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.
Expressions. Of the several good things that I've experienced during the time that I've been writing on these pages, I have to say that one of the best has been all of the wonderful artists that I've manage to stumble upon over the years. There is a certain group of individuals who are at a certain level where, if you write about music, they're almost entirely inescapable. I'll spare you the details but, OBVIOUSLY, if you're talking about Reggae... the name Marley MIGHT pop up from time to time and if you're talking about Dancehall, perhaps "Beenie", "Bounty" and "Buju" are not words that you're likely to be unfamiliar with. They are of a given variety and, at times, downright necessary to get a point across. Today, however, I'm thinking more about those names who, in doing natural research (for the purpose of not having to write about the same people over and over again) that I've encountered musically (and sometimes personally. Conversated with many nice people over the years) and have either become a consistent fan of or even just a supporter of for maybe one project that we dealt with that they did. You can look on this very same page and notice all the tags and while you'll find big numbers next to the names of our personal favourites such as Sizzla Kalonji, Queen Omega, Akae Beka, Anthony B, Norris Man, Sara Lugo (who DEFINITELY fits in both groups), Pressure Busspipe, Mark Wonder, Turbulence (once upon a time a favourite of mine anyway. These days I do still find him ultra-interesting to write about, however), Jah Mason and others, just as fascinating -- if not more so -- is to go down that same list and focus on names with maybe only ones or twos attached that still managed to make a big impression on me. In this respect, I'm looking at people like the ultra talented Aima Moses from out of Dominica, Jah Nyne who I have not heard from in years), Jah Defender, Jah Marnyah, NAHYUBI JOSEPH (WHAT!) (BOOM!), Ras Zacharri, Ras Professor, Zacheous Jackson (who I actually heard from a week or two ago), Ambush, Avaran, Bless Noble (you see I've gone back to the beginning and started counting again) and so many more. There are just so many of them who I can recall (or not recall in some cases) (it's been a long time and I'm very, very old) either first hearing or making a point to write about because what I heard was something that I thought more people needed to hear. Some of them (like Meshach and Yahadanai) remain pretty damn mysterious to this day and likely always will but I always find myself looking for more and more names like those because I have ran into some absolute GEMS throughout the years and, hopefully, we can find a few more. They can (and do) come from all around the world (biggup Ras Muhamad) and because of that, it well shows the power of this music and how NO CORNER of this globe is 'safe' from Reggae music and it never will be.
Coincidentally, it seems as if a rather ripe 'ground' or set of circumstances for producing such talents, specifically, is Europe... by way of the Caribbean. So many of those I've mentioned thus far are people who began their careers at home, somewhere in the Caribbean, but have found their greatest successes on the Reggae-starved European continent. The aforementioned Jah Defender is a good example of this as he originated from Trinidad (....Queen Omega is another one, now that I think about, but she is ROYALTY on these pages) but has done extensive and impressive work in France and, in general, I feel like we've done a really good job in covering the Reggae talents coming from out of the home of Soca. From the far more identifiables like Queen Omega, Marlon Asher, Khari Kill and I-Sasha, to Jah Defender, Ras Pilot, Royal Dainties and, most recently, Jalifa - artists whose work may require a bit more digging to get into, but is well worth the journey and today we are adding another log to that fire. Meet Mosiah. Though I never really kept track, I've loosely been familiar with the works of Mosiah for maybe three or four years now. The first track that I recall would have been 'Burn Down Babylon' on the Meditation Riddim from a label by the name of Anotha One from out of Austria. That same track carried tunes from the likes of another favourite of ours, the great Naptali ('Save The Youths, which was excellent), as well as Spectacular, so it was on my radars and Mosiah was there as well. The song was FUN and maybe one of the better on the riddim altogether and though I wasn't floored by what I was hearing, it did leave enough of an impression on me that I did remember the name (though it'd be impossible to forget that particular name, in the absolute sense). Since then (unbeknownst to me until I began doing research of the sake of this review), I'd run into another couple of Mosiah's tracks which I also remember, with the standout probably being 'Nah Do That' from a few years ago. His style was very open. He sang and chanted and deejayed and it was a fun brand of Roots Reggae music which, as I said, found a corner of my mind and set up camp for future reference (at times he almost sounds like Kabaka Pyramid in some ways. He carries a melody better than the Pyramid, but he isn't as gifted lyrically) (but who is???), despite knowing virtually nothing about the artist, himself.
