DJ Smiley G‘s latest compilation, ‘Pulse Fusion Vol.1’, is a recent release that shows a whole lot of promise. The 12-track volume features different artistes all working with Smiley G’s creative production and direction, engaging a number of topics that feels like a spiritual walk through one’s own mind. Men and women sufficiently represented, this compilation is a landmark effort.
The songs gather messages of hope, prayer, resilience, sustenance and love. My top picks were “Ride For You” by Whatatamtam, “Work (Dream)” by WhiteBlackz, and “I Need You Now” by Shivaun Rufus. It is always exciting to see what collaborative projects can yield when Jamaican creators contribute to an expected end.
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Romain Virgo‘s latest album, ‘The Gentle Man’, is an exciting, fresh listen that will grab the ears and satiate the musical palate. Featuring Masicka(“Been There Before”), Patoranking & Silly Walks Discotheque(“I Believe”), Jesse Royal(“Bridges”), and Capleton (“You Must Pay”), the album packs twelve tracks that have been curated for one’s aural delight.
The writers were Romain Virgo, Javaun Fearon, Nicholas Browne, Rayon Curate, Romeich Major, Donovan Bennett, Matthew Keaveny, Daniel Weltner, Nkunku Maximila Milanda, Patrick Nnaemeka Okorie, Phillip Meckseper, Oliver Schrader, Joscha Hoffman, Maurice Delauney, Dennis Emmanuel Brown, Phillip James, Andre Stefan Hall, Sean Alaric, Simon Alexander Mitchell, Terry Bennett, Kareem Spencer, Jesse Gray, Oliver Rodigan, Clifton Bailey III, Dayan Foster and Hugh Beresford Hammond.
Drums and bass were by Romeich Major, Dj Densen, .MLND, Maurice ‘Seani B’ Delauney, Kevin McPherson, Makiri Whyte, Jevaughn Latty, Andre Hall, Phillip ‘Winta’ James, Devon Bradshaw, Glen Browne, Oliver ‘Cadenza’ Rodigan, and Donald ‘Danny Bassie’ Dennis. Keyboards were played by Rayon ‘Slyda’ Ricardo Curate, Evad Campbell, .MLND, Kevin McPherson, Roan Johnson, Phillip ‘Winta’ James, and O’Niel Dacres.
Background vocals were Tori-Ann Ivy, Janeel Mills, and Carl Lee Scharsmidt. Guitarists were DJ Densen, . MLND, Jared Ansine, Ian ‘Beezy’ Coleman, Ranoy Gordon, and N’namdi Robinson. The saxophone was played by Dean Fraser. Recording engineers were Nicholas ‘Niko’ Browne, Orane Carney, Michael ‘Boxxy’ Howell, Tandra Jahgroo. Donovan ‘Doncorleon’ Bennett and Phillip Meckseper played all the instruments for the respective tracks.
Publishers were credited as STB Music Inc. dba Music by STB (ASCAP), Jack Russell Publishing Dubplate Music, Jack Russell Publishing, Ultra International Publishing Company, Islandrockpublishing Llc/Bmi, GEMA, Mad Decent, Sony ATV, Maurice Delauney, Analog MetaSongs (PRS), Sean Alaric Publishing, Giving Pro Music Publishing, Universal Music Publishing, Clifton Bailey III and Dayan Foster (ASCAP).
The recording studios used were Lifeline Music Studio, Bay Eight Recording Studios, Tuff Gong Studio, Anchor Recording Studios, Big Yard Studios and Tad’s Recording Studio. Producers included Romeich Major, Rayon ‘Slyda’ Ricardo Curate, Nicholas ‘Niko’ Browne, Donovan ‘Doncorleon’ Bennett, DJ Densen, .MLND, Oliver Schrader, Joscha Hoffman, Maurice ‘Seani B’ Delauney, Andre Stefan Hall, Sean Alaric Ricketts, Phillip ‘Winta’ James and Dayan ‘Pete’ Foster.
