Werx Musings

Excitement has been building for both Blvk H3ro, his team, and his fans, for the release of his debut album “On A Mission”. This has been a highly anticipated album from a talented Jamaican artist who has been steadily making his mark on the Reggae scene since 2012.  His many appearances at shows and festivals this year, including the famed Royal Albert Hall in London, UK, have fueled the hunger for the upcoming album release. “On A Mission” was released on August 18th on the Delicious Vinyl Island label.

Kicking off the album is ‘Mission‘,  a lively track that sets the stage for what’s to come. You can practically hear Blvk H3ro declaring his mission from the get-go,  ‘From my dreams, I seize each moment.’

‘Crazy World‘ featuring the Jamaican Dancehall sensation Skillibeng, is like a self-empowerment anthem, reminding Blvk H3ro not to lose sight of his goals or be bothered by the noise around. Skillibeng steps in to emphasize the message for the youngsters hustling in the streets.

When the going gets tough, we’ve got ‘It Nuh Easy‘,  a track that lays bare the struggle of staying positive amidst the chaos. Blvk H3ro keeps it real by sharing his own battles while still keeping that fighting spirit alive.

Next up is the vibrant ‘Big Tings‘ featuring the talents of Zimbabwe’s Reggae/Dancehall star Winky D and Ghana’s very own Vylet Stone. This one’s an Afrobeat-infused delight, celebrating the big victories in their lives. It’s a collab that’s become a fan-favorite among African music enthusiasts.

Switching up the vibe, ‘Do No Cry‘ rolls in with an Afrobeat groove. It’s like a musical pat on the back, reminding us all not to let the journey’s challenges dampen our spirits. Blvk H3ro’s telling us to take a glance at the distance we’ve covered so far.

 ‘Annabella‘ featuring Dancehall/Roots Reggae artist Dre Island, was the appetizer to this album feast, dropping in June 2023. Fans couldn’t get enough of it, and it got us all even more amped for the full album.

Relationships can be a rollercoaster, and ‘Arguments‘ swoops in to remind us that sometimes, it’s better to call it a night than to keep those endless fights going. You’ll be humming along and dancing to this one.

Time for a change in rhythm,  ‘Drive‘ channels some R&B and jazz flavors. It’s a heartfelt plea to Jah to take the wheel, asking for a little guidance on life’s journey. You’ll hear several automobile analogies while catching a vibe that’s just a touch of sexy.

Bringing in the legend Anthony B, ‘Jane‘ slides in as your token ganja-themed track. It’s like a musical love letter to the green stuff.

What’s this about ‘Shenseea‘? Is it a dancehall nod to the famous Shenseea herself? That’s open to interpretation and will keep you wondering.

For those who can’t get enough of the dancehall rhythm, ‘Good Body‘ featuring Grammy-winning Zimbabwean producer Soko7 and Ghana’s Blaq Pages, is here to keep the energy high.

‘Killa Killa‘ featuring Demarco & Laa Lee, and the Los Angeles-based Zenya, channels that old-school dancehall energy. It’s a lyrical masterpiece that’ll leave you bouncing and grinning.

When life hands you lemons, ‘Celebrate‘ is the track to play. It’s like a musical champagne pop, reminding us that life’s all about those moments worth celebrating. Maybe this track is Blvk H3ro’s nod to his recent surprise Grammy nomination,  a major celebration.

Keeping it dancehall, ‘Rich And Blessed‘ featuring Jamaican Dancehall artist Teejay delivers a message about blessings and riches beyond just the material stuff.

The grand finale,  ‘Annabella Remix‘ featuring UK rapper Kojo Funds. This revamped version of ‘Annabella’ when recently released was the perfect buildup to the album’s release.

All in all, Blvk H3ro‘s got every reason to wear a proud smile with this album. ‘On A Mission‘ is like a musical melting pot, blending reggae, Afrobeat, R&B, and a sprinkle of jazz to create a Grammy-worthy masterpiece. This is one of those albums that will have your favorite track changing daily. So, go ahead, hit download or play, add it to your playlist, and let these vibes take you on a journey of your own. 

