The Vault Reviews: The Ultimate Challenge by Sydney Salmon & The Imperial Majestic Band

The ideal. If you take all of these wonderful themes and messages that we are given in listening to this amazing music -- Roots Reggae -- you'd hope that maybe someone, somewhere is tuning in and actually applying them to their everyday life. Hopefully, at least in some aspects, that "someone, somewhere" is You and I but you'd also hope that such a nice thought has a wider-reaching personal impact with the masses. Furthermore (and, perhaps, even more importantly) it would also be nice if the artists, themselves, actually lived up to the music they made and, though such a thing may be virtually impossible in a total way (because we are all flawed and prone to making massive mistakes) (which is, presumably, where the saying 'follow the message not the messenger' comes from), surely people are capable of implementing certain things within their lives which they make their living teaching to others. We've seen evidence of this throughout the years as well with individuals doing things as simple as speaking out on injustices locally and internationally (outside of musically) to as detailed as others running charitable organizations and foundations, such as Sizzla Kalonji and Bounty Killer most notably, Making music brings in money and fame and (deserved) adulation so it's always refreshing when you see someone who is willing to put those things to work and spend the TIME it takes to do other things which may not bring in much of any of those as it distinguishes them as someone who TRULY does care about their work from... maybe someone who just uses it as a means to make money who just happens to have a musical talent. I'd also, loosely, include in that the work so MANY of them do in terms of bringing forth a younger generation of positive artists. In the most recent review I wrote prior to this one, we dealt with Eesah who was clearly very much influenced, both directly and indirectly, by Chronixx (someone else who has done a great job away from the microphone) and there're literally countless examples of this happening in Reggae music and that is something definitely to be proud of (I did just mention Bounty Killer, after all). Still, with that being said, there are others still who find ways to even further immerse themselves in the music they make and the messages behind it.

Reggae music has taken people all over the world in the pursuit of making it, performing it and for a variety of different other reasons. It seems to be almost routinely around these parts that I mention someone who has made their way to the Reggae-starved continent of Europe because there they will find ample audiences (and producers) with whom to ply their trade (most recently there was Mosiah. New album, "I-Frequency", out now). This is a trend which started years ago and has not seemed to diminish much, if at all, over time (and you'll find far more examples of artists who may not have full relocated to Europe, but primarily do their work there). Rarer, however, is the situation we take a look at today as we have someone whose travels have taken them from the birthplace of Reggae music to.... the birthplace of EVERYTHING. When I first saw the name Sydney Salmon -- would have been just a few years ago now -- and took a listen to his music, I just had to learn more about the man behind what I was hearing. There was a certain quality to his work (more on that in just a second) that was SO DAMN impressive and so refined that I was pretty surprised that I hadn't knowingly ran into his work before. It seemed like something I would have remembered. When I did get into his story, it turned out that Salmon was born and raised in Kingston where he began his career in music and, as a young adult, relocated to New York where he furthered it, as well as an interest in Rastafari, before relocating again... this time to Addis Ababa, the capital city of Ethiopia. One of the pillaring tenets behind much of Roots Reggae music is repatriation and returning to live in Africa and Salmon actually did it and, apparently, with him he took a TON of talent. 

I don't recall exactly what led me in Salmon's direction, initially, but whatever it was I'm delighted that it caught my attention because when I did actually tune into his work, I heard such a BRIGHT and VIBRANT Roots sound and one that though clearly inspired by older sounds was still fresh and pliable for the current generation. It was just such a full vibes that I took a mental snapshot and knew that one day it would be a fun write-up to tell you wonderful people about what I heard and today is that day. I almost want to say that it feels older, but officially it was just a couple of years ago that Sydney Salmon, along with his Imperial Majestic Band (which, I think, came from New York with him, or at least partially), released a downright dazzling piece of Roots Reggae by the name of "The Ultimate Challenge". The album came via the same Imperial Majestic Productions that handles pretty much all of Salmon's music that I can find note of, with one recent exception. Sydney Salmon has actually mixed with a friend of ours, James Lord [aka Dr. Seuss] of Irie Sounds International just this past December in creating a LOVELY tune by the name of 'My Banner' ["My banner give honour for all the world to see what Rastafari has truly done for me"]. Lord's story is similar to Salmon's as he is someone who spent years of his life making Reggae music before packing up and moving operations to Ethiopia (and what a BEAUTIFUL union those two could make if ever they were inclined to make a full project in my opinion). As far as Sydney Salmon's style, as I said, he's someone who has clearly been captivated by an older and more foundational type of sound which is well reflected in his music. Vocally, you could make several comparisons, because of who I spend my time listening to, I'm going to make one that no one else likely will (they won't), but his delivery reminds me a bit of someone like Tuff Lion. He has a FINE singing and chanting voice (it comes off as being either very strong or nearly pitch-perfect for the type of music that he makes when he does push it to my ear) and he veers back and forth between the two exquisitely. He's also very refined and he HAS to be given the total SOUND of his work. As I alluded to, it is simply.... CANDY to the ears of Roots Reggae fans, to the point where it became hard for me not to pay attention to it in a major way. I don't know if I'm able to do it justice in this way but I am definitely up for this challenge and I'd like to tell you all about it if you're not too busy.

I'd have no idea to whom, directly, I would give such a credit, but whoever put together the cover art for this project has done a great job. Like the music it heads, it is very inviting. Looking at it makes you want to know more about it and hear what's going on. What is going with "The Ultimate Challenge" from Sydney Salmon & The Imperial Majestic Band is absolutely delightful and it gets up and going courtesy of its glowing titling effort (always looking for new and interesting ways to say "title track") ("titling (which may or may not be an actual word) effort" is fantastic and you know it).

"We must first look unto The Almighty God, Who has raised man above the animals

And has endowed us with intelligence and reasoning

We must put our faith in HIM

He'll not permit us nor allow us to destroy humanity

Who were created in HIS own image

Give thanks to The Lord, God, Almighty"

This EPIC opener really touches the listener in every way possible as it shines lyrically and musically when, roughly halfway through, 'The Ultimate Challenge' dashes the vocals for the most part and goes instrumental for a downright dazzling spell (and just a REALLY good idea, in my opinion). When I first heard this song, as I alluded to (or at least tried to), it both impressed me and made me damn curious as to what was to follow that golden first taste. Awesomely (that might not be a word either), the case could be made that what directly chases the title track is an even stronger piece as the sublime 'Africa Arising' is up next. As its title suggests, this track is one for the upliftment of Africa, in general and fully, and Salmon touches on various aspects of the continent to instill some pride in all of its children. It also sounds fantastic. It isn't BIG or terribly intense, but the vibes on 'Africa Arising' quickly find a perfect groove and they OOZE out for your listening enjoyment (those horns!) on, easily, one of the sweetest tracks on "The Ultimate Challenge". I also have to mention how much FUN it seems they had in making 'Africa Arising' as well, which is always a nice touch to hear. 'Lions in Captivity' is charged with keeping the quality levels high and it does not miss a beat at all. This one is a celebration of freedom and liberty and its importance to EVERYONE and how much we lose when we unnecessarily restrict people. What a tune!

