A far more appropriate title for this set would have been Meets at , for there's very little within to justify the title. In fact, the late, great, gravel-voiced sermonizer is heard on only two tracks -- and with virtually the entire rest of the set comprising vocal-less instrumental dubs. There again, it would be wrong to assume that was merely cashing in on the DJ's name, better to think of as a tribute set. was, of course, recording a new album, (aka ), with right before his death, so profoundly affected by his murder was the producer that he emigrated from Jamaica soon after. So, in many ways this set could be considered a labor of love, a final farewell to . To this end, the album is an overwhelmingly celebratory affair, almost joyous in mood, and far removed from the militancy that defined 's sound. The bulk of the riddims are sublime versions of classics, and although had given most of them a sharp edge, ' production smoothes much of that away. Like many singing producers, loved melody, and laced virtually all the dubs here with it. Engineers are given some room to maneuver however, most obviously on the "classic" deconstruction styled dubs of In contrast are almost dub instruction manuals, honing in specifically on the guitars, keyboards, and drums respectively. Most magnificently actually creates one of the most laid-back guitar duels of all times. From the brooding two of the moodiest tracks on the set, to the gorgeous and the almost breezy is filled with sublime music, a diversity of atmospheres, and an uplifting aura, with the track titles a pointed reminder of 's deeply cultural concerns. All told it makes for a glorious set, a fitting homage to one of Jamaica's most revered artists. ~ Jo-Ann Greene