In the vast realm of the music industry, particularly within the reggae genre, we often hear about the prominent producers who have left an indelible mark. Names like Scientist, Sly and Robbie, Bobby Digital, Coxone Dodd, Jack Ruby, and King Jammy readily come to mind. However, among these celebrated figures, there exists a multitude of producers who have yet to receive the recognition they truly deserve. One such unsung hero is the U.K.-based producer, Michael Henry. Not only is Michael a gifted singer, songwriter, and composer, but he also holds the reins as the director of DT Records and Transdub Publishing.

Michael’s entrance into the music business commenced at a remarkably tender age. During his childhood, when both his parents were tied to their work, he would be sent away for the summer. At the age of seven, he was enlisted in The Willock Family band, a children’s ensemble that embarked on extensive tours across England. Their lively performances captivated audiences as they graced the stages of prominent BBC TV and radio shows. Michael continued his journey with the band until he turned ten. Throughout high school, his passion for music thrived, and at the age of 15, he worked in various factories, and in his spare time would be in his bedroom strumming his guitar and penning heartfelt melodies.

Bob Marley, with his thought-provoking lyrics, had always exerted a profound influence on Michael. When news reached him that Bob would be performing at the New Bingley Hall in Stafford, Michael knew he had to be there. However, fate had a twist in store for him. At the time, Michael was hospitalized with both legs encased in casts due to dislocated knees and subsequent joint damage. Miraculously, he was discharged just in time for the show, but now arose a new challenge,  how to traverse the 25-30 mile distance to Stafford. Seeking help from a group of friends, Michael was disheartened when they refused, saying his crutches and casted legs would take up too much room in the car. Undeterred and fueled by determination, Michael hopped on a bus to Stafford and, with grit and perseverance, walked the further three miles to the show on his crutches. Steel Pulse was also performing that night and to his astonishment, he discovered familiar faces among the roadies at the stage door. The roadies were awestruck by this arduous journey he had undertaken. Welcomed into the backstage area and even into Bob Marley’s dressing room, Michael recounted his story to the legend himself. Impressed by Michael’s fortitude, Bob extended an invitation to watch the show from the stage, an experience that left an indelible imprint on the young Michael. His friends who had denied him a ride were left flabbergasted. Following the show, the entourage invited Michael to join them for the remainder of the tour, but he politely declined, citing his commitment to his full-time job and his budding music career. This encounter with Bob Marley served as a catalyst, propelling him to pursue a full-time musical journey.

Over the years, Michael Henry has collaborated with several bands, including the reggae outfit Afrikan Star, which had the honor of touring with legends such as Peter Tosh, UB 40, Burning Spear, Toots and The Maytals, and Sly and Robbie. During one particular show in Zurich, Switzerland, Afrikan Star had the privilege of performing immediately before Peter Tosh. Their 1980 hit song “Livin’ In The System” struck a chord with the crowd, resonating with its poignant lyrics about the struggles faced by ordinary people in times of financial crisis and the crowd went wild, singing along with the band. Even Peter Tosh himself, listening from his dressing room, couldn’t resist peering out to witness the uproar. Following his performance, Peter invited the band to his dressing room and expressed his belief that they were destined for greatness. However, he cautioned them about the pitfalls of the corrupt music industry at the time.

Later Michael formed bands such as Apple On The Drum, End Of Chat, and Mau-Mau. While initially signing a recording contract with Mau-Mau, he later branched out to pursue his own creative path under the name Dubnine. With the help of  Bob Marley’s former engineer, Tony Platt, Michael constructed a state-of-the-art multi-track recording studio, equipped to facilitate music composition, arrangement, and both pre and post-production endeavors. Since then, he has worked tirelessly to develop, record, and produce an eclectic array of artists and bands spanning multiple genres, ranging from classical, folk, R&B, and hip-hop to reggae, steel band, and garage. Michael has also collaborated with artists hailing from Africa and Asia, amplifying his global influence. One of his most notable achievements includes co-producing Steel Pulse’s 2004 Grammy-nominated album, “African Holocaust.” Building upon his accomplishments, he ultimately established his own record label, Dubtransmission Records (DT Records), and Transdub Publishing, which have since signed several promising up-and-coming artists.