From what I gather, the Luciano-esque 'Never Colonized' is both one of the oldest and most popular offerings on the album (apparently it dates all the way back to 2011). It is, essentially, to Ethiopia, specifically, what 'Africa Arising' is to the continent as Salmon and co. set out to make a song that would lift up the nation for all of its beauty historically and currently. I also LOVE the vibe of 'Never Colonized' which is downright exquisite and, again, the fact that Salmon does show love to present day Ethiopia. You rarely hear messages like that: If you really think about it, most Reggae songs about Ethiopia (and there're hundreds) focus almost exclusively on the historical aspect; but as someone actually living there, you would expect a different perspective like the one provided here. Also, because I'm a giant nerd, I simply must mention the fact that though the song is listed as being a very healthy 5:59 in length, it's actually more like 5:12-13 as the final forty-five seconds or so is just void (don't know what happened there). Next up is an absolute scorcher in 'Carry On', that soars alongside some of the best material that "The Ultimate Challenge" has to offer altogether.

"Said the poor man to his son:

'I know my time has come'- 

To be moving on, I know that my work is done

And now it's your time, to let your light shine

Pick up the mantle and carry on"

'Carry On' is about progression of a few different ways, but steadily moving forward and it is framed in such an interesting and compelling way that, lyrically it stands out so vividly. The sound is more subtle and laidback and so wonderfully underpins a golden message and delivery. I saw the title 'Show Business' and was somewhat surprised by it because it didn't seem like it fit the direction of "The Ultimate Challenge" and, in listening to it.... Yeah, it is kind of jarring to some extent. The song that follows, surprisingly, doesn't stray far as 'Jams Addis' is, as far as I can tell, Salmon's ode to a Reggae club in Addis Ababa (which Google says has since been closed down). Neither of these tunes are bad (they're both at least above average) and 'Jams Addis', for what it's worth, is pretty strong (with its grander significance than just being a song about a club), but I wasn't expecting either and that is an addition to "The Ultimate Challenge" because we always appreciate versatility when it is done in such a way. This challenge peaks [PROBABLY] next as someone leaves the gate open and in walks the MAMMOTH 'Yakob Rule'. Let me tell you something; If you wanna talk about a tune that has EVERYTHING covered, in terms of the message and the music, you're going to be talking about several from this album, but none from a higher region (biggup JahSolidRock) (be telling you about what they've been up to pretty soon) than 'Yakob Rule'. This one comes off as if Salmon is speaking (in an analogous type of way) about how The Almighty put the inspiration of making music in him and what he's attempted to do with it... then it BLOSSOMS out into this stunning track which keeps you moving and thinking throughout. 

As "The Ultimate Challenge" winds down, it serves up another pair of big winners in the closing 'Warriors' and 'Coming Soon'. The flying former is the brightest gem of the two as it STIRS! 

"Since I was a boy, I've been a warrior

I was born and raised to bring down barriers

To trample di beast

Warriors from the east

A son of Jahova"

The vibes on 'Warriors' are downright destructive and either Salmon adopts a few different styles or he does pass the mic around a bit to members of the IMB. Were you of the mind that 'Warriors' was the single biggest moment on "The Ultimate Challenge", I wouldn't put up much of a fight at all. It stands am EXCELLENT call to action and one which has the strength to be successful (you literally feel like doing SOMETHING while listening to it). For its part, though a ways more chilled and relaxed, 'Coming Soon' manages to make a big impact as well. On a biblical vibes, Salmon warns all to get ready for the return of The Almighty and it takes him a very appetizing nearly six minutes to get the point across (technically, it's the album's longest selection given the strange ending of 'Never Colonized'). Speaking of biblical compositions, there's also the beautiful 'Psalms 64'. Fairly straight forward, Salmon constructed a piece of music around the passage and did so in such a way that has made it impossible to ignore. YOU LISTEN TO THAT THING! With this HUGE and blaring sound, 'Psalms 64' full on dares you to not give it a proper attention in its time. I'm going to say pretty much the exact same in reference to 'Blood Brothers' as well. It may require a little in the way of a 'gestation period' and it comes on top of a foundation directly from scripture. The sound on that one is... almost Country/Gospel, neither of which are favourites of mine at all, but I do not dislike 'Blood Brothers'. If you do (that's fine, you're entitled to your own opinion. Nothing wrong with that at all), give it a second listen before tapping out completely. Finally, check 'Guardian of Love'. Yes. I know. The title is kind of sappy and you could even say the actual song is a little on the mushy side at times... that's fair; but I'd also tell you to give this one just a bit of extra time to develop and pan out. Maybe it never grows on you at all but it did on me somewhat and a tune that I did not very much at all initially is one which I now look at as being quite solid and a full credit goes to the female singer who joins in and gives the song -- and the entire album -- another very much appreciated texture.

Overall, "The Ultimate Challenge" is something FAR more than "quite solid" to my opinion and I'm recommending it to fans of Roots Reggae both new and old. Given the total sound of the album, I think it appeals to more hardened fans as something they know and love and newer fans with its RICH sound. Also, the uniqueness of such a project as we mentioned, with a Jamaican artist building a vibe in Ethiopia, FOR Ethiopia and with a unique perspective is also something I think that has a backing that is readily enjoyable by many types of fans. EVERYONE (everybody, in the entire world) has a story behind them, but in a genre like Reggae where so many of our artists' background is so wonderfully varied and well-traveled, what Sydney Salmon and The Imperial Majestic Band have going for them is even different in a terrain that breeds originality and that comes roaring through on a wonderful debut album, "The Ultimate Challenge".

Rated: 4.4/5

Imperial Majestic Music

2022

Bounty Killer & Daseca Go Jet Black

...and the world is a better place because of it

"Trenchtown mi bawn

Callaloo bed grow mi

SEAVIEW MEK DEM KNOW MI

Mi gun everyweh, so mi bad every anyweh

Mi will send yuh anyweh weh heaven or di devil deh"

LET HIM IN!: A review of Deep Medz by Eesah

Hand off. We may have fully passed such a point an even before it wasn't such a heavily monitored topic in Reggae music because of just how [under]valued albums tended to be in the genre in general, but for me there still remains something particularly SWEET about a really good debut album. Just a couple of reviews ago, I told you about such a release, "I-Frequency" from an artist from out of Trinidad by the name of Mosiah. In his case, like so many others prior, though I was familiar with his work, the album put everything in a very nice and CONVENIENT package and, because the once far more common practice of, essentially, compiling albums (meaning just taking a heap of previously released (and rinsed, in some cases) singles, putting them  together and slapping a cover on them) has been at least tempered and artists tend to actually try to make decent impressions on albums, the introduction exercises a bit more in the way of 'quality-control'; making a deliberate attempt at giving the listener a healthy experience. Even these days, where in trying to provide content for this blog, I tend to pay more attention than I would were I not writing, that big album and debut album, in particular is always very welcomed. Historically speaking, there was another added aspect of interest as debuts typically (and this is strange, so be careful) arrived at/around the beginning of an artist's career (like I said, STRANGE), so following along or even tracing back was always fascinating to see not only the cultivation of their talent, but also the various twists and turns they may have demonstrated working alongside various producers. These days, things have changed dramatically, though they're not less interesting as, again, because the target may not be an actual album release at all (EVER), if/when it does eventually reach, the individual may be any number of years into their career before album #1, having already attained a level of respect, if not full-on stardom to some degree, prior to its release.... biggup Aidonia. I suppose one of the benefits of having an artist further along in their career before delivering that first album is that they're further along and, whatever and whoever they are going to be, musically, they're closer to being it following that earlier gestation stage (and, ideally, the ENTIRE career is a period of development, but the changes you see later on tend to be more subtle and less glaring than in the early days).... so maybe THAT can at least help to explain why we see what we encounter in the curious case of Eesah.