And the future has arrived (the old adage is that tomorrow will never get here, but apparently that is untrue). Getting to know a bit more about Mosiah he, too, is out of Trinidad and has set up his base of operations in Germany which has brought him to a certain amount of prominence and, in early 2024, has also brought him to his very first album, "I-Frequency". The project comes via the same Ragatac Music label which has handled much of Mosiah's work throughout his career and have apparently put quite a bit of work into "I-Frequency". I've come to learn that it took a couple of years to put together and also features live instrumentation with Mosiah's band, Mystic Rockaz and is all put together by one Selector Taylor. Previously, Ragatac also released "Chant Tafari", a six-track EP release from Mosiah which was new to my ears and eyes but having listened to it just recently now (pretty sure I ran into 'Reggae Sweet', but cannot say that as a fact), it was DAMN impressive, with 'Reggae Sweet', the syrupy sweet 'Caramel Flavour' and 'Jah Never Fail' ["Jah will never fail. From you have The King inna yuh life, mi seh yuh bound fi prevail"] leading the way. Had you been following along in his career closely, I would imagine that you were well anticipating a full release from Mosiah and it seems to be the case and though I'm not necessarily BLOWN AWAY by what I have seen, I have very much been impressed to see just how far this album has 'travelled' in the week or two following its release. There are many Reggae albums which are class which tend to go well overlooked by the masses (which is a quality, to be honest, that I look for, which is why we've been so productive with the artists that I've mentioned), but "I-Frequency", at least on its own scale, has not been amongst them. Of course, that says absolutely nothing about its QUALITY -- how good it is --and that's where You and I come in (mainly me, but you're with me). By its end, if you're like me and I haven't been on board every single step along the way, "I-Frequency" serves as a very big, full introduction and figures to be one of the, if not THE very best debut album of 2024. Let's talk about it!
I told myself at the start of the year that I was going to attempt to write more reviews this year to make up for a rather dry 2023 on that end and I've been looking for projects which caught my attention and, besides everything on the backend of it, what REALLY attracted me to "I-Frequency" was how well done it is. Doing the research on it, I also ran into a couple of interviews with Mosiah and he seemed to be a very nice person and one with an interesting methodology about him (apparently he doesn't write lyrics, if I understand correctly, he keeps them in his head and only writes them down so others can see them). So many times Roots Reggae gets styled as a more 'rigid' genre, but if you are of that line of thinking, I would point you in the direction of Mosiah's dynamic and exciting debut, which gets going with the most appropriate repatriation anthem, 'Sailing Home'. Given the inspiration of the name this artist has chosen for himself, you would hope to hear such a track in his work (at least to know he's capable of appreciating the life's work of that Source) and the opener for "I-Frequency" well demonstrates that Mosiah is more than up for that task. It sits, at album's end, as one of the best tunes here and it's just a very nice way to get things started. The pace picks up on the next piece up, the very nice 'From a Far'.
"Coming from a far, coming from a far
Sill we've got far to go
And if you don't know who you are, you'll get caught inna this judgment
Coming from a far, coming from a far
Sill we've got far to go
You got to know the road you walk, this is the armageddeon"
'From a far' has moments where it DAZZLES on the notion that, despite the fact that we have made a considerable amount of progress, we still have even further to go. It might just be THE song on this release that I would point to were I attempting to put the best possible vibe into the ears of someone who I was attempting to turn on to the music of Mosiah. It's very, very HEALTHY, and VIBRANT and LISTENER FRIENDLY and I'm almost surprised that, at least as far I know, it has yet to be chosen as a single here. I would expect that to change at some point and I would be disappointed if it didn't. 'Economic Slavery'is an actual previous single for "I-Frequency" and, listening to it, it was also a proper choice in my opinion. Surely the fact that it features one of the biggest guesting names appearing alongside Mosiah on the album, veteran Teacha Dee, helped the choice to give it a featuring role ("I-Frequency" actually has an unexpectedly large number of combinations with nearly half of the album's twelve selections featuring a guest vocalist. I most certainly did not see that coming) and they did choose wisely, 'Economic Slavery is excellent (...that didn't come out right, but you know what I mean. THE SONG 'ECONOMIC SLAVERY' IS EXCELLENT. I didn't mean.... yeah). A big social commentary with its roots within the financial end, 'Economic Slavery' finds the duo calling for an entire overhaul of the way the world handles money ["Keep working and babylon keep wanting more"]. It also leads to a more spiritual side as well (and does so constantly), which is an interesting combination of ideology for the same tune, but it works to a fine point in this instance. Rounding out the first third of "I-Frequency" is another big effort, 'Black Livity'. If you are under the impression that 'Black Livity' is the single finest creation here, I won't put up an argument at all. It is FANTASTIC! The tune is one about instilling pride and respect in people of African descent and doing it in a way which promotes knowledge and education (and maybe not in the formal sense here, but more like of the 'street smart' variety). It is just such a powerful vibes and I'd also tell you to watch the riddim which hits a higher level in the latter portions of the tune and is not to be missed.