Michael extended his talents to encompass collaboration with esteemed institutions such as the BBC, independent television and radio stations, theater companies, the City of Birmingham Symphony Orchestra, and The Royal Ballet. He has lent his skills to crafting opening and closing title music for programs like “Words and Pictures,” “Revista,” and “The Black Britons,” aired on the BBC. Notably, the funky Spanish-style James Brown-infused track he composed for “Revista,” a Spanish language learning program, enjoyed immense popularity and remained a top-selling hit in South America for an impressive seven years. In 2011, Michael received an invitation to Malta to collaborate with artists participating in the Malta Eurovision Contest, where he wrote and produced a song that reached the final of the national competition.

Beyond his personal music career and producing endeavors, Michael Henry has demonstrated his passion for nurturing artistic talent within his community. He founded an esteemed community arts organization called PALS Arts and Media, which actively engages with various community groups through the medium of arts, providing freelance artists with work opportunities. PALS Arts and Media, an artist-led initiative, embarked on projects involving individuals of all ages and backgrounds across the city of Birmingham, UK. This organization served as a conduit for artists to develop their workshop facilitation skills, collaborate on projects and community productions, and fostered the growth of young individuals in disciplines such as music, music production, dance, drama, filmmaking, and visual arts. Notably, one of the successes stemming from the PALS project is the International producer and DJ Emalkay. Emalkay initially began as a producer for his band Code Red before venturing into producing his own album, “Eclipse,” in 2011, thereby solidifying his position as a beloved figure among dubstep DJs worldwide. Recently Michael Henry’s journey has intersected with not only talented individuals such as Emalkay but up-and-coming Hip-Hop artist Daemon P and British Indie-Rock artist Lauren Hoyle, as he continues to explore new avenues of creativity and collaboration.

Michael Henry’s contributions to the music industry and his community remain a testament to his unwavering dedication, boundless creativity, and innate ability to touch the hearts and souls of those who encounter his work. As the reggae music industry continues to evolve, it is essential to shine a light on exceptional talents like Michael Henry, who have contributed immensely but often remain hidden in the shadows. Through his music, production, and community involvement, Michael serves as an inspiration for aspiring artists and a testament to the power of unwavering passion and resilience.

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Jamaican Reggae artist Jahdon has captured the hearts of his fans by weaving his life experiences into soulful melodies. Through his music, he takes us on a journey from his earlier EP “Congo Bongo” to his latest album “i,” sharing tales of his humble beginnings as a “Broomie” and his deep love for “Cooking.” For those unfamiliar with his work, it’s time to tune in and discover the lyrical prowess of this remarkable artist.

Jahdon fearlessly bares his soul through his songs, allowing listeners to connect with his personal life. One of his most streamed songs on Spotify, “Congo Bongo,” beautifully portrays his profound affection for his Empress, painting a vivid picture of their love. But Jahdon’s desires didn’t stop there; he longed for a family of his own. Fueling his inspiration, he penned the heartfelt anthem “Family Man” during the period between his album “369” and his latest release, “i.” Little did he know that this very song would manifest into his dream, leading him toward fatherhood.

As the album took shape, so did Jahdon’s life. By the time the final tracks were recorded and released, Jahdon found himself stepping into the role of a proud father. Embracing the serendipity of the moment, he named his precious baby girl the executive producer of the album—an homage to the life-altering connection between his music and newfound fatherhood.