The name -- probably one of the better in all of Reggae -- has been around the scene for the better part of a decade (and maybe even longer, actually), having managed to impress a variety of different sources in a number of different ways, yours truly included. If you do trace back Eesah's story, he was an engineer at one point before being encouraged by friends to pick up the mic and do his own thing and, a few years on, it is crystal-clear that he made the right decision. When I first became aware of the artist, he was something of a disciple of Chronixx and was someone clearly influenced by the all kinds of gifted Chronixx. His style is slightly more singing-heavy, but Eesah also typically employs that unusual 'darting' vibe as well (they chant, they sing, they deejay.... almost all at the same time in some instances). It also helped that he was very gifted lyrically and what has resulted has been a fantastic and nearly unavoidable run.

2018

Previously, Eesah has had a number of EP releases to his credit (it literally may be like four or five in total by now), with the most recent being 2022's "Timeless", but a few years ahead of that was 2018's most fittingly named "Masterpiece" which, with tunes such as hit 'Tell No Lie', 'Marijuana' and others definitely would live up to its title. Personally, I've also heard several interviews with Eesah and he does seem a very nice person as well as someone who just has a very good head on their shoulders. His COMMON SENSE seems on a very high level and Eesah really has that feel to him I've seen present on many top Reggae stars.... they just seem to know what they want to do and how to get it done. It's a very HUMBLE CONFIDENCE (if that makes any sense) which drips from him. He's also been very active and consistent with his releases. He's quietly become one of the genre's more dependable of performers. All of that has well risen Eesah's profile and heightened expectations and he's now checked something wonderful off the list as he now delivers his debut ALBUM, "Deep Medz". The set comes courtesy of King I-Vier Music, with the US based Loud City handling production. Eesah has been working with both frequently in recent times, clearly in preparation for this very moment and, were he going to be releasing an album, King I-Vier and Loud City would figure to be amongst the obvious links (previously, he's released material through Evidence Music as well and I'm pretty sure you can expect more production from that combination as well). I tend to favour looking at material which  goes beneath the proverbial radar and bringing it a little to the forefront in my own way, but that isn't at all what's going on here as the early buzz surrounding 'Deep Medz" has been very impressive in Reggae circles from what I've seen. On the surface, there's a relatively easy explanation for this which we'll get into more in just a second, but something VERY nearly special plays out in this instance and I'm hoping (and THINKING) that we're looking at a very big deal in "Deep Medz" because it seems to be positioned so well to end up turning more than a few lukewarm fans of Reggae music into diehards and maybe even making fans out of someone whose experience with the sound begins and ends at Marley. "Deep Medz" QUICKLY shows itself to be an exceptional release and I have no problem at all labelling it one of the finest debut sets that I've come across in a VERY long time. Let's talk about it.

As I alluded to, if you just take a glance at the tracklist for this album, there's something that will immediately leap out at you and I'm thinking it's going to get the attention of a more casual fan and draw them in.... and then they will stay. There are five combinations on "Deep Medz", four of them feature names ranging from BIG to full-on LEGENDARY. When it isn't overdone (and five combinations out of seventeen in total is not overdoing it in my opinion), just seeing such a thing can be a very attractive quality for an album. You know what else is very nice to 'see' on an album??? EXCELLENT MUSIC! This part of things get started with the ABSOLUTELY GOLDEN opener, 'Behold The Conquering Lion'... You know what? Let's do this in triplets because all three of the beginning tracks from "Deep Medz", 'Behold The Conquering Lion', 'Jah Give Me Strength' & 'Jah No Dead', come through on a very similar [the exact same one] topic. The first of these is one SWEET praise of His Imperial Majesty. Blessed with a riddim given a touch of the divine (it is heavenly), 'Behold The Conquering Lion' comes through so nice easy and effortless that it stands as the type of selection you could very well listen to hours on end without even REALLY noticing just how much time has passed all the while. That being said, a good case could be made (and I'd probably be amongst them making it) that 'Jah Give Me Strength' is even stronger. While Eesah's giving praise here, he will keep your head and feet moving (literally doing it right now). This will lead me into a point that I'll make in closing but there's something so attractive about a song and, furthermore, an entire project that has a vibe like such but, like I said, we'll get into more of that in a bit. Finally (HUH?!), 'Jah No Dead' is a lyrically dazzling effort which is cared for by one LUSCIOUS backing track.

"The Devil love and work fi idlers

Cah when dem inna trouble, then dem run to di bible lost" 

The tune also serves as the first combination from "Deep Medz", linking Eesah with Garnet Alkhem (son of the immortal Garnet Silk) and ultra-talented T'Jean (whose father, Mikey Bennett, you'll also know) (and, T'Jean has also released his own new project for this year. A terrific EP by the name of "Ancient Intelligence" which I may tell you about, more in-depth, at some point). 'Jah No Dead' may just be the best of the opening lot but any way your preference goes amongst the three, you have truly SENSATIONAL work at the head of "Deep Medz" and you know what??? It stays that way throughout. 

While Alkhem and T'Jean are definitely names you need to keep an eye on going forward, the batch of vocal guests enlisted to join Eesah here is mightily impressive, as I alluded to. Check the fun 'Red Alert' which taps veteran Swedish DJ, Million Stylez. This one is a social commentary within a [LEGIT] Dancehall tune and I LOVE how it breaks up the vibes. Pieces like this one, really add to the colour of an album (it almost gives you a little jolt if you're just casually listening through and come across it) and it makes for such a stronger listening experience altogether, in my opinion.... and, of course, it doesn't help that it's damn good also. The very next drop in, 'Rasta Corner', was a big single release just ahead of the album, itself. This one, RIDICULOUSLY (and I mean that in a GREAT way) finds Achis Reggae favourites Perfect Giddimani ["High grade, that better than liquor. Dat a roots inna cup, strong back mek it bitter. LOCKS PON MI HEAD TOP, DAT A MY TRANSMITTER"] and Pressure Busspipe joining Eesah and, as you would expect, the trio absolutely causes DAMAGE together. As strange as it will sound: 'Rasta Corner' is the most glaring example of my primary criticism of "Deep Medz" (more on that later), despite the fact that it is also one of the best songs that it has altogether. You bring in talents like this one, separately, and you're going to have something potentially special on your hands. When you do it ON THE SAME FUCKING TUNE... problems! The artists link under the umbrella-ing theme that not everyone belongs everywhere, particularly when they cannot meet the minimum requirement to be there. This is the type of music I was directly referring to drawing in the more casual head. On the heavier end, if you see THAT level of talent on a song even prior to hearing it, it definitely captures attention and what results is eons away from a disappointment. The one and only Sizzla Kalonji also makes an appearance, making his presence known on a remix of the plodding 'In The Ghetto' (don't think I've ever head the original). I do not love this tune (that chorus is.... tough), but it is solid. I've made my feelings on the latest incarnation of Sizzla crystal-clear and what he does here most certainly is oceans away from his vintage levels but it's also considerably higher than at least some of what he's done as of late.

