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Dub Inc’s “On est ensemble” is surprising for its new sounds as well as the production of its highly cinematic video in a dark, urban setting. Dub inc presents here a unifying chant, perfectly reflecting the social urgency of the times, recalling the economic, societal or climatic changes that have to be tackled as quickly as possible…
DUB INC - On est ensemble (Official Video) - YouTube
Label: Negril Music Studio | Format: DR | Street date: May 21, 2019 | Website artist
Heart In Danger
I Am Not A King
Don’t You Tell A Man
After more than 30 years without releasing an album as a singer, Errol “Flabba Holt” Carter, founder and leader of the mytical Roots Radics band, returns as a vocalist with a 5 track EP album entitled “Singing Life”. The EP is also an introduction to Los Guardianes de Gregory (LGDG), the Argentinian backing band for this noteworthy project with Errol “Flabba” Holt.
Feda Soto Roland
Feda Soto Roland, producer and recording & mixing engineer of the EP: “We met Flabba in Buenos Aires around April 2018 while he was touring with Israel Vibration & the Roots Radics. After the show we invited him to our studio to record some bass lines for an Israel Vibration’s spanish tribute that we were producing, and that night we surprised him with our instrumental version of his first composition, “Heart In Danger”. He loved it and decided to sing it right there… and that was the beginning of this amazing project.”
Errol “Flabba” Holt is one of the living legends in the history of reggae music. Besides being a singer in his own right, he was a member of The Morwells and the creator of many of the most recognized basslines ever created in reggae music. He played with the most renowned Jamaican artists, from Gregory Isaacs to Dennis Brown, Triston Palmer, Michael Prophet, Freddie McGregor, Barrington Levy, Israel Vibration, Yellowman and many others.
This release brings Errol “Flabba” Holt back to his singing character, prior to his sojourn as bass player par excellence with the mighty Roots Radics, the well-respected studio and stage band, which dominated the dancehall reggae sound in the first half of the 1980s. The 5 tracks of this project are all updated versions of tunes “Flabba” Holt recorded in the second half of the 1970s.
“Gimmie Gimmie” was produced by Michael Williams aka Prince Far I and originally released in Jamaica on the producer’s Cry Tuff label in 1976. The same year it was released in the UK on Casto Brown’s Morpheus imprint. With “Heart In Danger” Errol Holt delivers the third version of this wicked song that originally came out on the Distant Drum label and then was titled “My Heart Is in Danger”. In 1982 an updated version of the song was produced by Sly & Robbie and released on their Taxi label, but now retitled “Danger Zone”. Errol Holt’s cover of Delroy Wilson’s “I Am Not A King” was released in 1978, while “Babylon Queendom” is a track from the 1978 album “Visions Of Africa”, which was produced by Neville Beckford aka Jah Woosh. The A. Smith Jr produced single “Don’t Tell A Man” was released on the Black Belt label in 1976.
After all those years, “Flabba” shows that vocally he’s still in good shape, which makes it a real joy to listen to the new versions of his classic songs. Besides that Los Guardianes de Gregory have done an great job, delivering each backdrop in royal style. And as all tracks are well produced and expertly mixed, the quality is evident. Each and every tracks is truly worth hearing, but the ones that go on repeat have to include “Heart In Danger” and “Don’t You Tell A Man”.
Produced & Mixed
The tracks for the “Singing Life EP” were recorded in Negril Music Studio, Buenos Aires, Argentina, by Feda Soto Roland, and mixed at Tuff Gong Studio (Jamaica) by Roland McDermott and Negril Music Studio (Buenos Aires) by Feda Soto Roland. The EP was produced by Negril Music Studio, a brand new reggae label based in Buenos Aires, Argentina, and is distributed globally by Tuff Gong International.
EP with 7 tracks from reggae legend Culture, includes 4 previously unissued tracks.
Calling Rastafari, Dem A Payaka, and This Time were all originally included on the 1982 Nighthawk compilation album, Calling Rastafari. Most of the tracks released on the classic, roots reggae compilation, were recorded during a three-day session in 1981 at the Harry J studio in Jamaica. The Culture songs appeared alongside tracks by Gladiators, Mighty Diamonds, Wailing Souls and others, with most of the songs being unique to the album including those by Culture.
Can They Run and Mister Music and their respective versions were recorded two years after Calling Rastafari was issued and languished in the Nighthawk vaults until the release of this special, limited-edition EP.