It is against this backdrop that Jahdon has chosen to shine a spotlight on “Family Man” in 2023. This deeply personal and poignant track has served as a cornerstone for his upcoming single, holding great significance for his artistic and personal evolution. By immersing ourselves in the essence of “Family Man,” we can better appreciate the profound transformation Jahdon has undergone and understand the profound impact of his forthcoming release.

Jahdon’s decision to draw attention to “Family Man” sparks excitement and curiosity among his fans. As we eagerly await the release of his next single, the groundwork laid by this heartfelt song promises a continuation of Jahdon’s personal narrative and musical growth. By immersing ourselves in his discography and becoming familiar with “Family Man,” we are better prepared to grasp the profound depth of his upcoming release.

Jahdon, the Jamaican Reggae artist, has captivated audiences with his ability to share his life through music. From the emotional depths of “Congo Bongo” to the introspective melodies of “Family Man,” Jahdon’s lyrical prowess offers a glimpse into his personal journey. As his next single approaches, it becomes evident that “Family Man” holds a significant place in his evolving story. Take a moment to explore Jahdon’s music, embrace his heartfelt narratives, and join in the anticipation for what lies ahead in his musical odyssey.

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As a 6 year resident of Las Vegas, I look forward to the annual Reggae In The Desert festival.  Even though the lineup is usually not announced when pre-sale tickets go on sale, I know from experience that it always features an excellent selection of artists so I get my ticket early. This year, being the 20th anniversary of the festival, did not disappoint, with headliners such as Morgan Heritage, The Wailers, and Romain Virgo.

In the past few years when the festival was held in June, the heat has been a factor. Last year Mr Vegas had issues with his DJ’s laptop overheating and the same thing happened to Kabaka Pyramid’s keyboard player a few years ago and only the most resilient fans would brave the scorching temperatures to stand in front of the stage before the sun went down. This year the promoters moved the festival to the beginning of May which resulted in a much more comfortable experience without any heat-related problems.

The festival started at 11 am and opened with 2 local acts. Bounce Cruz, a talented Guam transplant, did an acoustic set, and the upcoming Reggae band Driftone, who describe their sound as “spicy Reggae”,  successfully hyped up the crowd for the next performance by Bonafide, a Jamaican band comprised of four brothers who are now based in Las Vegas. 

Bonafide are recipients of a Congressional Commendation in recognition of their community work in Las Vegas. They could be considered Reggae Ambassadors for Las Vegas. They showcased new material from their upcoming E.P. and delighted the audience with collaborations featuring Damian ‘Jr Gong’ Marley and Vybz Kartel. Bonafide was supported by a newcomer to Las Vegas, Jamaican Reggae/Dancehall DJ known as Problem. The band, currently under new management, was warmly welcomed by the crowd and appeared to be on an upward trajectory in their career.

When you have the likes of artists such as Romain Virgo, The Wailers, and Morgan Heritage on the lineup you have expectations of a good festival but I often find somewhere in the middle of the program there is an artist that takes control of the crowd, and delivers an unforgettable performance. In 2019 it was Jesse Royal, who mesmerized the audience with his stage presence. This year that artist was Junior Toots, the son of the late Toots Hibbert from Toots and the Maytals. From the moment he took the stage, he captivated the audience with renditions of his father’s songs with a sprinkling of his own songs in the mix. The crowd enthusiastically sang along to Toots and The Maytals’ classics like Pressure Drop and Monkey Man. To everyone’s delight, Junior Toots even jumped the barrier and spent several minutes dancing and singing in the crowd, he had them eating out of his hand. Backed by the talented FaYahSquad Band, this was a performance to remember. The words “brilliant” and “wicked performance” could be heard not only by the crowd but by other artists in attendance. 

Following Junior Toots was the gracious, elegant Hempress Sativa who entertained us with her beautiful voice and conscious lyrics. She captivated the crowd with the ease she delivered her unique Roots Reggae with a mix of other genres. The crowd was quiet and entranced by the vibe emanating from the stage from this barefoot warrior of consciousness.