Along with Teacha Dee's fans are likely to be familiar with another pair of artists who join in on the fun of "I-Frequency", Denham Smith and the always fun Skarra Mucci. The former makes his presence known on the... decent lover's piece, 'Till The End'. I do not love this one at all, but it's fun and it's the type of tune that sticks with you. Surely not the only one of its kind in that, but you'll be singing the chorus of 'Till The End', well after you've moved on to the next. Far better is the gorgeous 'Vampire' which features the handiwork of Mucci. The two come together to remind all to be careful of the company you keep.
"In this world of competition and nothing but fake
For the little, hardworking people out there
Working, sweat and tears and nah get nowhere
All telling you they love you, how much they care
About demself and about dem wealth
They don't give a damn about you, nor bout your health
ALL WEH DEM DOING IS TO SUIT DEMSELF
WHY THEY KEEP ON STEALING FROM EVERYONE ELSE?!"
'Vampire' breaks no new ground, you've heard it all before (maybe even with the same title) (biggup Peter Tosh), but it is LOVELY and has a wonderful vibes that it generates. Though (as we'll cover in just a second) "I-Frequency" grows and gets VERY strong in its latter portion, the true apex of the album comes right between the previous two mentioned combinations as something downright special happens within a couple of selections. The first, 'See It Clearly' is a vibe! YOU WATCH THIS!
"It's like dem no hear wi
How you fi know di right and do di wrong?
Cause I ah si it clearly
LIVE NEGATIVE, MI SEH IT AHGO WEIGH YUH DOWN
Well Ratsa no waan nuh bagga talk, seh dat no fi mi
STILL MI HAFFI SHARE DI LIKKLE KNOWLEDGE JAH JAH GIMME
When up a Bobo HIll and inna di prayer, when you si mi-
Just, love and inity and if I hear dat, would ah fi mi
Backbiting no bring
Wrong news, mi nuh carry
If a Satanism, nah go mix, wi nah go par-ee
Presumptuous dem, I seen dem pon dem knees go beg a 'sorry'
Fyah I ah blazing, red hot"
This thing BOUNCES and Mosiah forcefully (but in a way which seems to come so easy to him) sets up camp and operates all over that beautiful riddim. Even more stellar (stellarer?) (why wouldn't steallarer be a word???)... even stellarer is another previous single, the downright ROYAL 'More Than Gold'. Though it is a nice company which it keeps, this is the single finest moment on the whole of "I-Frequncey" and stands as a MAMMOTH praising track ["Seh what you want fi seh. Selassie a mi God and King. Head of the Rases, God of the masses, rule over everything and, WHAT A JOY IT IS TO KNOW THE ONE WHO RULETH FROM CREATION!"]. While this one does end up going in a variety of different directions (more towards the social side, predominantly), at its core is this uncompromisingly BRUTAL ode to His Imperial Majesty and, again, the greatest piece of music I have ever heard from Mosiah.