Originally released on in 1980 on the Black Roots imprint, Barry Brown’s album named after his popular dancehall hit on the “Storm” riddim, has been re-released on vinyl by Deep Roots out of France. Produced by Sugar Minott for Youth Promotion, Barry Brown at the time of this release was more or less what Youth Promotion was all about… a talented youth who could write songs and had a very distinctive voice.
All tracks are extended versions with dubs included, with the addition of Ranking Simeon’s “Love & Live”, a deejay piece to “Jah Jah Never Sleeps”. Apart from the title track its pretty tough roots music all the way, and includes the singer’s second version of the excellent “Things & Time”, one of his best recordings.
1. Dread Taking Over (extended) 2. I Love Sweet Jah Jah (extended) 3. Jah Never Sleep (extended) 4. Love & Live – Ranking Simeon
1. I’m Not So Lucky (extended) 2. Things & Time (extended) 3. Never Fight A Brother (extended)
IMBIBE CULTURE AND CONSCIOUSNESS WITH COCOA TEA (THE INTERVIEW)
When: May 5, 2019
Where: Belly Up Tavern, Solana Beach CA
Photos & Video: Stephen Cooper
Reporter: Stephen Cooper
Copyright: 2019 – Stephen Cooper
“Cocoa Tea” is a popular Caribbean drink, but music fans know it’s also the name of one of reggae’s sweetest singers and best live performers. After more than four decades in music, Cocoa Tea is an uncompromising reggae legend. A worldly citizen-activist, his music has consistently advocated the upliftment of the poor, relief for the downpressed, for love, and for clean, conscious living rooted in the teachings of Marcus Garvey and Haile Selassie I, the Emperor of Ethiopia from 1930-1974.
It is a lingering stain on the persons and entities charged with celebrating and promoting Jamaican music and cultural heroes that Cocoa Tea – and so many other foundational Jamaican musicians, too – have not received official recognition from the Jamaican government for their many multi-faceted contributions to reggae, and by extension via reggae’s massive global influence, to virtually all popular music genres.
IMBIBE CULTURE AND CONSCIOUSNESS WITH COCOA TEA (THE INTERVIEW)
On May 5, for over forty minutes at the Belly Up Tavern in Solana Beach, California, I was honored and blessed to speak about this subject with Cocoa Tea. Also we spoke about his new Coco Robics line of athletic clothing and the related tour he’s on; Rastafari; valuable lessons he learned as a fisherman and horse jockey; the inspiration behind his international chart-topping song “Rikers Island”; his new album coming out with Walshy Fire, and much, much more. What follows is a transcript of the interview, modified only slightly for clarity and space considerations.
Great show! Yeah man, give thanks!
Your performances are always so energetic. The crowd responds to you so well – and they loved you tonight. Anyone who hears you sing wants to dance. The joy and the love that you bring to the music is infectious. And you have this new song that generated this tour – “Coco Robics.” Yes.
You really had the crowd sweating to that song tonight! Yeah. (laughing)
And this is also a new clothing line? Right.
Now I know you’ve always been a sportsman and into fitness. You run several miles a day – Definitely.
Cocoa Tea (Photo: Stephen Cooper)
Cocoa Tea (Photo: Stephen Cooper)
But why did you write this song? How did the idea for “Coco Robics” come to you? The first time I was on tour with [Booking Agent/Tour Manager] Robbie [Oyugi], I was out here last year in California. And after we started performing the energy was so high that the people are saying to me: “Cocoa, you have to do something about this fitness. ‘Cause we have seen a lot of performers come through. And ain’t nobody [else] have us feeling this type of way – this type of energy, man.” And I was saying to [these] people, well I run ten miles in the morning, you know? It’s my pleasure to be fit. Because when you’re out there on the stage, you want the audience to be feeling and you want them to be interacting with you. Yeah so we were doing this last year. We started calling it “Reggae Robics.” But when we tried to trademark it –
That name was [taken]? Yeah, so we had to change it.
But “Coco Robics” is more natural anyway. (Laughing) Right. It’s more natural; it’s me.
In August of last year, the Gleaner reported on a study showing a massive increase in obesity in boys and girls in Jamaica. And when I interviewed Sister Carol last year at the first ever L.A. Reggae Vegan Festival, she said it’s not just the food but also a lack of exercise, physical activity, and not being outdoors due to an addiction to technology. And I wondered whether this new focus on fitness that you have [in your music] is due to your concern about this issue in Jamaica – Definitely! And not just in Jamaica, but around the world. Take for instance a little kid growing up right now: They want to be inside. Playing the PlayStation. And they never want go outside and focus on energy. When we was little kids, we always play. So look at me right now. I’m still weighing 125 pounds.
