Iako spoznaja da je 'čovjek čovjeku vuk' (homo homini lupus est) njegovog sunarodnjaka Thomasa Hobbesa, koji je živio nekih petstotinjak godina ranije, nažalost još uvijek vrijedi, Ghetto Priest vidi cijelu stvar nešto drukčije. Ovaj veteran britanskog reggaea i član Sherwoodeove kultne ON-U Sound ekipe u svojem novom albumu odašilje dijametralno suprotnu poruku. U "Every Man for Every Man" ovaj rastafarijanski propovjednik pokreće putem smirenih i neobično harmoničnih skladbi detoksikaciju današnjice i nudi oazu mira spram kaosa, koji trenutno vlada u svijetu. Vješto zaobilazeći ikakve oštre rubove i neočekivane preokrete, Ghetto Priest pušta da uljeviti i mirisni puhači, te šamanično hipnotizirajući reggae beatovi dominiraju albumom. Za ovu priliku je se udružio s Jo Wallace i Ashley Beedleom iz Ramrock labela, koji su ovog pjevača formacije Asian Dub Foundation ("Fortress Europe") nakon više od deset godina duge stanke od posljednjeg solo albuma "Beyond Flash" (2006.) ponovno pridobili za novo dugosvirajuće izdanje. Pri tome je Ghetto Priest prošao transformaciju od bijesnog i radikalnog geto propovjednika, koji je sam imao kriminalnu prošlost i kakav je bio na najboljem mu albumu "Vulture Culture" (2003.) u poznog mudraca s puno dobrih namjera i manjkom adrenalina. Možda i inspiracije, jer u "I Murder Hate" prerađuje on zapravo poemu škotskog pjesnika Roberta Burnsa; u "Black Woman" je se dohvatio istoimenog hita Judy Mowatt, a "Babylon Queendom" je skladba Petera Tosha. Tek u nešto smjelijoj "Prophecy" s pustolovnijim miksom i histeričnim jazz-puhačima u "Sacred Ground" migolji na površinu kakva je subverzivna avangarda Ghetto Priest bio na vrhuncu karijere. Od toga je pak malo ostalo u novom albumu, koji bi mogao proći kao sasvim solidno roots izdanje - da se ne radi upravo o Ghetto Priestu.

All for everyone
Even though the cognition that „man is wolf to man“ (homo homini lupus est) of his fellow countryman, Thomas Hobbes, who lived some five hundred years earlier, unfortunately still holds true, Ghetto Priest sees the whole thing somewhat differently. This veteran of British reggae and member of Sherwood's iconic ON-U Sound team in his new album transmits a diametrically opposed message. In "Every Man for Every Man" this Rastafarian preacher is launching a detoxication of presence through calm and unusually harmonious compositions and offers an oasis of peace against chaos, which currently governs the world. Skillfully bypassing any sharp edges and unexpected turns, Ghetto Priest lets us feel shamanic, hypnotizing reggae beats dominating the album, together with oily and fragrant sounding wind instruments. For this opportunity he joined Jo Wallace and Ashley Beedle of the Ramrock label, who have got this Asian Dub Foundation singer ("Fortress Europe"), after more than ten years long pause after his last solo album "Beyond Flash" (2006), to again issue a new long-lasting edition. During this time, Ghetto Priest went through the transformation from a raging and radical ghetto preacher, who himself has had a criminal past and how he was on his best album "Vulture Culture" (2003) to a wise man with a lot of good intentions and a lack of adrenaline. Maybe even inspiration, because in "I Murder Hate" he actually covers a poem by a Scottish poet Robert Burns; in "Black Woman" he grasped a hit bearing the same name performed by Judy Mowatt, and "Babylon Queendom" is a piece by Peter Tosh. Only in a somewhat heavier "Prophecy" with more adventurous mix and hysterical jazz instrumentalists in "Sacred Ground" it can be seen what kind of subversive avantgarde has Ghetto Priest been at top of his career. There is little left from this in the new album, which could pass as a completely solid roots album – if the main protagonist was not Ghetto Priest.
Prijevod: Šumski prijatelj