The final pair of combinations here feature two artists that listeners aren't likely to be familiar with, though I do have a very limited knowledge of. Elder Son is a name I know only in doing research for this review as he featured on the aforementioned "Chant Tafari" EP (on a tune called 'Herbalist', which I did not love, to be honest. It had a nice vibes but it was a bit... cluttered. If that makes any sense). His participation here, on the social commentary 'Mass Murder', is, delightfully, a similarly vibed selection (and it's also a little messy) which shows significant development over his initial pairing with Mosiah. This tune also brings a bit of fire to the album (I wouldn't call it an attitude, but maybe you could say that) which is always a good thing when it's done this well and I'm fully expecting these two to do something again together at some point in the future. Speaking of fire - I have heard the name Tabitha Gerbadian previously, but it's been quite a while, yet when I heard her voice it brought something back to me. Gerbadian, a Bajan, is a very talented and UNIQUE artist. On one hand, she's a rapper. She's not a 'chanter' or a 'deejay' in the way we typically use those terms (and that's what she's going to show here), she's a Caribbean rapper. Far more impressive, at least in my opinion, is her singing voice. You will not hear it much during her appearance on 'No Fear' (look up a one called 'Shine' if you would like to hear more of what Gerbadian can do), but what you will hear, almost surprisingly, is actual, genuine DANCEHALL music. You wouldn't know from the way it blazes in for its intro, but this thing settles down IMMEDIATELY and finds a groove that I was not expecting AT ALL. I listened to an interview of Mosiah's, which should be in here, somewhere, and he made the point that he never recorded tunes to fill a quota - meaning he would never say the album needed a love song, for example, or something people could dance to, but what a level "I-Frequency" hit when I stumbled upon DANCEHALL, as enthused as it may be, it still COUNTS and this powerful declaration of courage became an instant personal highlight for me. Rounding things out are two more SUBLIME pieces, 'Ghetto Tribulation' and 'Equality'. The former comes in with this beautiful, kind of RUSTY, infectious bounce (there's something very WORN about this riddim and I mean that in a great way) and Mosiah turns in a top notch effort atop it in delivering a track focusing on the state of the times currently in the world. 'Ghetto Tribulation' is another in the running for the album's finest to my ears. Just a step or two behind would be 'Equality' and its unusual vibes. There's something very ODD about the way 'Equality' sounds. Its delivery is just a bit off and the riddim is so simple that it pretty much allows for anything, for the most part, but it does spread out a little and what it becomes is also somewhat peculiar. That being said, however, it's still very, very good. Not different much from 'Ghetto Tribulation' in its direction, 'Equality' makes the mark, on its own, via that sound which, as weird as it may be (at least to me), does leave the listener with a clear impression and a positive one.
Overall, I'm going to give you a very specific recommendation for this album (and then broaden it out just a bit as well): If You ("You" = more experienced, constant listener of Roots Reggae music) maybe have someone in your life that you're trying to turn on this wonderful sound, I'm going to suggest you play for them "I-Frequency". It is a very FUN, dynamic and modern Roots set and it's one which gives you enough on the heavy side (especially lyrically), that it would, at least in my opinion, comfortably lead someone who enjoyed what they were hearing early on to be interested in pursuing more. That kind of lukewarm fan of the genre will EAT this up, I'm sure. As for "You", there's enough here for you as well! To his credit, in scrutinizing "I-Frequency" for the sake of this review, I've grown to appreciate more and more the ample talents of Mosiah and you wouldn't construct such a sound around a more RIGID type of an artist. However, in saying that it's also important to stress that you don't have to worry about anything crossover-ish in this case either. What Mosiah does with "I-Frequency" is give a glowing introduction of himself to the masses and, in doing so, reveals a talent which figures to be ultra-productive for all wise enough to tune it in. Well done and I would be absolutely shocked if this weren't one of the better debut releases of 2024.