I don’t know how you do it, Cocoa. (Laughing) See what I’m saying. I try to eat the best, healthiest way I can. I try to drink a lot of water. I try to get rest. And I do a lot of exercise.
Even when you’re on tour, right? Even when I’m on tour. It’s the same. I find a way to do it. You are what you eat and the way you live.
Cocoa, you’ve always been a very sporty and snappy dresser throughout your career – Yeah.
Are you personally involved in the design of this new line of Coco Robics clothing? Are you consulting – Definitely. Definitely.
Now I know you have clothing for women, but [at some point soon] there’ll also be clothes for men and children too? Yeah.
Where is this clothing line being made? They’re made in China. We do the design and send them to the manufacturer. And they build them and send them [back].
If [Coco Robics] becomes a “thing” and you stick with it, do you think someday you could manufacture Coco Robics in Jamaica? I would like to. But we have to start from somewhere. And I mean there [are] so many red tapes in doing things in Jamaica that you have to be outsourcing right now. But I think hopefully in the future I would like to do it in Jamaica and get a lot of people employed and things like that.
Where can folks purchase Coco Robics? We [sell] it at the concerts now but the website will be up very soon, the Coco Robics website: CocoRobics.com and CocoRobics.net.
And is it accurate you’re also making a video for this? The video is already made. It will be released very soon.
Now although you’ve been interviewed many times, there are a few basic questions about your background and coming of age I couldn’t find the answers to. I know you’re from Rocky Point, Clarendon, and that that’s a small town on Jamaica’s southern coast, right? Yes. It’s a small fishing village.
You have many times told the story about how you recorded your first song at age 14, “Searching in the Hills,” for Willie Francis. And that was as a result of your connections with a [singing] group called “The Rockydonians.” Definitely.
And you actually left school and moved to Kingston and lived with Willie Francis. And you did this at the age of 14. Right.
And you tried to make it for a long time in music, but it didn’t happen. It didn’t happen.
I read somewhere that your father had left for the United States. So was it your mom who was raising you primarily? Definitely. My mom alone. My mom was a single mom.
Me too. She passed last year, and now, I’m still, I’m still – I just can’t get over the feeling. The day when I saw my mother go into the grave that’s [when] I [understood] people really die.
Yeah. Respect. I saw tonight even when you were singing and talking about Mother’s Day there was a lot of emotion – I’m telling you man, when I lost my mom last year, I just cannot get over the feeling.
How did your mom support you when you were growing up? She was a domestic helper.
In the resorts? No. Like [in the] neighborhoods and things like that. She did everything to support me.
You’ve often said you began singing in church. Were you raised in a strictly Christian household? Definitely.
Cocoa Tea & writer Stephen Cooper (Photo: Stephen Cooper)
And [at] what age approximately did you discover Rastafari? I discovered Rastafari from about 1980. I’ve always been around Rasta people, but I used to go to church. But when I used to go to church, the thing that draw me to Rastafari – the difference is when I go to church and some people [said], “Let us go to the Nyabinghi.” And so we go to the Nyabinghi. There is a thing in the church called “Harvest” where everybody brings something to the church. And they would take those things and they would sell it to other people. They said they were selling it to support the church. [But] [w]hen I go to the Nyabinghi, everybody bring things and just share it with everybody. Nothing was sold. So I said this is the livity I like –
That spoke to you. Yeah. It awoke something in me. And I said this is the kind of livity I would like, you know?
Respect. Was it just going to the Nyabinghi or were there also particular people who led you in the direction of Rastafari? People who influenced you – Yes. Because I had a cousin called “Rasta Doctor.”
Rasta Doctor? Yeah they call him “Ras Dockie.” And he really liked me because we used to go fishing together and things like that in Rocky Point. He was one of the top fishermen in Rocky Point.
You’ve done many interviews. But in 2007 you did an interview with “Rebel Base” in Belgium. Right.
And you said: Being a Rasta “means more than everything else in the world because without Rastafari, I probably would have been a gunman.” Exactly (laughing).
