Earl Sixteen sets Roots Foundation with JahSolidRock

"Roots Foundation" by Earl Sixteen [JahSolidRock Music]

I don't know if the term 'CLASS', as a descriptor,  is one with which we typically associate Roots music. In the entire genre of Reggae, it's typically reserved more for Lover's Rock singers i.e. Gregory Isaacs, Beres Hammond and the likes or maybe even, occasionally a Dancehall DJ who has demonstrated an exceptional level of skill (and, particularly, only during a time when the skill is the only thing in question and not more controversial subject matter.

However, if you really think about it, we have more than a few Roots singers who have demonstrated a certain level of elegance and confidence -- traits which, when combined (and maybe with one or two others) are what we refer to as "class -- throughout their entire catalogue. Of course I'm looking at someone such as Luciano who, despite making a brand of the music which also features this very 'dusty' and humble quality to it, has also exhibited loads of grace and refinement during his storied career. There've others like personal favourite of mine, Mark Wonder, ETANA, Glen Washington a slew of others. If such a thing exists, CLASS is an underused term in Reggae circles, in my opinion.

I took this route for this particular release because when I listened to the latest set from grizzled veteran, Earl Sixteen, I was immediately (and unsurprisingly) taken by the overall quality of what I was hearing. That surely has tons to do with an entire career of such output from the singer and it also helps that E16, on his latest body of work, finds himself linking with one of the polished outfits in all of Reggae music today, our good friends at JahSolidRock. Throughout the years of the existence of this blog, JSR along with maybe two or three others (such as the Zion I Kings) have been responsible for producing CONSISTENTLY some of the finest music in all of modern Roots Reggae that we have come across (and even before then as well for a few years, if I recall correctly) and when they've released new music, it's always gotten my attention be it from one of their favourites like Chezidek or Addis Pablo, or ANYONE. Way back in 2011, Earl Sixteen and JahSolidRock would link for an exquisite full project by the name of "The Fittest" ["Only the fittest will survive, that's what they say. Only the strong stay alive"] and now, a very brief baker's dozen of years later, the duo reunites to build "Roots Foundation". Pack your bags and make sure your shoestrings are laced as Earl Sixteen and all of us HAPPILY return to the highest region. Let's go! 

'Brave Enough' & 'Brave Enough Dub'

The opener, 'Brave Enough', is an all kinds of interesting love song. That is, effectively, what it is: A 'love song'. However, with that being said, it isn't the stereotypical lovey type that you may be expecting.... 'Brave Enough' covers those bases quickly and then primarily spends its time focused on THAT GRIND that love can be. I found this one so interesting because, first of all, after seeing the title I wasn't at all expecting this type of a song and then to see E1 uses the word (correctly) "BRAVE". Loving something or someone, in particular, definitely does take courage. It takes courage to express those feelings and to act on them and, if they're reciprocated, begin the process of.... whatever that may mean for you at that time. It was being brave to go through but you so rarely hear that expressed and having it done here makes for an excellent move.

The dub version of 'Brave Enough' takes the riddim, which is fairly simple and plodding 9and I mean that in a good way. If you enjoy Roots Reggae music (and you do), you will LOVE this track), and builds upon it in all the way you're expecting it to. The criticism with 'Brave Enough Dub' is an obvious one: It's over half a minute shorter than its vocalized counterpart and, perhaps it's just my opinion (it is), but I do enjoy longer dubs as, seemingly, without vocals it takes more time to develop a vibe and I would have LOVED to hear more of what is one of the finest compositions on "Roots Foundation". 

'Natty Dread a General' & 'Natty Dread a General Dub'

With its almost immediate big horns, 'Natty Dread a General' comes blaring through following the more laidback 'Brave Enough' before ultimately settling down. 'Natty Dread a General' is absolutely gorgeous. It's my favourite tune on all of "Roots Foundation" and, at least for me, the spine of its strength is anchored in this wonderful 'matter-of-fact-ness'.

"Dread a General

Dread a General 

Rastaman a di original"

That EASY, no frills kind of vibe is delicious behind this one (even as it does develop) is GOLDEN and really matches the feeling of the entire project from the simple cover and title.... you look at this one as JUST VIBES. The dub does continue along in such a way following, again, that big beginning. I won't speak for you and I won't pretend to be such a person myself but I would think that certified Dub heads would eat 'Natty Dread a General Dub' UP! The horns kind of 'trace' the composition, remaining present throughout but never overbearing and it channels up and down in terms of intensity delightfully.

'No Love'

You'll find no dub version attached to 'No Love', unfortunately, but what you will find is another sterling effort from E16 and JSR. I believe the tune is a remake of an older one and E16 more than pays homage to the originator as his take is a big social commentary on the broader side and just a solid offering. I will warn you to not get too comfortable with 'No Love', however, as not only is there no dub, the track is also the single shortest to be found on 'Roots Foundation". 

'Every Nubian Is a Star' featuring Mutabaruka & 'Nubian Star Dub'

You may actually recall this next one as a cut of 'Every Nubian Is a Star' also featured on Addis Pablo's joyous "Melodies From The House Of Levi" from just a couple of years ago. Here, we find E16 linking with the legendary Mutabaruka on a piece that was created to place a GIANT CHUNK of pride into Africa and all of her children around the world. Every single one of us. Mission accomplished.

I was actually pretty excited to hear the dub of 'Every Nubian Is a Star' because it was completely new to my ears and, given the fullness of its riddim, I thought that it might make for a nice and 'Nubian Star Dub' does not disappoint. This is a selection where it pays greatly to focus on some of the more subtle details in the sound because you'll begin to notice different sounds (like those gorgeously TEASING drums that come and go once or twice, but never stick around long enough!) that you might not hear AT ALL on a more cursory spin. 