Incorruptible. I think it would be the goal of anyone who creates any type of art to be able to produce something which would not only serve its intended purpose in its time, but do so long after you're gone. If you write a book, you'd like to think that someone would be on Amazon buying a copy and either being entertained or informed (or both) years and years from now and maybe if you make a horror movie, how nice would it be if you could scare the hell out of generations and generations people. Thankfully, people have been writing and making films for long enough that not only has that actually happened already but we also have the ability to speak to authors and directors and the like, currently, who can tell you their motivations regarding a particular piece of work. Even better than remaining popular in a long-lasting sense, I would think (cannot speak from experience on this one) (AT ALL), would be if you could make something that could perpetually provoke thought amongst your audience and not within a historical point of view, alone, but in a way which could apply DIRECTLY to someone a great deal of time after your work is done. If that happens, even though you may not be here, your work truly is never done and it, AMAZINGLY, has the ability to transform and evolve without you doing anything! That is remarkable and fascinating to think about and, of course, I'm now going to make the point that the single best medium to show such a phenomenon is definitely music. Again, people having been singing songs for a long enough period of time that we can refer back to what they've had to say in regards to motivation for the creation of a body of work and those can be vastly interesting conversations to have and we can take songs and compare them and dissect them on our own, applying what we hear to ourselves in so many different ways as well and they can carry their power ENDLESSLY via that same way. Can you imagine: You take your standard Soca song made in 2024 (and it's called 'Carnival Contract', for example) (it's far from "standard" but I'm using it to make my point because I absolutely CANNOT stop listening to it) and in... 2054, people are still "jumping" and "waving" just as you told their parents and grandparents to, thirty seasons prior. Then there's what we call around here 'message music'. Though I rarely ever talk about him (because, really, what else is there to say) in our music exists the looming spectre of the great Bob Marley who left us with ideas and themes which would not only outlive him but also carry (TO THIS DAY) an entire genre and, arguably (at least in part), a region of the world! You bury those words into the minds of enough different people and what happens is that it provides a platform for someone to come along to lay foundations of their own which will NEVER go uprooted.
I can truly say that one of the most enjoyable and challenging experiences I have had in my life (and I mean that in a good way) (a GREAT way) has come in my journey to becoming a fan of the great Vaughn Benjamin. I've told the story many times so I'll keep it brief here but, in my younger years, I wholly lacked the capability to take in his work. It would go right over my head and the fact that Midnite, at the time, had SO many was something that I found so gripping because I just.... I just could not get there! What the hell were those people hearing?! A few years later I would figure it out (I think I would figure it out) (I'm still working on it) as everything that was once so cryptic, skeletal and without emotion changed to my ears and I would go from being someone who, frustratingly, couldn't get "it" to someone who DELIGHTED in the journey to comprehension and whether I ultimately was correct where I landed was of no importance to me AT ALL. That process of taking in what Benjamin saying (and being able to hear it in the first place because he has a tendency to mumble) and the thoughts behind it is musical FOOD to someone like me and, again, I am SO happy that I made it here. It's been a lot of work.
And that work will stop only when I do. Until I lose my life or what little sense that I do have, I'll be delightfully enjoying the delicious meal that Benjamin has provided. In November of 2019 Benjamin would transition and I don't think that I've ever actually directly mentioned that on these pages because I didn't see any reason to (outside of relaying news and anyone who would come around here and stay for any length of time probably already knew about it). Not only were we still on our hiatus at the time, there was never any sense of FINALITY to things in his particular case. I've loved the work of dozens -- not hundreds -- of artists and I will continue to but I've never had this type of relationship with the work of anyone outside of Vaughn Benjamin. He has continued to release a relatively steady stream of albums since and my work and gratification has continued with the back catalogue as well (these days I'm dealing with "Mek A Menshun". It'll probably be the next review we post after this one) (have a very fun list I'm working on as well) and, again, it always will continue. So, that likely has something to do with the reason why I didn't have much of an impact when a project popped up on our radars which was billed as the FINAL Akae Beka album ever, "Living Testament". The set comes courtesy of Trinity Farm Music with Go A Chant Productions from out of California, the former of whom have definitely been pushing out excellent material lately and making themselves very difficult to ignore (I've gone over it fairly recently but if you love Roots Reggae music (and you wouldn't be this deep into this review if you did not), do check out the efforts of Trinity Farm Music) ["No matta how they cry, cry, cry. Trouble still ah fall pon dem. They pray, pray, pray; but like smoke, that ah blow away"] and they've cranked that up considerably now with such a release. Along with what the way in which I've framed this review, Akae Beka is one of a handful of artists who, when they do release new music and new albums especially, I just get REALLY DAMN EXCITED. I hesitate to say that I turn into a child (you cannot "turn into" something that you basically already are), but it definitely can be a very 'first day of school' like feeling when such a production arises and I had my eyes STUCK to this one from the very first time we saw it maybe three weeks ago now. On top of that, I was able to listen to a considerable amount of "Living Testament" prior to its launch and what I head left a very nice taste in my mouth as an appetizer for, potentially, yet another big burst in the inferno that is the catalog of Vaughn Benjamin. This was prior to me learning that it was being said that this one was to be the final album and, when I did learn about that aspect, as I said, it really didn't change anything for me, but you'd like to think that if you were saying something about such a legendary and REVERED figure, that you would do everything in your power to put your very best foot forward and, CLEARLY, that is precisely what TFM have done here. The album's vibrant initial single also didn't do anything to dampen expectations and anticipations and I was HOOKED! How did all work out in the 'end'? Let's talk about that.