And when I read that that was moving to me and I wanted to ask: Do you think if Rastafari history and livity were taught more in Jamaican schools and promoted more in Jamaican society, that there would be less gunmen, and as a result, less violence and less crime in Jamaica? Oh yes. Absolutely. Without any doubt.
And maybe the answer to this is too hard or too obvious, or both, but: Why isn’t it? Why won’t the government and society – the uptown people in Jamaica – if they realize that Rasta livity would promote peace, why wouldn’t they promote that in the schools? And educate the children about Leonard Percival [Howell] and all these things. Well there’s a two-prong answer to that question. First, the government – any government, not just the Jamaican government – any government in the world, they are the ones that benefit from the crime. They are the ones mak[ing] money from the courthouse. And all of the money that benefits from the proceeds of crime. The Bible – alright, they give us the Bible as our guidance to life. And the Bible says, if a man should steal from you, that man is supposed to pay you seven-fold. That means he’s supposed to give you back seven times the [amount of] things he stole from you. Now the government of the world make[s] a different law. And they would say [if] a man steals from you, [then] lock him up and take him to the courthouse. And then they charge him. Say the judge fines that man one hundred dollars. The government takes that hundred dollars and tells [you], you have to go sue the man a-courthouse. That’s not justice. How is that justice? He never stole anything from the government.
Right. So why do they profit? (Laughing) The [government] is making profit from the proceeds of the crime. Now in terms of the “uptown people” and those type[s] of people. They are the ones that own the funeral parlors and all these things. Most of them are the lawyers. And the judges. And how do they get paid? Through the courts and the proceeds of crime. So there’s a two-prong answer to the question. Now if you say that outright, ‘nuff people would be upset about it. I’ve got a daughter and a son who are lawyers.
In Jamaica? My daughter –
First, respect and congratulations also! (Laughing) Yeah, give thanks. My daughter graduated from Norman Manley law school. She went [first] to the University of the West Indies. And then she went to the University of London law school. And graduated from Norman Manley law school. But she is now living in Toronto. My son, he went to Humber University – Humber College in Toronto. And he became a paralegal. But not one day did he work as a paralegal because he’s [working] with Apple right now. So I’m telling you this from the perspective of someone who has lawyers in his family. Still I wouldn’t have to tell you no lie. Because I have to speak the truth. These people benefit from the proceeds of crime. (Laughing)
So they’re not trying to fix it anytime soon? (Laughing) They’re not gonna want it to be fixed.
Did your mom immediately accept your decision to follow Rastafari? Nah (Laughing).
Did you fuss with her about it? No. She told me: never come to my house.
Ouch. Most youths who become Rasta in Jamaica have a problem with that. Your mom will not accept [it]. Your dad will not accept you.
Did there come a time though later where she did accept it? Yeah, later they’re gonna accept you. But for them it’s so odd to not hear you saying “Jesus.” ‘Cause these people want you to be saying “Jesus.”
And what about your decision when you were 14 years old to go to Kingston? Was your mom supportive of that? Or did she question your decision? She questioned my decision.
But you went anyway? I went anyway because that’s where my talent led me, you know what I mean?
Cocoa Tea, many of your fans know you didn’t break into the music business right away. That it took some time. Right.
Before you hooked up with [now-deceased producer Henry] “Junjo” Lawes, you worked both as a fisherman and, at the Caymanas Park, as a jockey. Right.
Now a big fan of yours in the San Francisco Bay area, she goes by the name Nicki or Nicola, she said on social media I should ask you about your horse jockey days. And what I most want to know about that is: Are there any lessons or important things that were later valuable for you in the music business that you learned from all this time you spent in the stables and with the horses? Definitely.
What are some of the[se] things? The first thing that comes to mind is, when I want to the racetrack, it’s the first time I learned how to sleep outside.
Oh. Wow. Why did you have to do that? Because whenever it’s gonna be a race day, there are always people who want to come inside to do something to the horses. So –
So you have to keep guard of the horses? (Nodding) So we have to sleep outside with the horses. We have to sleep at the horses’ stall door. That taught me how to sleep outside. I’d never slept outside in my life. It taught me to be strong. To be tough. It taught me toughness. So when I went to Kingston and start to work with Junjo Lawes, I used to sleep on sound boxes in the dancehall.
It didn’t matter to you? It didn’t matter to me because I was used to it.
Because I know that you have raised horses, and I believe you still own some horses – Yes, I still breed horses.
Did you watch the Kentucky Derby yesterday? (Shaking head) Boy. I’m so upset. I’m so sad about it.