Next in the lineup was the incredibly talented and accomplished Romain Virgo. His consummate professionalism, remarkable vocal talent, and more laid-back vibe were precisely what the audience needed at that moment.  Fans enthusiastically took over the vocals on his hit songs, solidifying Romain Virgo as a popular addition to the festival. His band was exceptional and his backup singers were among the finest to emerge from Jamaica. Overall, Romain Virgo delivered the type of performance that you come to expect from him.

The penultimate act at Reggae In The Desert was none other than The Wailers. Led by Aston Barrett Jr,  son of original Wailer,  Aston “Family Man” Barrett, The Wailers took us on a trip down memory lane by performing the iconic songs made famous by Bob Marley and The Wailers. While it is common for  Reggae artists to include a Bob Marley song in their set at festivals, it was particularly special to witness an entire set dedicated to Bob Marley and The Wailers’ songs.

To close out the 20th Reggae In The Desert, Morgan Heritage took the stage and delivered the stellar performance that this legendary group is known for. They treated the crowd to a mix of their best-known Grammy-nominated and Grammy-winning songs, as well as tracks from their newly released album “The Homeland”.  It was a perfect conclusion to the festival, leaving the audience thoroughly satisfied.

In conclusion, the only disappointment of the festival was the non-appearance of the publicized veteran DJ, Eek-A-Mouse, which was beyond the control of the festival promoters due to delays in his performance visa processing by the immigration department. I only have two criticisms of the festival, one being the limited availability of water to purchase. There was only one vendor selling cans of water at a ridiculous price and considering that we are a desert community,  I believe there should have been more options available. The other criticism pertains to the amount of time between acts which was attributed to technical issues. Despite these minor setbacks, the festival was overall a resounding success, executed with precision and enough to rank Reggae In The Desert as one of the premier Roots Reggae festivals.

Having been a fan of Mark Wonder’s music for many years, the anticipation for his upcoming album “Reflections Of The Dragon Slayer” was building. I was honored when asked by the producer to do an album review. With it being the third album in the “Dragon Slayer” series, I was intrigued to see which dragons he was slaying this time. The album uses riddims from previous releases and was produced by Jon Moon and released on the Yutman Records label.

   The album opens with “Controlled Hypocrisy” reflecting on the hypocrisy shown by worldwide governments. Mark advises “Don’t get caught up in the spin.” but encourages us to build on the revolutionary foundation set by those who come before us. At first, I wondered why this track was picked as the opener as it is a slow track but then when I listened to the lyrics, I realized it set the “revolutionary” foundation of the album.

   “African People” is a tribute to Mark’s African roots and his pride in being African. “I’m from the land of the sunburned skin” is one of my favorite lyrics of the album.

   “Urgency”, the first single released from the album is a track urging us to wake up and see the state of the world, of politics, the plight of the poor, and the ecological effect we are having on the earth and to do something before it’s too late.

   Governments need to change and listen to the people they represent and not govern to satisfy their egos, is the message in the next track “Power For The People”,  “it’s time for a change”, and ”we need more power for the people”.

   A beautiful love song “For The Reason” is the last original song on the album, showing the versatility of the dragon slayer Mark Wonder. Opening with a piano and a rising chorus of voices it leads to an upbeat declaration of love. I particularly liked the section of horns in the middle.

   The last four tracks on the album consist of an acoustic version of “For The Reason” and dub versions of “Controlled Hypocrisy”, “African People” and “Urgency”. I wouldn’t describe myself as a true lover of dub, but I really like the dub version of “Urgency”, it adds an extra dimension to an already excellent song.

   Mark Wonder’s album “Reflections Of The Dragon Slayer” is a powerful and thought-provoking album that addresses important social and political issues. With slower and faster tracks, a love song, and dub versions, it is a must-listen for fans of Roots Reggae and anyone who cares about social justice issues.