Immaculately. It all works out immaculately. From the gorgeous Ras Elijah Tafari drawn cover ["I hold His Majesty in awe"] ["In awe"], which they have fortunately decided to release in physical form as well, throughout the production, "Living Testament" is extremely well done on the behind the scenes end and it makes for a nearly perfect platform for the work of a bona fide master of the spoken word. The first display we get from the venerable chanter on "Living Testament" is also one of its finest and one which, most fitting sets the tone and the FOUNDATION for what is to follow, 'Stone of The Corner'. This drum-heavy selection is of the type which, more often than not, closes out releases such as this one, but regardless of where you place it, its CLASS is a large attribute for "Living Testament". 'Stone of The Corner' definitely is a prayer and a tribute as you might imagine (and, to some degree, you could probably say that about much of Benjamin's work) but it also has elements of observing and honouring THE Foundation of all things in a most basic and instinctive way - almost as if NOT doing it is the difficult part. I heard this tune and I almost felt like crying because not only does it begin this album, it also begins potentially YEARS of fun I am going to have working through it. "This shall be for me", indeed. The vibes take a tick up in pacing for the second selection, the vibesy 'Going on a Mission'. When I got to this one, I thought that the very first words said would set the tone for what was to come:
"Music stimulates man propensity - fi sing a song joyful, gratefully"
In typical Vaughn Benjamin fashion, however, I was wrong and the "mission" to which he is referring here goes a bit deeper and broader, oddly extending things straight to the courtroom [!] where much of the tune takes place, actually.
"Big people loyal in infinity
Going on a mission for His Majesty
Festival of sound where the people be
Now dem ahgo drop dem all accuracy
Lifting the level of intelligence-y
KNOWLEDGE NAH GO SI YAH WAH JAH WISDOM SI
What wholesomely and inna what creepy -
Inna opposition to di order weh be
Biotech: A mixture of man and machine
That's di direction inna nanotech speed
Who is di loser and who inna di lead?
WHO IS STANDING UP IN FRONT OF DI JUDGE TO PLEA?
Di records of procedure inna stenography
TELLING A CANARY OF A SNITCHING STORY"
Of course, you don't take the court as a literal place and where I am now with 'Going on A Mission' is seeing it as THE courtroom of all courtrooms, where the final judgment takes place (and how things can go against you or in your favour). HOWEVER, with that being said, as you trace the tune, it gets into such a fine and downright crispy detail that, even should you approach it in the most superficial of levels -- literally thinking Akae Beka just... made a song about going to court -- YOU WILL STILL GET SOMETHING FROM THIS ONE! 'Going on A Mission' is damn near stunning and I also love how they just allow to play itself out instrumentally. Next up, we continue and get this 'Rebellion Running' on a piece even slightly stronger than both which precede it on "Living Testament" (and most of the ones following it as well). First of all, I have to mention the riddim and PACING of this track: IT IS GOLDEN! There is something so utterly attractive about how this one kind of crawls along before exploding and, all the while, Benjamin is going about his business- rarely, if ever, paying attention to what is going on behind him (and I can specifically not liking when he did that when I was younger listening to his music. Now it's a charming aspect of his work to my ears). 'Rebellion Running' is a social commentary for me, focusing on, largely, anti-violence ideology (it almost reminds me of a song you'll be well familiar with from Capleton by the name of 'Jah Jah City'). If you scratch any level on 'Rebellion Running' -- anyone at all -- what lies beneath is brilliant ["Cosmopolitan city - third world dense"]. He talks about the impact, literal and spiritual, that violence can have on the world and how important it is for us to attempt to make amends for it. The picture painted isn't completely a dark one, as the artist does present the occasional glimpse of light in the matters also. If you were happy about it on 'Going on A Mission', then you will absolutely LOVE how 'Going on A Mission' ends as the final ninety seconds or so is nothing but music and it SCALDS! With a plod that is as infectious as anything on this release, Trinity Farm Music's composition shines and were they of the mind to present a dub of this and pretty much any other song here, someone might complain, but my mother never named me "someone". And just because this paragraph hasn't run on long enough (and I want to put the video for the next song in this following gap), I'll mention 'All Around Man Yard' here, where the music is also allowed its fair time in the spotlight. Before that, however, Benjamin delivers a message regarding the importance of treating the world (and everything (and everyone) in it) as good as you possibly can. We all have to live here and so will our children and their children's children and so forth, so it is imperative that we find and maintain some healthy balance here. It doesn't go quite so straight (because that would be boring), but that is what I take here and 'All Around Man Yard' is another excellent offering.