What did you think about that? For real? The winner made a lot of mistakes – made some mistakes.
Do you think he should have been disqualified? I don’t think he should have been disqualified, and I’m gonna tell you the reason why. Even though jockeys make mistakes. Mistakes happen in a race. But they’re young horses. A three-year-old. Now there’s no human being on the face of this earth that can control a horse. Those horses a-weigh 2,000 [pounds]. How can a man weighing 115 [or] 110 control a horse that weighs [so much]?
It’s the first time in history that [there was a disqualification at the Kentucky Derby]. Now people are going to see this interview and they’re gonna want to know: Did you lose money on the race? No, I didn’t lose money on the race. But at the same time I felt it for the owners because those people have been breeding the horse for so long and spending so much money. And it’s the first time they [won] the Kentucky Derby. Now last year I won 1,000 guineas. That’s my first classic race I’ve won.
In Jamaica? In Jamaica. After breeding horses for so many years. And owning horses.
Where is that race held in Jamaica? Caymanas Park. In Portmore. St. Catherine.
Congratulations. Yeah I won the thousand guineas last year with a horse named “Disability Charm.” And I just wonder how I would have felt to know that [I lost] my first classic due to disqualif[ication]. That I lost it that way (Laughing). So, I think, at the same, it’s the right decision. I’m saying it’s the right decision though because the horse really did [interfere]. What I felt bad about is the jockey that object, there was no interference caused to that jockey. So I don’t think that [particular] jockey should have won.
Cocoa Tea Live @ Belly Up Tavern, Solana Beach CA. - YouTube
Because we mentioned fishing, there’s another guy who’s a big fan of yours, his name is Donald King. And he said I have to ask you: Do you still go deep sea fishing? Of course! I still go fishing. I take [a] boat. I live in South Florida. And I take the boat, [and] go down to Miami beach. And I would pay like one hundred dollars. And they will give you line and fish and bait and all those things. And a lot of people come on the boat. And I still go fishing.
Since I asked about lessons learned from horse racing, might as well ask you [the same] about fishing. Yes. It’s the same thing. It teaches [you] to be tough.
Patience too? And patience because, when you’re out there fishing, you have to know when a fish bite on your line. There’s a lot of people who go out there and never catch a fish – the fish [takes] away all of the bait. So the first thing you have to know is, you have to be able to feel when the fish is nibbling at the line. Cause some fish, the bigger fish, will come and grab the line like this (gesturing). But a smaller fish will just nibble. So you have to be able to identify when they’re doing that.
I’m one of those people who’re gonna need help from you – (Laughing) Yeah. You got to be able to identify that [when the fish are nibbling]. So you will be out there all day, and they’ll take all your bait, and you’ll never catch a fish. (Laughing)
(Laughing) I’ve been through that. Since I have this chance – you have so many famous songs. You sang many of them tonight. And there are just a few questions I want to ask about them. You sang the song “Rikers Island.” And that became the title track to one of your very successful albums. In 2011, you told the Gleaner’s Mel Cooke there’s no way you can do a set without “Rikers Island” in it. Never. Never.
And you said that song was a real break for you because it was how most people in America got to know Cocoa..
Release InfoDillon Wyte x Addis Pablo x Jah Bami – Fire Burn
Label: Rastatothebone Records | Format: DR – Limited edition vinyl tba | Street date: May 21, 2019
Dillon Wyte x Addis Pablo x Jah Bami – Fire Burn
Dillon Wyte is a young multi instrumentalist musician born in Arkansas USA. He’s influenced by a variety of musical styles such as country music, reggae, dub, folk and rock. This natural gifted artist displays extensive musical knowledge of outstanding quality. He has released the albums Power to Slay Giants and Dreamers Rock, which display his talents as a singer, musician, composer and songwriter.
During his recent visit to Jamaica he recorded several tunes. One of those songs is a collab with melodica player Addis Pablo and Jah Bami on a track called Fire Burn. Jah Bami aka Damian Marvin Walters hails from Trinidad and Tobago, he’s a singer and multi instrumentalist who can look back on a successful career.
The mid-tempo reggae track is a hypnotizing piece that has a Black Ark-esque feel to it, mystical and floating down from the mists of Mt. Zion. In the first two verses Dillon and Jah Bami look upon the world, and point out the negativity that ruins the hearts and minds of the people. Dillon remembers the well known story of Moses when Jah spoke to him. Both call upon the people to get together and throw down Babylon. Addis Pablo steps up for the instrumental part. Across a landscape of echo and delay he manages to create a spiritual atmosphere with his melodica, it’s almost surreal.