When I first saw the tracklist of "Deep Medz" my attentions focused on the presence of one potential all-conquering effort by the name of 'The Beginning of Time' which, almost comically, features BOTH Capleton & Lutan Fyah.... why you'd need those two on at the same time is well beyond what little good sense that I have, but that is exactly what Eesah does while managing to make a space for himself on that sublime old school riddim. The direction here goes back to our openers with a massive observation being paid to His Majesty between them with all three finding their own time to shine but taking top honours, to my opinion, is the mighty King of Fire. Still, with all that being said the single best combination and tune altogether on the album (although the opener is running EVEN with it) is 'Police & Badboy' which taps one of the most lyrically proficient lights Reggae has seen in a VERY long time, the Grammy winning Kabaka Pyramid who is in a typically DESTRUCTIVE mood during his contributions.

"Murder capital, dem nuh murder fi capital 

Gunman will kill people fi some reason weh not even practical 

Police nah tek sabbatical

Dem full you up a shot

Mek all di doctor dem struggle fi identify inna di hospital

Badman dem nah play play

Man ah shoot like Braithwaite

Murder you with a straight face

Graveyard haffi mek space

Bad cop dem have red eye and di good cop dem ah save face

When di ak dem ah spray, spray-

Another man life fade way

Another bloodstain upon di concrete

Another mother bawl for her son

So when you si di gunman or police, well try no bodda run"

FLAMES! EVERYTHING IS ONE FIRE AND NO ONE CAN PUT IT OUT! This tune blazes, crumbling absolutely everything it encounters.

Besides the combinations, another interesting musical angle found on "Deep Medz" is the presence of several pieces which are either of the lover's variety or just, generally, giving credit the most honourable women of the planet and they are ALL at least nice songs. The first of them is the fine 'Nubian Queen', which is chased by the even more charming 'The Girl I'm Searching For'. The former is slightly more specific as Eesah, seemingly, is talking to his own special woman as opposed to women in general, but it's still very relatable and exquisitely performed. 'The Girl I'm Searching For' brings in a more of a 'positive edge'. It has some heat on it. Though, again, more on the specific side (arguably even more so than 'Nubian Queen' with the semi-running dialogue of the lyrics), 'The Girl I'm Searching For' reaches greater heights and, yes, you will find better on the subject on the album (I'm about to tell you about one of them) (make that two, actually), but this thing soars for what it is. 'Empress Menen' broadens things out and, in doing so, impresses immensely. 'Empress Menen' (delightfully) has an Afro Beats vibes about it to my ear and it's just this BRIGHT, all-encompassing and INCLUSIVE track which is done in a way not only hailing Her Majesty but also relating all upful and positive women to her. On a similar level in terms of sound is 'Girl Like You', which veers back towards the Reggae spectrum and is a very nice straightforward love song. I think 'Girl Like You' has something special about it and could do some damage if given an opportunity (and I do not expect it to be given that opportunity). I was surprised for the good in seeing so many such tunes attached to "Deep Medz" because it certainly gives the album an added dimension that you do see present on so many others but not to this extent. Clearly it is favourite topic for Eesah and I would expect him to go on and continue to make winners of the lover's variety.

The artist continues to mine gold on his own and on just about any topic he touches. One of the most glaring examples of this DEFINITELY comes in the most appropriately licked pair 'Irie' and 'Easy Skankin'. With its easy vibes, the former struck me 'all in the feels' (do people actually still say that??) as it's simply about having fun and enjoying yourself in a distinctly Caribbean way. 'Irie' is one of the better tunes here altogether and not very far away is 'Easy Skankin' which has more of a musical focus ('Irie' is more spread out, dealing with more cultural things, slightly).

"Kick off ya dancing shoe

THEN FIND A GIRL AND HOLD HER TIGHT

NUH MEK BREEZE PASS THROUGH

It's a skankin Reggae party

Watch mi drop it, one-two"

Together 'Irie' & 'Easy Skankin', again, add such a fun abd WARM element to "Deep Medz" and one which you might not expect to hear going into it but certainly makes more sense as the vibes develop (particularly with all of the love-ish songs being present). 'Push On' has a similar sound to the two tunes I just told you about (and it directly follows them, making for one lovely COOL block at the end of this album), but its subject is on a more serious theme as it's all about perseverance and thriving through the hard times life deals us all at times. It does have a spiritual edge at its heart but, for the most part, anyone going through anything can call on a song like this for some inspiration. 'Push On' is another selection that, at least for me, reaches near the pinnacle of quality for "Deep Medz". It is IMMACULATE and just such a mighty addition to this project. 'Uprise' is a track with something immediate about it. There is a certain infectious urgency to it which cannot go ignored.

"Tell dem a 'one aim, one destiny'

Black people fi free so just let wi be

Whether by air or wi tek di sea

Black Star Liner seal di prophecy

Fully camouflage when they si mi roll out

NO LONGER SHALL I TIE MY BROTHER NECK WID NO ROPE

'Africa fi Africans' a dat di legend dem quote

ETERNAL FYAH FI DI ONES WID NO LOVE

Every youth great like Nelson-

Mandela did ah beat dem wid a belt 

Nuh mek dem trick yuh bout slavery it done

Wi come from di land, but wi own"

Perhaps if you thought back to 'Behold The Conquering Lion' and added some spice and some flames to it, you might come up with something quite similar to what 'Uprise' turns out to be and it nears that same well lofty levels in my opinion. Finally is a piece that did take a little time to grow on me, 'Liberation' (biggup Turbulence) (allllll these years later and 'We Need Liberation' is still one of the first Turbulence tunes that my mind goes to). When I first heard 'Liberation' (and when I second heard it and probably third, fourth and fifth as well), I initially thought it somewhat uneven and while I still may not regard it as the most well put together piece of music that I've ever heard, it is fairly close to being outstanding. 'Liberation' almost sounds like a freestyle that became a full song at some point with that title/punchline never really being  played out to completion... but you won't care. 'Liberation' is a very fun time and, though all over the place, lyrically very strong as well.

So what is wrong with "Deep Medz"?? This is simple: The album features seventeen songs and has a run time of just under forty-seven and a half minutes. By my [surely inaccurate] math, that puts the average track-length at less than two minutes and fify seconds. By contrast, the last review I wrote was for an album by the name of "Levite" by Zacheous Jackson (biggup Zacheous Jackson). By my (again, completely WRONG) count, the average song length of "Levite" is nearly four and one third minutes. The most glaring piece of evidence supporting this is "Rasta Corner", a tune with THREE DIFFERENT ARTISTS anddddd..... it checks in at a very thin two minutes and eleven seconds. RIDICULOUSLY it is THEE shortest song on the whole of "Deep Medz". Still excellent, although somewhat crowded and I don't know why (incidentally, you could say the same for 'The Beginning of Time', and it is twenty-two seconds longer than 'Rasta Corner' and still a little cramped. In general, you wish they would have just slowed things down as, far and away, the largest critique I have of this set is that it seems to come and go (both in full and in several cases individual tracks) FAR too quickly. 

Overall, you could certainly have bigger problems than your audience wanting MORE and there simply isn't much more than that to complain about in regards to Eesah's debut album. The 'pros' in this case absolutely smash the 'cons'. They beat the hell out of them! Something struck me in the course of listening to "Deep Medz" that I've noticed before on albums from other artists but it's rarely been to this extent: "Deep Medz" and Eesah are very NEW. This is a definite NEW SCHOOL ROOTS sound, even when it does pull in some old school type of vibes. This is very much a clip of the music in the 2020's and it is a FINE example of that sound. Debut albums may have (they have) lost some luster from an older time and you can even argue that they've never REALLY been that important in Reggae music but if they do still hold any value in 2024 as they do with me, you won't find much better material than Eesah on "Deep Medz". Yes, I do wish there was more of it and, hopefully, "more of it" won't be too far away but, as it stands, "Deep Medz" is one of the strongest debut sets I've come across in quite awhile. EXCELLENT. 