Mixing engineers were Mario ‘Dunw3ll’ Dunwell, Donovan ‘Doncorleon’ Bennett, Mix Master Garzy, James ‘Bonzai’ Caruso, Maroon Riddimz, and Gregory Morris. The executive producer was Christopher Chin, with mastering by Christopher Scott (at Castek Systems Solutions). Photography and art direction/ design was by Samo ‘Kush-I’ Johnson. Additional edits/ production was by Deron James. A&R was by Neil ‘Diamond’ Edwards. Legal and business affairs/ A&R admin was John McQueeney.
Courtesy credits were also noted to Def Jam Recordings (Masicka’s appearance), Amari Musiq Ltd. (Patoranking’s appearance), Analog Metaverse and Warner Chappell Music (for Dennis Brown samples and interpolations), and Music of STB (Beres Hammond’s “Irie & Mello” interpolation).
This album is a particular favourite of mine as Romain seems to pour his gentlemanly charisma into all of the songs presented. “Red Dress” is my top pick, followed closely by “Want You Now”, and “No Curfew”. All the collaborative songs sounded complete and satisfactorily complimentary. This is just one album that you have to get familiar with; feel free to ask any member of Virgo’s solid fanbase who will be sure to agree.
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The ability to put pain into art is a tool being developed by many talents, and Geo Lyrical has has honed his skills into a collection of songs that provoke thought, reflection, meditation and self-regulation. Songs like “Weh Me Heart Gone (W.M.H.G)”, “Light”, “Nothing Nuh Change” and “Last Cry” spoke to me especially. The riddims may have been slightly monotonous in terms of a trap dancehall feel, but for the themes covered in the lyrics, it seemed a fitting choice.
In 2024, we have become more acquainted with opening up about our pains and hurts. Covering them rarely increases the health of the individual; rather, it contributes to a number of incorrect thought processes that complicate the issues. Music is a great medium for airing one’s thoughts as it enhances the understanding and accountability of the individual involved, and ‘Resurgence’ is a perfect example of this.
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Alloby‘s newly released EP, ‘Allo B Thy Name’, is an interesting product. An Afrobeats/ dancehall offering, the EP includes seven tracks by the burgeoning act who is determined to top the charts and gain all the meaningful musical accolades along the way. Production was handled by 3Kings Music Group and Upper Peak Studios.
Asked if he was worried about the name of the EP, ‘Allo B Thy Name’, a play on ‘hallowed be Thy name’ being construed as blasphemous, he responded: “They will still have something to say, at least I didn’t say ‘science be thy name’.” – Jamaica Observer
The EP touches on love, romancing, dashing out, being alone, being a soldier, and just having a vibes overall. I found it to be a pleasant listen, showing enhanced forethought going into the music from a local act. The lyrics are catchy, and the melodies are simple enough so that you want to sing along. With enough promotion, these are songs that can do numbers worldwide. My only problem? Two minutes is way too short when you’re rocking to a song.
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‘Love Letters to K’, the fourth studio effort from Clane Matthew, was released on February 14, 2024. Produced by Matthew and Sirdelapp, the album features Don Lavish(“Waiting For You”), Yannè (“123”) and Demi(“Drop It Guh Down”).
Clane has been making a name for himself locally and internationally, and continues to gain fans and make appearances worldwide. This is album is of a similar niche such as ‘To Tanesha’ by Vybz Kartel. In this lane, emotions and vulnerability are the order of the day, and Clane does well in baring his soul.
The album is a nice listen for lovers , those who love love, and even those who like to reminisce on sweet memories. Clane has always managed to grab attention with his lyrics and harmonies, and his approach to subject matters. An album for all seasons, ‘Love Letters to K’ is a nice addition to Matthew’s catalogue.
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“After work she pick up phone an’ seh fi link up/ So after work, nuh badda ‘itch up, mek we lif’ up/ After work, she give it up, quick like a stick up/ At first she never with us, now she affi switch up” – bigTree, “Switch Up (BFF)”
This is one mixtape I’ve been playing repeatedly. ‘lost & fumed’, the latest release by bigTreeJM (bigNatty and bigMoody) is near-perfect, in my opinion. Featuring the contributions of Knixx Taylor (“Giant”), Mila.Akilah (“Double Tap”) and Spacekat (“Let Yuh Go”), production was done by SOS Dynamikz and bigTreeJM.
bigTree has the ability to weave the patois sound into hip hop/rap frames that are appropriate, clear and authentic. Guest artistes are also given a lot of room to explore their creativity, and the chemistry is never rushed. If one expects to hear some reggae or dancehall, this is present in “Contraband Freestyle”; however, the rest of the songs are a Jamaican rapper’s haven. Have a listen today!
