Deejay, producer, toaster, religious adherent, all around good guy, Jah Shaka has maintained his individual notion of how a man should live and work since the early ‘70s. Inspired by the big names in the business, Jah Shaka began running his own sound system in London. Having gained the respect of all in the scene – and even those in electronic music – the singer and producer watched as the musical, political and religious landscape of reggae related musics changed over time. Being a devout believer in Rasta ideologies, though, Jah Shaka refused to alter his philosophical approach to life and work. It could have spelled the end of his career, but due simply to his overwhelming talents, Jah Shaka has remained an integral force in not just the sound system game, but in music.

It’s gotten to where Jah Shaka has reached a certain point in his career in which he’s been able to purchase acres and acres of land in Africa to give displaced and helpless peoples a place to cultivate and call home. Amazing. Of course, considering the topics discussed in his music, it shouldn’t be at all surprising. It’s just an admirable act on the part of a genuinely good human being.

Beginning his recording career almost thirty years ago, Jah Shaka’s had his name plastered on countless recordings of his own – and that’s not including the producing credits that he’s accrued over time. In working with everyone from King Tubby to Mikey Dread, even the work that Jah Shaka puts in on the side is impressive. Regardless of that, his inclusion in UK dance culture has warranted the admiration of countless new era deejays and producers that really don’t have too strong a tie to reggae music.

Running his own label hasn’t hurt either, putting out albums by Max Romeo and Prince Alla amongst others. But it’s the recordings under his own name from the early ‘80s that Jah Shaka is most heralded for.

Being released in 1983 on his own label, Revelation Songs is roughly what one should expect. The parade of nine songs explicates the religious beliefs of the toaster. Each track is set up with some bouncey drumming rooted in island and African styles, which again makes sense given the bent of his work. There’re countless biblical references that find Jah Shaka aping some sort of shamanistic vibe. In the hands of a lesser talent, it’d all come off as a farce. That’s not to say that Jah Shaka has a mellifluous voice – it’s ample. But between the fact that this singer has more than the necessary confidence to sing and that he understands how to put a track together that befits his style, Revelation Songs comes off as a stoned classic.

There are those that’ll decry the sparseness and simplicity of the work here. It’s not the same skeletal vamping that Lee Perry works with – nor the Scientist – but something unique to Jah Shaka. He didn’t change the genre, but that wasn’t the point. He had a message to deliver and he did.