I'm pretty sure I mentioned something wayyyy back there about the first single from "Living Testament" which released a few weeks ahead of the album. That lovely creation and biblical 'Who Will Go For Us', easily stands out as one of the many highlights from the album for which it signaled. From a purely sonic standpoint, it's rather easy to see why TFM chose it as a single. It is very catchy (with that bounce) and it sticks with you.
"WHO WILL GO FOR US?
JAH HERE AM I
SEND ME"
Benjamin steps nary a foot outside of the basic scope of the subject here but were you looking to take a slightly more tangible approach here, you could very well look at 'Who Will Go For Us' as a track about being faithful, loyal and committed to principles and maybe even other people. If you've listen to enough of his work, you know very well it is one of the central themes that he has consistently written on and it is, once again, on full display here. 'Who Will Go For Us' begins, arguably, the single strongest stretch of progress on the album as it is followed by my single most favourite song on the entire album, the blistering 'Holding The Amen Key'.
"I've seen the battleaxe yah-
Firm ancient time
I've stand up inna di chariot when armament ah fly
I control di horses an still ah fight
Split-second decision, presence of mind
Athletic comfort take a motion of shine
Coordinated of Jah, mobilize
FLIGHT AND PURSUIT, WHO IS RUNNING BEHIND
When dem dun know, time longer than twine
And this journey can come along for the ride
Witness hardship and soul-sacrifice
For the principle of goodness briefly in a line
JAH KNOW IT'S MORE DEFENDER ASSURE AND ARRIVE -
AGAINST ALL DOMINION THAT EVIL CONTRIVED
THE WISDOM OF JAH IMPLEMENT AND PRESCRIBED
Removing with equity and still sure to decide -
Justice with swiftness, hands-on applied
Some flailing away as defending a lie
When they wrong, even the root caan right
Protecting the harvest from mildew and mold
Fire that purify soul, curious gold
Sheen of the spirit, force-field tenfold
Scattering the centering, crystal ball
Chalice of the earth, clouds of smoke
Waters of the earth, filters float
Faceless defender in deep sen dem forth
Who's approaching the gate?
Mental teleport
Intercepting the scene, no one rocking the boat
Stealth rider come in, deadly report
AMONG THE MINISTERS OF THE KING'S HIGH COURT"
TEARS! ABSOLUTE TEARS! This isn't a GAD-like torrent of words. It is more structured and exact and, at least to my opinion, it has no equal on the whole of "Living Testament". BOOM! Continuing that ultra-high level are both 'Keeper of The Gate' and 'Who is the Rejector Who is the Reductor'. The former sounds extremely familiar to my ears and it is a lovely composition espousing on the wonders of the ultimate Custodian of Records. The riddim on 'Keeper of The Gate', though it may be the very definition of 'minimalistic' at times, GLOWS! It is SO BEAUTIFUL and Benjamin puts it to might use. I will say that 'Keeper of The Gate', the second shortest song on "Living Testament" does come off as a bit brief, though THE shortest tune here, coincidentally 'Holding The Amen Key', does not have such a setting at all. For its part 'Who is the Rejector Who is the Reductor', well keeps the quality high on a note which struck me as sort of subtly BRIGHT (if that makes any sense) (any at all) within a message which appears to be intent on crushing negativity and poor behaviour, in particular, wherever it may be found. This tune definitely requires a hefty amount of attention as it features several lyrical BOMBS from Benjamin.
"Who is the rejector of the peace thread?
Who is the reductor of the truth grid?