DACTAH CHANDO MEETS UMBERTO ECHO – GUARDIANS OF DUB | NEW ALBUM
“Guardians Of Dub” is Dactah Chando’s latest work – his 7th studio album released by the record label Achinech Productions. The album features 9 dub versions remixed by sound engineer and Umberto Echo, responsible for the production and mixing of “Ansestral” and “Global Cityzen”, Dactah Chando’s 4th and 6h album, and also known for producing numerous recording bands and international artists renown in the reggae culture.
This album includes songs from the Canary artist’s complete discography (2011–2018) – unpublished versions and arrangements – which he recorded with the participation of the best musicians and producers from the European reggae scene, such as Guido Craveiro, Roberto Sánchez, Toby Nambur and Genis Trani. Iconic songs from Dactah Chando’s repertoire – “Clara”, “Natty” or “Alto Grado”, among others – have been remixed and endowed with a new elegant atmosphere by Munich’s Dub Master, and mastered by another big name in the European dub reggae scene, Dieter Pimiskern – who had already mastered some of the artist’s work in the past.
The Canarian singer and producer’s first Dub album is available in digital format on all digital download & streaming platforms.
Label: Dada Son Entertainment | Format: DR | Street date: May 17, 2019 | Website artist
Troddin feat. Stu Stapleton
We’re Gonna Be Alright feat. Satori & Morgan Heritage
Mind Your Business feat. King Koahi
Cool & Bad feat. Sheldon Palmer
Convo With G (Interlude)
Self Confidence feat. Keba
Can’t Leave You Alone
Follow Your Dreams
Continuing his steady rise to prominence is Brooklyn-based Jemere Morgan, a member of the 3rd generation of the legendary Royal family of reggae, Morgan Heritage, and son of Gramps Morgan.
His first released single called “First Kiss” launched his career in 2011. It was followed by “Sunshine Glow” and the youngster’s first hit single “Neighborhood Girl”, which was released in 2013. Since then he released dynamic records and covers including notable collaborations with the likes of Jo Mersa Marley, J Boog, and Stonebwoy. His recordings showcased his unique style of combining all types of genres in his music; blending pop with reggae and rhythm & blues with hip hop. Early 2017 saw the release of his debut album “Transition”, of which he said: “The “Transition” album was me going through the change of being told what to do as a kid.”
Now, about two years later, Jemere Morgan presents a brand new offering, his sophomore album entitled “Self-Confidence”. The latter – very well produced by Gennaro Schiano, Roy “Gramps” Morgan and Jemere Morgan himself – features 15 tracks that run the gamut of life’s topics. From social commentary, to feel good music, inspirational tracks and love compositions. After the intro “Self-Confidence” gets really started with the lead single “Troddin”, a fine choice for an opener and, appropriately, one of the best efforts on the album. Next drops the feel good poppy sound of the herb song “Good Time”, followed by a fine interpretation of Bob Marley’s “Music Lesson”, which is simply nice to hear. Although not totally thrilling, it’s all in all a decent opening part.
The powerful sounding “We’re Gonna Be Alright”, an absolutely delightful collaboration with Satori & Morgan Heritage, will surely be enjoyed when it leaps off the speakers, while the stellar “Mind Your Business” feat. King Koahi – incorporating a short hip hop part – is a matching follow up. “Favorite Song” is a head-nodding tune with crossover potential. Almost the same can be said about “Blank Page”. Then it’s time for the uptempo reggae piece “Cool & Bad”, which features a real fine and appeling contribution from multi-award winning saxophonist Sheldon Palmer. Definitely one of the album’s highlights! “Self-Confidence”, the title track of this album, is worth hearing, however, particularly for its vibe. Two lovers tunes come up next, with “Be Mine” being the most appealing effort to the ears. The gorgeous “Proud” has a great riddim (Chimney Records’ “St Andrew Riddim”) and background singers, which makes that quality comes shining through immediately. The beautiful “Follow Your Dreams” carries a completely different vibe and feel, but is certainly worth hearing. The album is rounded off in fine style by the thoroughly entertaining “Victory Dance”.
Buy @ Amazon Store near you!
Jemere Morgan - Troddin (Official Video) - YouTube