Five years ago, when he released the Ginjah The Reggae Soul Man album, Ginjah said it marked a different phase in his career. Since then, the singer has released four more collections strong on romance.

His latest album, Soul Connection, has a similar feel.

Co-produced by Tad Dawkins and Tad Dawkins Jr, it was released on July 14 by Tad’s International Record.

“It definitely lives up to my Reggae Soul Man approach. Soul has always been at the centre of my music, and Soul Connection brings that out even more. It’s authentic reggae with heart, passion, and sincerity,” said Ginjah.

Soul Connection is his ninth album, and hits the market two years after London Town, his previous set which was produced by Stingray Records out of the UK.

It contains Sweet Like Sugah which was released last year.

While other tracks, such as On my Knees/Propose and These Arms
are also ballads for lovers, Ginjah stated that Soul Connection is not one-way traffic.

“Every album reflects where I am in life, and Soul Connection represents growth, both musically and spiritually. I wanted this project to feel more personal, more mature, and more connected to real emotions,” he stressed. “The melodies are richer, the lyrics go deeper, and the production has a warm, timeless reggae sound that people can truly feel.”

Some of the musicians who contributed to that “timeless feel” are drummer Kirk Bennett; guitarist Mitchum Chin; bassist Donald Dennis; pianists Franklyn “Bubbler” Waul and Bowie McLaughlin; and Top Brass Group which comprises horn players Dean Fraser, Everton Pessoa, Okeil McIntyre, and Randy Fletcher.

The Hanover-born Ginjah came of age musically with Beres Hammond’s Harmony House label. Several of his songs for that company, such as Rise Up and War Inna di City, were inspired by current affairs in Jamaica.

Sweet Killer, a 2013 lovers’ rock track produced by Silly Walks Movement from Germany, showed a different side to Ginjah’s writing. It set the pace for The Reggae Soul Man, which was produced by Natures Way Entertainment.

— Howard Campbell