'Ghetto College' & 'Ghetto College Dub'

Were it not for the aforementioned 'Natty Dread a General' then I would lay the distinction of the best tune of "Roots Foundation" being this MAMMOTH shot, 'Ghetto College'. I based this write-up on the concept of CLASS and CLASS is dripping off of 'Ghetto College'. It's on the floor and the walls and you can smell it in the air! The idea here is one which lifting up the importance of 'street-smarts' and the type of education that you cannot receive from reading books and being taught in some institution of learning. Furthermore, i do so love how E16 directs the idea to the leaders who may have not had that experience which can be so vital for one's own self but for UNDERSTANDING OTHERS as well.

As for 'Ghetto College Dub'.... when I first heard this thing, I thought "what the hell am I listening to"? I was thinking maybe they mislabeled it and it was supposed to be a part of something else or maybe it was just an unattached dub that JSR made and attached it to "Roots Foundation". Again, if you REALLY tune it in, you hear that same pattern from the vocal version immediately before it steps outside of this.... shadow (which is exactly what it is, musically speaking). As it moves along, what results with 'Ghetto College Dub' is EASILY one of the best of its kind (or any kind) to be found here (feel like I'm saying that too much, but I don't feel like going back and changing anything at the moment). It is amazing! 

'Amazing'

Also amazing is, 'AMAZING' (I originally used the word "sublime" but upon remembering the next song's name, I changed it!)! "Roots Foundation" ends as it began with a love song of sorts - this one being more terrestrial than the wicked 'Brave Enough'. 'Amazing' is straight forward but most certainly isn't sappy or dramatic in any way. The riddim behind is downright stellar (which makes it all the more unfortunate that we do not get a dub of it. JSR has spoiled us all) particularly during its later stages (the riddim suddenly LEVELS UP at approximately the 3:11 mark) and Earl Sixteen uses the moment to deliver a tune high on RESPECT and the all of the wonderful values necessary for a healthy relationship. 

"Roots Foundation" by Earl Sixteen and from JahSolidRock Music is available right now and you have no good reason not to listen to it.

Cali P Has Jah Blessing

....and with a talent like that, we've already known it for a very long time.

Achis Reggae [and Earth] favourite, Cali P, delivers a tune that is probably one of the best I've heard in 2024 thus far, altogether, the absolutely flooring 'Jah Blessing'. Produced by Randy Valentine, the gorgeous track has now birthed an equally stunning video which is.... also probably one of the best..... You know what I'm thinking about Cali P and 2024 (especially given his recent level of activity, but I'll keep tat to myself and just allow things to develop but, DAMN, he's making it really difficult not to talk about it with big tracks like this one. 

The Unidad Riddim from Oneness Records!

The Unidad Riddim [Oneness Records - 2024]

1. 'Un Mejor Mañana' by Sara Lugo & Morodo

2. 'Verdadero Amor' by Afaz Natural

3. 'A La Deriva' by Lengualerta & Tiana Bless

4. 'Lágrimas de Hielo' by Raggabund

5. 'Te Quería' by Dactah Chando

6. 'Antes Que Seja Tarde' by Jhayam & Srta. Paolo

7. 'Bing Bang' by Fidel Nadal

8. Unidad Riddim Dubmix by Umberto Echo

9. Unidad Riddim Instrumental

Biggup and LOVE to one of.... simply one of the finest labels and producers that we have EVER had the privilege of covering in the history of these pages, Oneness Records, who is back with their latest creation, the Latin spined (I like that. "Spined") Unidad Riddim. Simply for what it is, the Unidad may just be one of the finest compositions that Oneness has ever brought forth (and if you've followed them to any degree, you can appreciate how big of a statement that is) (and if you haven't - they're excellent) and, fittingly (for the most part) and what they've done with it, in placing it in the hands of Spanish speaking vocalists, was an excellent touch. Somewhere in there is an infectious BOUNCE. The things surrounding it definitely add to the vibes and add originality and uniqueness to it, but you Reggae head, will definitely be able to tune it in and you will adore what you find. 

Listening through this one, I was introduced to a few talented names who I'd never come across previously and should probably keep an ear on going forward such as Raggabund (whose name I'd come across before but I'd never heard anything from them), the cool named Dactah Chando from out of Spain, Brazil's scalding Jhayam & Srta. Paola [FLAMES!], perhaps  most notably Spaniard, Afaz Natural (whose 'Verdadero Amor' ['True Heart'), is excellent) and others still. It's also a major credit to Oneness for linking oft-collaborator Umberto Echo, who is ABSOLUTELY MASTERFUL on his dub version of the Unidad Riddim. About three minutes into it (2:51 to be exact), Echo LEVELS UP with a... whatever that is, lasting for about twenty seconds during one of the most scintillating moments you'll find on the Unidad (Umberto Echo also takes a production credit for every offering here, so he may've actually built the Unidad Riddim).

Still, the lion's share of my attention was well focused on the opening selection, 'Un Mejor Mañana' which links Morodo from out of Spain with a young [Grammy Nominated], up and coming singer from Germany by the name of SARA LUGO. The duo provides the riddim with an undeniable signature moment (with respect to Echo) with their very difficult to shake effort.

It's 2024. It's the Unidad Riddim. It's Oneness Records & Sara Lugo -- just like old times -- and every thing can feel right in the world, DOES. 

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"