   What a wonderful culmination of the albums in the Dragon Slayer series.

Sadly I have an update to this post. Pernell lost his battle with cancer in the early hours of February 4th.

All of the artists I work with will tell you that when I start working with them they become family. Their families also become family. Recently our beloved Pernell Winchester (Kabasi) from the Reggae Powerhouse Band became sick and was hospitalized. Last week he was given the devastating diagnosis of stage 4 lung cancer. Pernell is one of the sweetest, humblest artists that I know. He is always ready to work on a jingle, a video, or any type of content that I ask from him, despite working a regular job to provide for his family. Pernell is only 49 years old and a loving partner and father to two beautiful children ages 11 and 7. As Pernell lives in Tobago, a country that has universal healthcare, his medical treatment comes at no cost to him but he will have extra expenses from traveling to and from the hospital for treatment and most likely, as time goes on, will have extra expenses relating to his care. Pernell is too sick to work now and only one small income in the family does not cover normal household expenses, so we have initiated a GoFundMe to help Pernell and his family. We are appealing for help if possible. Even the smallest amount of money will be greatly appreciated. To donate please click the link below. If you wish to donate by another method please use the contact form and I will get back to you.

https://gofund.me/67a0558a

When I was asked to review “Cliff Marley Tosh”  the latest album by Robert “Dubwise” Browne, I thought this would be difficult as it’s an instrumental album of covers of well-known songs by Jimmy Cliff, Bob Marley, and Peter Tosh. Dubwise is an acclaimed musician, from a talented musical family, and he has been backing artists like Shaggy and Jimmy Cliff for many years.  I imagined “Cliff Marley Tosh” to be an album that would be predominantly background music. Was I in for a surprise!

The album opens with a pretty traditional reggae version of Bob Marley’s “Three Little Birds”,  with background vocals from Chris Smith and Sherieta Lewis and some beautiful rippling guitar riffs. 

   Following that is a change of pace with “Coming In Hot”, the Peter Tosh classic. Dubwise’s version of this classic song has a rock influence to it. With subtle background singing from  Dubwise himself,  I feel I can hear the words to the song coming through the guitar.

   “Real Situation”, another Bob Marley song, has the traditional reggae beat but with a smooth jazz influence.

   Once again the mood changes with a Jimmy Cliff song “Rebel In Me”. The heavy blues guitar and the sexy melodious voice of Wayne Armond (singer, songwriter, and founder of the group Chalice) makes this one of my favorite tracks on the album.

   “Turn Your Lights Down Low”, the Bob Marley classic, retains the “baby-making” atmosphere of the original song with Dubwise on background vocals, and once again the guitar seems to sing out to you.

   The Jimmy Cliff song “We All Are One”, with its funk rhythm and background vocals by Chris Smith, will have you up and dancing. It’s hard to stay still listening to this track. 

   “Johnny B Goode”, originally by Chuck Berry and given a reggae flavor by Peter Tosh, is the next track. Edgy vocals from artist Errol Bonnick with background vocals from Sherieta Lewis compliment the updated version of this iconic song.

   Following on, the next classic song chosen by Dubwise is “Why Must I Cry” also a  Peter Tosh classic, another favorite of mine. This also is one of the tracks where the guitar seems to be singing the song. You can almost hear the words.

   “Journey”, one more Jimmy Cliff song, is the final song on the album and a great way to finish. A jazz-inspired reggae version of this classic summarizes the mellow, inspiring album from Robert “Dubwise” Browne and leaves you wanting more.

I can’t wait for his next album.  

Previously published in Island Stage Magazine

“’Live N Livin’ is one of two albums from the multi-award-winning dancehall star, Sean Paul, offering a collaboration over confrontation undertone, that showcases unity in Dancehall. The album was inspired by the perception of members of the music industry that dancehall is dead, instead, Sean Paul believes dancehall is alive and well, with a strong pulse. Looking to show the world that dancehall is flourishing and still birthing stars, ‘Live N Livin’ showcase over twenty artists on one body of work.”  