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‘Trilogy’, the latest release by Dexta Daps, is a mix of genres, styles, topics and collaborations that work. The 16-track album featured accompanying acts such as Masicka(“OK”), Chronic Law(“Friendship Sale”), Rally Banks(“Wuk Fi Mine”), Jada Kingdom(“Purge”), and Alaine(“See It Yah”). Qyor, Bounty Killer and Jahshii are also credited as supporting the album. ‘Trilogy’ was released by Dexta Daps Music Group.
Dexta really steps out in this collection. He is most widely-known for songs for the ladies, and these are always appreciated and fill a considerable number of spots on the album. However, Daps also deals with love, friendships, badness, dating double standards, and showers of blessings. The clean version is also available so everyone can have a listen.
It is amazing to witness Daps’ growth as a well-rounded singer, songwriter and performer. I was one who thought his musical maturity would not see much development any time soon, but over the years I have been proven wrong by the variety of works he has been able to apply himself to. This album is a notable example of modern Caribbean music.
To listen to ‘Trilogy’ and access Dexta Daps’ work, please see the accompanying links:
If you follow the Magnum Top Performa competition, then you’d be familiar with the second place 2021 winner, Prince Saj. Making waves with the message of the gospel laid out on hardcore dancehall beats, Saj has been making his voice familiar at numerous live events on the scene. His recently-released EP, ‘Conquest’, was produced by DaJourney Productions.
According to Prince Saj, DaJourney is also his manager and resides overseas, meaning that the production process for all seven tracks took place by video phone and similar communication. This chemistry become evident when listening to the songs, as his passion for ministry is embodied in each song and the production quality never wavers.
I’m used to Prince Saj’s gritty, fast-paced lyricism, but this EP surprised me with his ability to give form and shape to his songs. Even as he works to define his sound, it is highly interesting to hear the various outcomes. “Marriage is Beautiful”, for example, sounds like a well-made Christian love song anthem. “God with Us”, on the other hand, takes on the form of an afrobeats banger that could have used a little more development. Overall, if you want an updated idea of where dancehall gospel has reached today, this EP is a sure listen.
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The EP is an interesting listen. It appears that Souljah, who originally hails from Spain, went for more of an international feel, blending aspects of R&B, dancehall and Afrobeats into mostly reggae rhythms. The result is a smooth flow of carefully curated melodies and arrangements that make even the featured acts bring their best game to the recording booth.
The EP goes from being in love, to running out of love, to being thankful, to giving a helping hand, and just presents an overall wholesome, family-friendly package. Chronic Law’s approach was especially appreciated, and tracks like “Reason Why” and “What It Feels Like” have become personal favourites. This is an EP I’m glad I took the time to listen to.
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A simple google search of the name ‘Monifa Goss‘ will show a plethora of accolades, accomplishments, appearances and accompaniments that have cemented the status of this burgeoning creative in Jamaican music. Presenting her EP ‘Eve’, Goss compiles six tracks that show genre diversity, a strong-will approach to subject topics, and proof of well-trained musical sensibilities. The EP was produced by the Creed Music Global and EMPIRE labels.
The tracks are generally catchy, and will certainly have your attention. Though not a fan of feminism, Goss’ interpretation of music in convincing enough to have me considering submission. From singing along to “Outside” and the impressive bravado in “Bad Gyal”, to hearing Daddy1 wax poetic with her in “Vibe”, the production quality is hard to miss. Also featured on the EP is Gabrá (“The One”).
I believe that what sets Goss apart is her willingness to explore. For men, women and others, music can be an industry where sticking to norms and expected patterns is seen as the safe way to build an audience and have a fan base. Monifa tends to leave safety behind and unleashes unbridled energy that manages to relate to those who aren’t even fans of her sound. Add to that her consistency to successfully punch above her weight, and you have an artiste that you definitely have to look out for.
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