Rated: 4.65/5

King I-Vier Music/Loud City

2024

Reemah Returns!

Maybe because it's been awhile since we've last heard from her, or maybe you were unaware in the first place, but Reemah is a genius. Clearly, the esteemed Silly Walks agrees as they've tapped the Virgin Islands word scientist for their latest creation, the triumphant and flatly nommed Roots and Culture Riddim and she WELL rewards their work with the MASSIVE 'As Far As I Can See'.  

"As far as I can see, the  truth it must reveal

Because di system is a plague, people a get sick

DEM DUTTY LIKE A SEPTIC

As far as I can tell, they cannot prevail

And all di wicked dem ah plan could never work out

DI FYAH NEVA BURN OUT

From di people still ah suffer, bun a fyah mek it melt

Whole a dem a lyah, sell wi out fi just a cent

Neva care bout humanity and it evident

MONEY A DEM GOD BUT MOST HIGH A WHO WI REPRESENT

Hand inna di air and inna di water

Biological weapon a wah dem order

No si di countless millions who dem ah torture

FLY OUTTA BABYLON, WATCH MI DEPORT YA!

Inna di midst of psychological oppression, dem waan wi inna decline-

Inna deep depression

Cause di system got wi blind 

CONSCIOUSNESS INNA REGRESSION

And di pressures got wi stressing, basically go use discretion

Wah mek di rich, alone, ah benefit?

And inna di ghetto, most of di people dem no well-equipped

POLITICIANS STOP DI BS CAH WI SMELLING IT!

RELIGION IS A POISON AND THEY'RE SELLING IT!

Pure genocide, dem ah seek

Nuff a dem a big parasite, dem a leech 

Dem no got no love

Instead di war dem ah teach

DEM AH TRY SUPPRESS DI TRUTH AND SO DEM WHITEWASH AND AH BLEACH

Wi beseech dem

Cah money pile, you no si how dem ah stock it

ALL WHEN DEM AH STOCK IT, TEK IT FROM DI POOR POCKET

IF A POOR POCKET, DEM AH SEH A MORE PROFIT

FYAH BUN DEM AUTOMATIC!"

Grrrrrr! To my ears, as it has always been, that is a VERY RARE skill that Reemah possesses. The ability to both write it and then deliver it melodically is extra-terrestrial. She is existing in the stars somewhere!

And, in case you're wondering, Silly Walks also spread the R&C Riddim around just a bit, with Jesse Royal also providing his own excellent take atop it. Royal's old school saturated riddim title track is (fantastic) from years ago and, apparently, someone at the label realized [correctly] that they had a potential jewel on their hands and brought it back. Also, do not sleep at all on either 'Lift Me' or 'Jah Jah See' from Jah Lil and Inezi, respectively, as both are top notch efforts as well (especially 'Jah Jah See') (it's a little I Wayne-esque to my ears). 

So, be sure to check out the latest release, 'As Far As I Can See', from the incomparable Reemah who is in her typical destructive form as the world awaits her next full length release; as well as the rest of the big artists on the Roots and Culture Riddim from Silly Walks when it drops on the 5th of April.

Seeking Balance: A review of Levite by Zacheous Jackson

Spreading. How we register and identify a level of growth in artists can be kind of tricky and broad. Typically, it is something which, specifically in Reggae music, we'll only either use in terms of describing the career trajectory of someone over a period of years (generally from youth into adulthood and becoming a veteran) or someone who's experienced a grand shift in their work (thinking of someone like Buju Banton or Capleton). That's just how we talk about development and I think that is, at best, incomplete because the talents that line of thinking inherently alienates so many wonderful talents who we did not come into contact with until they were well into adulthood or who exist, at the core level, in the exact same way as they were when we did originally stumble upon their material. Gifted veterans can (and do) continue to grow and progress and shift throughout their LIVES, musically, and while it may not as obvious as going from "boom bye bye" to "blood deh pon yuh shoulder", the journey to realizing those subtle changes can be a VERY sweet and satisfying one. I'm going to give you three names (technically four, including the guy whose name is at the top up there), one (two) you're expecting and two you aren't as examples of individuals who have demonstrated a lovely amount of a more subtle progression while being at such an advanced stage in their music. I may not even recall listening to music without Spragga Benz being around if I really think about it and, all these years later, the man is still making a sound which is so completely refreshing and COMMITTED to the point where, though he may not get that credit, I think we've arrived to a place where I am well comfortable saying that Spragga Benz', overall, is one of the greatest talents Reggae music has ever produced and you'll still hear it pulsing on virtually anything it touches these days. Similarly, when's the last time you listened to Luciano?? His case is so powerful because while we typically look at 'The Messenjah' as this beacon of consistency, one could just as easily make the point that it isn't so much his ability to continuously press the same buttons over and over again, but the ability to quietly and carefully add new facets and wrinkles to his game which keeps him relevant to newer and newer and audiences (go and find a tune called 'My Heart'. One the single best tunes I've heard from Luciano in a very long time). Of course, I'm also going to mention Norris Man who's currently enjoying one of the most impressive stretches of his entire career a quarter of a century into it. Now, again, on the surface you could look at each of these cases and style them as 'consistent' or 'durable' or 'enduring' and you'd be correct in all of those descriptors but, with as fickle and wavering as the tastes of music fans can be, CONSISTENCY will only take you so far. WE WANT TO HEAR SOMETHING NEW! 

2010

Here's something else new you may want to hear. About a decade and a half ago we came across an individual by the name of Zacheous Jackson. If I recall correctly (probably not) we initially heard Jackson's music through his work alongside the once mighty Rumble Rock Recordz (who, delightfully, appear to be still around these days in some form) from out of Hawaii. That label was responsible from pushing a few top notch compositions in the early 2010's and while it appears that they didn't enjoy the longest of runs, RRR DEFINITELY left a large impression on me and they also left me wanting to hear more of Zacheous Jackson. Very fortunately, by the time I had already began hearing him on Rumble Rocks riddims, Jackson had already brought forth his very own debut full project, "The Truth Shall Be Told", way back in 2010 and it gave me an opportunity to go directly into it. This is INCREDIBLY fascinating (especially for a nerd like myself) because if you can think about that situation for a second: You become introduced and immediately impressed by someone's work and, then you do your research and come to find out that, just the year before, they'd released a SEVENTEEN track album (more on that in a minute) which was just sitting there... waiting to be consumed.