“It was important to me to show that in our genre of dancehall, we don’t need to clash in order to attain the spotlight. We don’t need to divide our fans to attain the rotations on the airwaves or streams. Over the years myself, Shaggy, and more recently Koffee, Shensea and others are tapping into the world stage and we are not clashing our co-workers, nor are we dividing our fans. This album ‘Live N Livin’ is an album I hold very dear to my heart because it shows the effort of collaboration over confrontation,” said Sean Paul.

Sean Paul has had many critics over the years amongst the Dancehall artists and fans alike, calling him a “sell-out” for crossing over to a more mainstream sound at times over the years,  but Sean has never left his dancehall roots. His latest album “Live N Livin” is an eclectic mix of hardcore Dancehall and conscious Dancehall that guarantees something for all Dancehall fans. Sean collaborates with artists from both sides, illustrating the unity that he was wanting to convey. The album is superbly put together and the following are the tracks that resonated with me. 

“Boom” featuring Busy Signal is a hard track to sit still and listen to. This one is guaranteed to be a party and club favorite, with the crowd singing “Boom” along with it. 

Initially listening to “The Plug” featuring Chi Ching Ching, I was concentrating on the flow and not paying too much attention to the lyrics. The second time I listened I heard the track as an anthem to the DJ who brings the energy to the club or the radio but then after the third listening I realized there was a sexual undertone to this song. This song highlights the undeniable talent that can incorporate lyrics conveying whatever you want them to mean, without being explicit.

Another stand-out old-school style dancehall song is “Crazy” featuring Buju Banton.”

This is a different sound from how you would normally hear Buju. Working with him is a dream come true for me” -Sean Paul

This is a fun track that I think will be a favorite.

“Schedule” featuring Jr. Gong and Chi Ching Ching is a catchy, tongue-in-cheek song about the sexual superiority of the Jamaican man. “That’s how we do it, we do it every day.” “That’s how we do it the Jamaican way.” This is the “earworm” track on the album. I found myself singing or humming it all day after I heard it.

The first of the conscious tracks on the album is “Protect Me” featuring Serani. This track is tackling this issue of the people in the industry who are jealous of your success and try to bring you down. “I say a prayer for mi betrayer. They can’t put mi under.”

“Lion Heart”, released as a single in December 2020,  is the only solo song by Sean Paul on the album. It was a response to the industry people who were criticizing Sean for not taking part in a Verzus style clash like many other dancehall artists. Sean believed that the clash atmosphere was creating division between fans, and not promoting the unity needed to make Dancehall an International genre.

In December 2020, Sean Paul also released “Guns of Navarone” featuring Jesse Royal and Mutabaruka. This song is a remix now also featuring Ghanaian artist Stonebwoy. It highlights the glorification of violence and the casual disregard for life by the acceptance of it. “How can a people be so traumatized that they start to love the traumatic experiences?”. 

“Danger Zone” featuring Bugle and Sotto Bless is a call to Dancehall artists to think carefully about how their lyrics are influencing the younger generation, especially the lyrics about violence and gun culture. Although artists have different reasons for their lyrics, some for fame, some for girls but some of them “chat” about righteousness but then live by the gun. The song follows up by highlighting some of the more insidious crimes that are affecting society and how we are living in a Danger Zone where only Jah can save us.

Choosing which tracks to highlight on this album was difficult but I had to include the remix of the 2018 single “I’m Sanctify” featuring Mavado and Agent Sasco. Mavado sums up the world we are in at this time with “To be born ‘pon this earth is a risk.” It’s hard to pick a favorite track on this album but for right now this is mine.

Buy the album in its entirety because some tracks that may not hit you initially, can become among your favorites.

Sean Paul said this is an album for all Dancehall fans with something to please everyone. I’m sure the conscious section of this album will surprise many and apparently he has more to say in upcoming releases. I can’t wait.