Spiraled with speed have proceeded
They distract and deliberately misleaded"
'Cream Of Joy' is one of the highest points of interest that I've found on "Living Testament". Just listening to it -- based strictly on HOW IT SOUNDS -- I do not love this one. It's decent. It has a very basic riddim behind it which doesn't do much at all (it does develop later on, but not by much and it doesn't do so permanently either). It's serviceable and not much else. HOWEVER, when you really listen to what is being said, 'Cream Of Joy' slowly begins to tick up just a little. The vocalist says that while the sweetest things in life do certainly exist, reaching them does not come easy and will require some work and effort ["There's work to do in life. There's pain, sorrow and strife. There's problem-solving time, in all strata of life. So we better be behaving civilized, in the vicinity the courteous kind"]. That's fantastic and the way it is presented may not make it so immediately accessible to some people (or that may just be my issue, alone) but if you do find yourself not LOVING what you hear, musically, I will say that, as the words say, don't have a problem with putting in a bit of work because what you'll receive will be worth it. The curious 'Reforms Unseen' is much better as it wins both lyrically and instrumentally (like that guitar) and does so instantly. Not all is bleak, even when it may seem so as there are those factors which may not be as immediately perceptible as others that are still working in our favour ["Through you don't believe, you have no tangibilities. Haile I Selassie I reforms unseen"]. The album's closer, 'S on The Chest', does suffer from an undeniable amount of... desync and disassociation (it literally sounds like two (or three) different songs are playing simultaneously at certain times here, especially early on) but, apart from that, you have a selection of serious quality. Where I am currently with this one is that 'S on The Chest' is a kinda/sorta praising track. It's set in a way where it lifts up certain forces as "superpowers" but they are such WELL BENEATH the level of The Almighty. You observe their power, it is undeniable ["Every disobedient youth, a pure bump and bruise"], yet DWARFED by that of His Majesty. What results is, as I said, a more complicated method of giving praise and one standing within the scope of a social commentary, but one no less potent at all. I also have to mention that, despite the awkwardness of it all, I do so thoroughly enjoy the delivery on 'S on The Chest'. It is as 'low-tech' as you can imagine but dazzling at times and fully appropriate for the purpose of distributing this particular message.
I do want to say that, as far as criticisms, I would have had no problem had they fleshed "Living Testament" out more with two or three dubs. A few of these songs would definitely work well in that form in my opinion (like 'Keeper of The Gate' and 'Rebellion Running') and TFM have done that before on prior releases as well (I was actually surprised not to see any dubs on this album, actually) (they did an album by the name of "Move Different" by Fikir Amlak just last year. It had three dubs and one of them, for a tune called 'Higher Place', was SPECTACULAR! It was really, really good. Never an expert on the subgenre (or anything else, for that matter), but that track was probably one of the best displays of Dub music that I've heard recently and I wish they would have given this one a similar treatment.
Overall, judging it for what it is and even by comparison to some of the artist's other work, "Living Testament" is excellent. My immediate thought of what about it, especially, stands out to me right now might just be how accessible it is. I don't say this much about the work of Akae Beka anymore because I've done so many of these and I can only judge it with my own ears which have been well indoctrinated by now but, if you are not at all familiar with the artist or if you are and just have never been able to fine an appropriate place to 'jump in', this may be the turn for you. That is a credit that I'm giving to Trinity Farms Music as pretty much ALL of their work is like that, that I've noticed. They focus on heavy Roots Reggae music, primarily, but it is a very open and PLEASING style with artists who may not be known to more casual fans of the genre (people like Ras Abja and original nine fingers, Xkaliba) Now, with that being said, at the same time the album will not alienate long time fans (I don't think THAT is even possible) (at least not on a good Akae Beka album) and if you are at all like me (seek help), "Living Testament" figures to provide you with YEARS of delight to come. This may be the final Akae Beka album recorded and released but it means, tangibly, nothing at all. This man has left us with SO MUCH to do in digging up the messages within these wonderful songs. That is a 'job' which has no end and it will EVOLVE. A month from now, I won't at all be shocked if my thought and even if my POINT OF VIEW has changed for each and every song on this album. It's happened before. When THAT is your legacy and THAT is what you have done, there is no such thing as an ending. The first great Reggae album of 2024.