And I devoured it. Zacheous Jackson's work stuck with me for a couple of very distinct reasons. First of all was the lasting NORMALCY and SIMPLICITY of his craft. Reggae music and Roots Reggae, in particular, is often associated with a handful of foundational tenets (and even Dancehall has that, actually, for as flimsy as it may be) (it is). I won't waste even more of your time by going over exactly what they are because chances are high that if you're reading THIS far into a review like this, you're already at least fairly acquainted with the genre and what it does - Jackson had them all covered completely. Secondly, Jackson displayed a certain INTELLIGENCE in his vibes. That is a trait you don't often hear someone credited for but, generally speaking, I would be of the belief that having attained a certain level of mental proficiency would allow one to write 'better' words and, although his sound wasn't this revolutionary type, the bases that Zacheous Jackson hit were so solidly dealt with that the listener came away thinking that this man had spent a lifetime learning about what he was singing. So, what does someone like Jackson do for an encore, for a second round? He does "Levite". Fourteen years following the release of his his debut album, "The Truth Shall Be Told", the UK based vocalist returns with his STUFFED sophomore effort and, in listening to it (fairly early on) (after, admittedly, going back and spending some time with "The Truth Shall Be Told"), the prevalent thought was that Jackson had spent the last fourteen years BUILDING. He was working on something and, presumably, it came through on "Levite" (damn, I hope it did!).... because this album has TWENTY-FOUR TRACKS ON IT. IT IS NEARLY AN HOUR AND THREE-QUARTERS LONG! 2024's release comes via the same Red Ground Jamaica Music imprint that has done so much of Jackson's work throughout the years and he's made it alongside longtime engineer (they've literally been working together since I was a small child and now I'm old), Mike Westergaard (who also aids on backing vocals throughout "Levite"). Between projects Jackson had remained busy, dropping a relatively consistent stream of singles throughout the years (had a very unfortunately necessary COMMON SENSE anthem a few years ago by the name of 'Pull Up Oonu Pants', while we were on hiatus) but, unbeknownst to me, he was in the lab COOKING. The man himself would link us (as I'm sure he did more than a decade ago when the first album came about) (very nice person. Very informative) and told me that he had a new album that he would be pushing soon and that it was EIGHT YEARS in the making. For someone who is as structured and detailed as Jackson seems to be, I am not surprised to hear that, in retrospect. I would have been quite surprised, however, if it appeared that he had wasted his time in constructing it...

No such shocks exist here, my friends. The production end of "Levite" is handled by SoulFyah Productions and the well esteemed House of Riddim, who we've covered several times throughout the years (and will surely continue to. They're excellent) and Zacheous Jackson utilizes their efforts in a delightful way, beginning with what is, effectively, the album's title track, the heavy 'Levitical'. This one had big shoes to fill as it was preceded (technically) by '400 Years', the GORGEOUS opener of "The Truth Shall Be Told" and here we find Jackson telling the story of the Tribe of Levi and although it is ultra-specific, he finds a way or two to broaden the message ["No limit to the inheritance of the Levis. Because Yah, alone, is their inheritance"] .This places a core of 'Levitical' wholly more relatable than one might imagine, which is very powerful. Also, even if you do take it in the more direct manner, 'Levitical' still thrives, it sounds lovely, and is a fine way to get things started. Even stronger is the next tune up, 'I Wish' which stands as one of the greatest songs on the entire album by its end. 

"I wish the people did deprogram that Willie Lynch syndrome overnight

I wish mental slavery fi drop weh and dem do what's right

I wish di youth dem would stop di post code war

Pick up dem book, go a school , learn fi turn doctor, lawyer

Teacher, physician or, a leader

So, from di crime dem, tun far

RAISE DI MIND, HIGHA"

BOOM! I've used this phrase before but I'd add a bit of petrol to it here: 'I Wish' is a very clever social commentary. It has a kind of a running punchline which you gravitate towards as a listener (it will be long gone and you'll still be sitting there singing, "I WISH!"), but when you follow along further than that, 'I Wish' is ripe with content and a beautiful selection. Quality levels remain high with 'Two Roads', a bit more centered and personal of a piece in my opinion. I had a lot of fun with 'Two Roads' because it is so wonderfully emblematic of something that fully displays Zacheous Jackson's style to my opinion. It is VERY simple: The more you go through life, you will find yourself faced with choices and there will often be situations where you have to choose between positive and negative... but it isn't THAT simple. What is 'good' and what is 'bad' isn't always so crystal-clear so you "think good before a choice you make" and weigh your options heavily and be sure to "be aware because your soul is at stake". This is a composition about its obvious base, which is readily apparent, but 'Two Roads' is also about MATURITY and EXPERIENCE and MAKING MISTAKES AND LEARNING FROM THEM. All of these themes go right behind supporting this incredibly simple idea... like I said, the man was building. I have yet to mention a song that I rate higher than the all kinds of interesting 'Plant Based Rootsman'. AGAIN, there is such a grounded core for this one ["When you eat dead meat, you deh nyam dead flesh. It rotten. It dead. It no fresh"] (CANNOT make it more obvious for you), but it ends up blossoming out in more directions than where you might think it would. Jackson speaks about things like the effects of dairy and alcohol on the body, cirrhosis and other things dealing with the total health of the body (like the importance of exercising and keeping fit) and, not to give out too much of the man's business, but Jackson told me that the tune came as a result of a personal health crisis he had gone through just a few years ago, before turning his life around. You often wonder how certain ideas for lyrics come about (or at least I do) and, besides surely extending his own time on the planet, Jackson's own experiences also led to, arguably, the single best tune on "Levite". The very next tune, 'We Calling Conscious Rasta' doesn't deviate too far from 'Plant Based Rootsman' at all and almost sits an extension of that/those very same foundation idea/s. This could hit a few people in 'some typa way' (as the kids say) but Zacheous Jackson has serious concerns about how you may be REALLY living your life... while talking about how much you love The King.

"My brothers cut out di alcohol so you don't get man breast and big beer belly

Because the estrogen energy chemistry would change your temple drastically

CUT YOUR NATURE, STOP YOUR MANHOOD FROM FUNCTION

PUT IT OUT OF ACTION

But you caan please your woman and give her loving or any satisfaction

I man nah make it up as mi go along, this is fact and not fiction"

You might not want to hear that and no one's perfect but what you find on 'We Calling Conscious Rasta' might be some food for thought the next time you shout 'JAH RASTAFARI'! And (speaking of Jah Rastafari), the first quarter of "Levite" wraps up with a solid and pretty catchy praising tune, 'Most High Bless'. You won't find anything here that you've yet to hear from others with this piece (you'll find more than one of them on just about every single Roots Reggae album made.... in ever) and you tend to find ways to separate praises from the ever-increasing pack. This one, in particular, has a COOL sound to it. It is nice lyrically if you get into it and serves the precise purpose that I'm sure it was intended to (and I wouldn't be surprised if 'Most High Bless' was more on the spontaneous side, despite being so clearly well-structured).

The second lot of songs from "Levite" finds Jackson, again, questioning the true intent of certain individuals despite what they may say or how they may present themselves and doing so on more than one occasion. Check both 'Where Are the Real Garveyites' and 'Jesus Christ Is Not His Name'. The former is fairly direct as it calls, matter-of-factly, upon those who still truly follow the teachings of the most honourable Marcus Mosiah Garvey and not in a fashionable type of way. Jackson does take things in both historical and current routes (he even mentions J Edgar Hoover) and I'll make the connection to not only the first album but much of Zacheous Jackson's music, in general: Zacheous Jackson is a Pan Afrikanist. It comes through constantly in his music with 'Where Are the Real Garveyites' being the biggest obvious piece of evidence of it on this album (and though you might think Pan Africanism and Roots Reggae go together. I wouldn't say that is the case INHERITANTLY for EVERYONE in the genre, in my opinion. At least not in the perpetual sense). Oh, and the riddim on that song is GOLDEN! The biblically geared 'Jesus Christ Is Not His Name'.

