughout "Journey Of Gratitude" which, coincidentally -- and like "Oath Of Akae" -- is also produced by Vaughn Benjamin.

If you go back to the "Songs Fa Jah" set, it kind runs congruently with this one as far as how it seems to have come to fruition. "Songs Fa Jah" came via one Higher Bound Productions and, during that very same year, the label would go on to release full albums from Akae Beka ["Free Indeed"], Ancient King ["Ethiopie"] and Army ["Dreadlocks Time"] ("Dreadlocks Time" was probably the best of the lot but, unsurprisingly, it's "Free Indeed" that stands out as the most popular) (album had 'Hemp Scroll' on it). So, as is the case for Trinity Farm, that album arose from the works of a delightfully active imprint delivery a new Abja album. Let's do this one in reverse: Trinity Farm Music's edition of an Abja album, "Journey Of Gratitude", actually ends with the tune for which it is named. Before we even get into the actual song, let's deal with the obvious: 'Journey of Gratitude' is just a great name! Left to my own thoughts to sort it out and I go to the direct thought of someone actually having to WORK and to DEVELOP to the point where they know how to be appreciative for what they have in life, which is all kinds of fascinating. Abja's take is a bit more broad, however (at least somewhat), as he presents "gratitude" and the display of gratitude as several different things. Abja's gratitude is humility (should be everyone's), HARD WORK, upful behaviour, intelligence and a few other things as well, beneath the umbrella of giving thanks to His Majesty. This is set atop an ultra simple and minimal riddim that I do not LOVE but does grow on you as you spin through it more and more. Abja also touches on the subject earlier on with 'Attitude of Gratitude'. In comparison to the title track, the riddim supporting this one is also very basic but this thing is BEAUTIFUL! 'Attitude of Gratitude', in general, is the stronger of the two as Abja delves deeper into the idea of gratitude, this time with an even more spiritually inclined reasoning and a song which is stronger, lyrically, than the already quite impressive 'Journey of Gratitude'. IN A SEMI-UNRELATED TWIST, Abja & TFM released a single back in January of this year by the name of 'Grateful For Life' which, oddly (as hell), does not appear on "Journey Of Gratitude" at all. It is an excellent song and you would have thought one that would have fit perfectly here (it would have) but, for some reason, it is missing. I kind of appreciate that on some level because it makes things seem like there was more of a plan that they refused to detour from and that everything you hear on the album was meant for it.... just thought you'd like to know. And because this paragraph isn't quite big enough, also check the other two efforts hanging out around the closer (told you we were going to reverse it today), 'Rasta Have Faith' & 'Brave For Life'. 'Rasta Have Faith' isn't at all what I was expecting in terms of vibe. It isn't this kind of laidback chant. It has some bite to it. The song is a plead to the masses to show some perseverance when times get hard and to keep faith in The Almighty. It does take a decidedly more social/tangible route at times and I was very impressed by 'Rasta Have Faith', in full. As for 'Brave For Life', this thing is in the stars somewhere. 'Brave For Life' was an unexpected praising tune and I don't think I've ever heard a song so categorically focused on thanking HIM for BRAVERY, such as this one. Abja, essentially, thanks His Majesty for the strength to get out of bed every morning and go about his daily works, in good times and bad ["Life bring such blinding things. Help me a sight. Help me see alright, that outta darkness comes a light"]. You won't get a tune leaping out at you with originality but, TRUST ME, it's in there and well worth the 'journey' to discover it.

This song is not on this album

While you won't find previous single 'Grateful For Life' on board, "Journey Of Gratitude" does get going with a pair of songs that you may've been familiar with prior to its release date. 'Behold The King', for once, is EXACTLY what you're supposing it is.

