The percussion gradually increases in volume, then it’s into a sprightly classic reggae rhythm, some asides which may be vintage U-Roy, and then in comes Sharon, with lyrics drawing from Ecclesiastes 3:1 – or if you prefer, American folk-rock outfit The Byrds and their 1965 hit Turn! Turn! Turn! – but with a slight Rasta slant to the lyrics. It all combines to make a very impactful start to this set of lovely international reggae by Rita’s oldest child and Bob Marley’s adopted daughter, and one of the few Jamaicans to have had a platinum-selling reggae hit in the USA – albeit as a member of The Melody Makers.

Big Youth comes across all romantic at the beginning of the jazz-tinged lover’s tune Steppah, (deservedly) one of the album’s first singles. The vintage Ruby And The Romantics’ 1962 R’n’B hit Our Day Will Come (or did Sharon get it from Amy Winehouse?) also has a jazz tinge in a fine lover’s arrangement, with Sharon adding a bit of scat singing. The beautiful Island, another single plucked from the album, has Sharon’s sister Cedella Marley and Rica Newell as guests (they all worked together in The Melody Makers, of course) and Get Back To Me is a smooth, smoochy, duet with NVT3L. Forever, with Biggz General, is also a sultry lover’s tune; the title track is a percolating, confirmatory reggae number which also features strong lead guitar work by Mark McClairy.

Exodus Movement is a thoughtful and considered reimagining of Bob’s classic song, with Sharon adding plenty of her own individual approach, showing her own take on roots reggae in the new millennium. Day to Day is a celebration of personal happiness, whilst Alkebulan (the oldest indigenous name for Africa) celebrates the Motherland with Caribbean percussion, some subtle Afro-Brazilian touches and suitable lyrics in homage. This fine set closes with the sophisticated jazz-tinged balladry of A Melody, bringing to mind the later work of New Orleans’ pianist and composer Allen Toussaint, allowing Sharon to show another side of her considerable talents.