"Scripture says you have to call the right name to receive Salvation"

It takes a certain level of confidence and COURAGE to make a tune like this one which is probably going to piss off more than a few people and spark discussion (hopefully of a healthy type, but maybe not. You know how people can be about their religious beliefs). Listening to it, I actually get the feeling that Jackson is at least a little upset at the usage of the far more popular name and although I wouldn't necessarily call it INTENSE, there does exist a level of passion on this one that pulses throughout. He's frustrated and, in his own way (which is through telling you what he's learned), Jackson places it here which is another example of GROWTH on his part (more on that later) on what is, unsurprisingly, the longest tune on the album by over twenty seconds. You'll also come across the BIG 'Butterfly', which well ranks amongst the absolute finest "Levite" has to offer. It finds Zacheous, seemingly fed up as can be, ready to pull up his wings and fly away, leaving the madness behind while railing against those who are not as they appear to be. Situated very interestingly, there's almost a running spoken commentary behind 'Butterfly' which adds a nice aspect to it (and it isn't the only time we hear the artist SPEAKING) as well. Also here, you'll find the downright LUSH Tosh-esque 'Justice' as well as the also inspired 'No Weapon'. I'm going to go ahead and predict that 'Justice' will go largely overlooked and underappreciated on by a lot of people and "a lot of people" are going to be 'mistaking' because this song is excellent in every way. From the way it is written and sang and the very minimal but FITTING riddim it sits atop, 'Justice' is a large winner of a social commentary. 'No Weapon', only in terms of its sound and pacing, is somewhat similar to 'Justice' but this one, just as the track before it, the aforementioned 'Jesus Christ Is Not His Name', has a more biblical theme and, in this case, it almost seems as if Jackson has turned scripture into a song, directly, and what results is something far more straightforward than what comes before it. He does broaden it by, as he has done previously, making an attempt to open it up for people who may take a different path in life (in saying the PROTECTION of The Almighty extends to so many) - always a quality you like to see on such tunes. There's also 'Predicted Requested Created and Deployed', a tune I actually attempted to DISLIKE to some degree but was unsuccessful at pulling off. Zacheous Jackson's take on the recent pandemic (I'm just getting tired of those songs and the topic, but because of how the time works out and how long some of these albums take to put together, you're just NOW starting to see so many of them as they've been in the works for some time now). 'Predicted Requested Created and Deployed' has its moments. I think what sets this one away from the pack is that it isn't solely just about the current times. He brings up AIDS and even smallpox as kind of a historical backing from what we've recently experienced. I won't call this a favourite of mine but, again, it is better than I thought it would be going in and it's still growing on me (nice riddim there as well).

The highlight of the third quarter of "Levite" is simple: It features some REALLY, REALLY good songs. There is a MIGHTY trio of selections which lead the way, but every one of the six have at least flashes of brilliance in one way or another. Probably the mightiest of them all is the shattering 'Babylon Validation' as, once again, Jackson has some questions to ask of some folks' real intent.

"Nuff ah seh dem chant down babylon

Some even seh so inna fi dem Reggae song

Nuff ah seh dem chant down babylon

But still ah look fi babylon validation 

One ting mi no understand, so please something to me:

You seh you fight against the babylon system, but you deh fight fi award weh known as Grammy

the grammy is a babylon accolade, but you think if you get it, you set to made

To me, that a pure hypocrisy

MI HAFFI ASK, WHERE IS YUH MIND SPIRITUALLY

Nuff ah seh dem chant down babylon

Some even seh so inna fi dem Reggae song

Nuff ah seh dem chant down babylon

But still ah look fi babylon validation 

Nuff a dem ah write big song-

Seh Africa a The Homeland

But dem live inna di heart of babylon-

Europe, America & England

They seh wi fi uplift di nation, but nah left babylon deh mega plan

More lip-service dem talking, living comfortable inna babylon

To me, there's no sense of direction, it come in like mass-confusion

WHERE IS THE ANCESTOR'S MINDSET?

WHERE IS THE ROOTS REPUTATION?"

You're just not doing right! You have come to your 'Two Roads' and you have no chosen wisely! Please go back and, this time, go the other way! Should you struggle the second time in making your choice (although I don't know how that would be possible, but it might be), perhaps you should 'Trust In Yah', "and you will be guided through", as Jackson says during another of the big highlights held by "Levite". 'Trust In Yah' is smoooooth. It is what I'm calling a FUNCTIONAL praising tune. There is one thing to just give thanks and praise to The Almighty for the sake of giving thanks and praise, but this is more showing appreciation for what has been done for us and what continues to be done, going forward. I also took this one to be about CONFIDENCE and instilling a level of assurance and COMFORT in people that the more you're doing positive things and maintaining the right ways of life, THE LESS YOU HAVE TO WORRY ABOUT (you don't have to be so paranoid, constantly looking over your shoulder, hen you know you've done nothing wrong). The third pillaring tune of this batch (biggup Batch) is the pin-pointed 'More Love'. You've seen this exact title (or something very similar to it), countless times (there may, literally, be HUNDREDS of Roots Reggae tunes called 'More Love'... as well as a few albums) but this is not what you're expecting it to be, just as it wasn't what I was thinking it was. 'More Love' is an observance of how things are moving in the world and in Jamaica in particular. It applies to Jamaica beautifully here (you listen to that track!), but EVERYWHERE else as well. If you turn up the love, you turn up the positivity, the mood, the PRODUCTION and just make for a much better way of life. I'm very tempted to put unity anthem 'Togetherness' in this special group as well and because I make the rules here.... why not?! 'Togetherness' is VERY strong.

Jackson not only stresses the importance of coming together and being sure to make room for your fellow man and woman but he also begins to get back into more of the African Diaspora and how far (and from where) the children of Africa have come and where we've arrived in the world. To do that and to still be numerous is powerful alone but when you have your brothers and sisters next to you still and you have HUMILITY, you are potentially sat upon a goldmine of power, whether you realize it or not. The other two offerings in this portion, 'Open Yuh Y'eye Dem' & 'Come Mek We Talk' are better than average as well. 'Open Yuh Y'eye Dem' also deals with more of the journey of African people (especially with the call together at its end) across the world, but this one stresses the general importance of self-awareness and education. He talks about studying the bible and world history as 'those who do not know their history are destined to repeat it'. That song is nearly outstanding and... probably just as strong as the first four that I mentioned. Like I said: The third quarter of "Levite" is FIERCE. I'm almost certain that I know the riddim from 'Come Mek We Talk' from somewhere, that glowing HOR creation. Here, Jackson has a few things on his mind, he has some questions he'd like answered. Amongst the things on his mind are the social conditions of the world, the violence, poverty and the responsibility of those in power to make changes ["Imagine, in this day and age, people still starving"].

The final section of songs from "Levite" is well compelling as, though it may not feature material as strong as what comes before it, it PROBABLY carries the single best tune on the whole of the album as well as one or two others firing near that level as well. I'm first going to mention one which I really didn't care for very much when I first heard it, but it grew on me very rapidly, 'When I'. Just in terms of a listening experience. 'When I' does not leap out at its audience very much, if at all. If you give it a cursory and more casual spin, it doesn't really stand out at all. HOWEVER, when you scratch just slightly beneath that surface, what lies below is A GEM!