"Jah Hail The King

Behold HIM in His glory

As I trodding out Addis Aba' to cross to Awash, to hail Jah Rastafari, The King

Give us solace, oh Jah, in our time of suffering

Hear I when I wail and cry

Keep wi in Your bossom of splendour, oh Jah

Hail King Selassie I

I will praise His name in every song that I sing

Magnify His magnificent glory

Can hear the angels from afar, singing songs of The Emperor

Hail Jah Rastafari, THE KING

Long live The King

Behold HIM in his His glory"

Despite the fact that there is nothing really flashy or exceptional about 'Behold The King' on the surface, I am HOOKED on this tune and it's probably my second favourite on the album altogether (yes, there is one CLEARLY better). When you really tune it in, 'Behold The King' is downright flooring. 'By The Way' is something else in its own territory, playing by its own rules. Coming off as an almost... Gil Scott-Heron-esque Spoken Word piece, at times, 'By The Way' is a very powerful social commentary (I'm going to also call it a 'personal commentary') telling us not to focus too heavily on the ills of society as "Jah will find a way". The 'hole' on this one, however, goes very deep as it takes several MASTERFUL lyrical twists and turns, in its time making for, again, one of the legitimate highlights found here. 

With alllll of that being said, the highest ranking tune on "Journey Of Gratitude" is 'Chanting'. Blessed with another riddim saturated in a beautiful simplicity (more on that in a second), 'Chanting' is HEAVY and Abja takes the moment to its fullest through both straightforward and more complicated routes. On one hand is that beautiful basicness:

"Chanting is healing"

While on the other, Abja, once again, goes Spoken Word 

"Black is a divine cosmic principle of the universe

Since the very beginning, Blackness is fundamental, universal energy

DARK MATTER

Blackness, not darkness, is a receptor fi all colours and wavelengths in dimension of energy"

I mean... you drop something like THAT right in the middle of a tune and just keep on going. 'Chanting' is FIRE. It is literal FLAMES! Also should be mentioned that, at just south of five minutes in length, the tune is easily the longest on "Journey Of Gratitude" with the final minute or so going total instrumental as a STUNNING nice touch. As I said, though the riddim is very simple, when you hear it sans vocals, you begin to fully appreciate every little twist and turn in its sound and it also gives it more of a PRESENCE in my opinion as I can see Abja performing 'Chanting' in my head and when the riddim plays, he backs off and does exactly what I'm doing while hearing it: ENJOYING. I hesitate to call the riddim backing 'Majesty' "cute" or "adorable", but that's kind of what it is. It's just a delightful bounce and something tells me Abja would have agreed with me because 'Majesty' ends up going in so many different directions that it comes off as such a total vibe. It seems like he was just so pleased with the composition and he came up with something organically and spontaneously from the top of his head and what resulted was 'Majesty' and that's just fine! Lastly, Abja casts LOVE as far as he possibly can -- worldwide, dimension-wide -- with the DEEP 'Matuneta Luv Song'. This track is kind of Bluesy to my ears and it also comes off as slightly less planned out and orchestrated and more of an organic creation. Speaking of things organic: 'Matuneta Luv Song' is a celebration of life, of LOVE and of just a general level of positivity and it is a very solid addition to the album, particularly on  the sonic side.

Overall, although checking in at just nine tracks spread out over about thirty-seven minutes, "Journey Of Gratitude" is a fairly HEALTHY set. I don't listen to it and, as I often do, come away wishing there was more (well.... I do, but only because I want more of it and not because it feels incomplete which is what I mean here). It is exceptionally well done and a solid case could, perhaps, be made that it represents some of Abja's best work to date. On top of that, for those of us who're likely to appreciate such work (more hardened fans of the genre), you will LOVE much of the subtle music on display throughout "Journey Of Gratitude". I found myself often talking about how simple it was.... while nodding my head along with what I was hearing at the time. Trinity Farm Music continues their tear with an artist, in Abja, who, though maybe you originally learned of his name through searching the work of another, has shown himself to be an extremely talented artist. Want an example? Take a listen to "Journey Of Gratitude". 

Rated: 4.35/5

Trinity Farm Music/Go A Chant Productions

2025