"When I think of The Most High, I man get high

It's a spiritual elevation

When I think of The Most High, I man get high

It's a spiritual meditation"

'When I' is another song that is giving praise to The Almighty and, as far as pieces which serve no other immediate purpose.... it may just be THE best on the entire release to do that. Like I said, I won't blame you if you don't realize it and go by (I almost did it), but if you take another minute or two not only do realize just how strong 'When I' TRULY is, but it also IGNITES. It SOUNDS much better to my ears these days than it did when I originally heard it and were you to tell me that, in a few years, I'd come back to "Levite" and go through it and 'When I' was actually my favourite song on it, I wouldn't give you too much of an argument on that. It is definitely possible. Check the refreshing closer, 'Unda Mi Medz', where Jackson eschews more typical forms of "medz" in favour of natural, organic and old-fashioned MEDITATION. The tune is a very solid one but what sticks out here, for me, is this SWEET portion during its middle where the track is just allowed to BREATHE and stretch its legs a bit as just an instrumental. The riddim here is intoxicating (fittingly) and I loved its opportunity to shine. Speaking of nice riddims, enjoy the one underpinning the also nearly special 'Look Within', a track which had me very quickly. I've tried to make the case here (as I always do) that I so appreciate when artists who come from their own personal side of beliefs -- as we all do -- at least make an attempt to open that side for others (even if I am someone who shares in their belief system) because it makes this wonderful music more accessible and helps to spread the more tangible messages as well, like the need of helping one another more which is something that anyone can understand and agree with. There're EIGHT BILLION people in the world to think that each and everyone would walk the same path and hold the same beliefs is unrealistic and downright SILLY, but when you make a song like 'Look Within', explaining that this wonderful KINGDOM is not my place for you. It's your own personal place and YOU can get there on your own ["a inside you fi go"] and to illustrate that point, Zacheous Jackson talks about the importance of individuality and how maintaining it helps us to find what we are seeking "within". This is delicious stuff for me. We are all EXTREMELY similar but not EXACTLY the same and what works for me may not work for you... and there is nothing wrong with that.

I typically firmly declare a favourite song in reviews and I'm going to do that passively here, reserving the right to change my mind before I've completed my conclusion, but AT THE MOMENT (with a respect to 'Plant Based Rootsman'), that distinction goes to 'Clique'. Somewhat digging into the sentiments expressed on 'Babylon Validation', the artist goes into specifics of all of the difficulties he's gone through in getting his work out to the masses. You know such things go on behind the scenes but, apparently it has happened to Jackson so frequently that the man is sick and tired of it.

"Dem have dem clique, but mi nah inna it

Because I man natural, original, unique

Dem have dem clique, but mi nah inna it

Because I man natural, unique

There is a clique inna England where some DJ only play di music of dem friends

And give dem one all promotion, this unfair to other musician

It deh bring down di music to destruction

Maybe money deh pass between smaddy hand

'Pay fi play', abomination!

Mi hope that a no di situation

Those in di clique get all di show dem and get all di radio play

From Monday back to Sunday - 

A di same every blessed day 

You hear di same artist pon di radio 

You hear di same song pon di radio

You si di same artist pon all di stageshow

Like dem no waan new artist fi come through and pass 'GO'"

I had to stop myself from writing... the entire song's worth of lyrics there because what Jackson goes on to do is to call out people to whom he's sent his work thinking they'd play it on their stations and, years later nothing is going on! You know how frustrating that has to be as you spend so much time and effort (and MONEY, let's be real) working on something with the notion that someone with the power will help you with promotion (to no cost of their own, their business is playing music anyway) and you get NOTHING from it. That is sickening and yet another reason why I've found myself gravitating so often towards not only artists whose music reaches me, personally, but who don't seem to be mentioned a great deal in the circles I keep track of and we'll continue to do that, precisely because of what goes on during 'Clique'. Finally, both 'Lost Identity' and 'Crisis' do good work, especially the latter. 'Crisis' is one of the more dynamic sets found on "Levite" and it's more than just a good listen as well. One of the first things that caught my attention about this one was the wording on the chorus, "The whole world inna spiritual stress", and it develop from that line of thinking as Jackson goes on to detail a large-scale lack of morality and decency that we're experiencing today. For its part, 'Lost Identity', with its very pleasant vibe, goes back to theme of education and history and knowing where you have come from and the route taken by your ancestors. 'Lost Identity' has some SPITE to it. It isn't delivered in a way that suggests that Jackson is upset but when you tune him in, he'll tell you exactly what he's thinking and how it's making him feel and he isn't happy ["A PEOPLE WITHOUT HISTORY IS A PEOPLE THAT DON'T EXIST"]. You may not be happy for listening either, but you will certainly be better informed and the song is well solid.

Just thinking about "Levite", as a whole, there're a few things which stand out. The first is the proverbial elephant in the room (literally): It is VERY LONG (and I know that's hilarious and hypocritical coming from me when I write reviews that look like this) (my wonderful Father always says that "everyone is a hypocrite"). That's fine but, because of that, my biggest critique of "Levite" is that I would have liked to see just a little more in terms of variation. I'm not looking at a Zacheous Jackson release and expecting... Dancehall, but I think maybe a combination or two would have brought another very nice facet to the total sound, particularly if that combination were with a female (or maybe even a prevalent female backing singer). "Levite", in full, is a better album than its predecessor but, with tunes such as the title track, 'Fi Wi Holocaust', 'Murder Eena De City' and others, "The Truth Shall Be Told", to its credit, featured a more varied and colourful prevailing sound (incidentally, if you missed "The Truth Shall Be Told", it is well worth digging up. Some LOVELY music on that album). Speaking to the length of it as well, it is the intent for "Levite", at some point later in the year, to come to physical (DOUBLE) form. Another very minor (probably kinda nerdy) thing that I noticed here and on the first album is the way Jackson tends to end his songs. I've become accustomed to the riddim, sans vocals, playing the song out at its end. This artist will sing the song out more often than not. It's something I picked up on.... probably from writing way too many reviews (no apologies!), but it most certainly is a changeup from what I'm used to. The other point standing out from "Levite" is the one/s I attempted to structure the basis for this review around: GROWTH. "Levite" is a more aggressively written album than 'The Truth Shall Be Told". It isn't always making points and then defending them, it's also calling others out for not standing up and defending them as well. It's challenging and thought provoking and as I've called Zacheous Jackson in the past (and present) a Pan Afrikanist, it is ENTIRELY AGAINST that line of thinking to not challenge the system on a whole and individually.

Overall, in retrospect, the changes that I did notice on the new album are a natural leap and it is reasonable to expect someone like Jackson to have gone from "The Truth Shall Be Told" to "Levite", ideologically speaking. It doesn't come off as forced or as if he's seeking attention unnecessarily. Also, with it having taken so long to put together, one would also expect a talent such as this one to display some type of new aspect to their work. So for everyone who may have a problem with a song such as 'Jesus Christ Is Not His Name' or one of the others, think about it: If they WEREN'T here, you may be complaining that it is too much of the same or that Jackson was playing it entirely too safe. I said as much in the review for the first album:

"I’d like to hear Jackson turn up the heat just a small amount on a future release"

Mission accomplished. So yes, it is incredibly long (there is no FILLER here. Typically when you say an album is too long, what you mean is that there is a run of songs which are just nondescript at best and could have just been left off) and I will still struggle to find a way to recommend another chunk of music from Zacheous Jackson to newer fans of the genre, with some patience and a mind opened to being challenged in a HEALTHY way, "Levite" should have absolutely no problem in finding a very passionate audience amongst people like You and I. Hopefully we pay attention this time. If not.. who knows what that album #3 might bring. Well done. 

Rated: 4.35/5

Red Ground Jamaica Music

2024