If you were to ask Joey Quiñones where he found inspiration for his music, you wouldn't have to look far from where the East LA son grew up. Listen to his work, and you're transported to a two-block radius of his neighborhood-from the liquor store to Sign of Music record store on Whittier Boulevard and back to a homie's house. In those two blocks, you hear cumbia blaring from the stores, punk rehearsals from a garage, oldies drifting from a neighbor's yard-a sensory overload that follows you home,all those genres singing in your head at once.This isn't a revelation to longtime fans of Quiñones' music. He has established himself as a premier interpreter of his generation, dedicating his career to offering his unique perspective on the Chicano soul songbook. But before Thee Sinseers, before the lush orchestrations and pitch-perfect harmonies that became his signature, Quiñones cut his teeth leading various backing bands for visiting Jamaican ska and dancehall acts touring Southern California. He describes those years as reggae college, getting yelled at by every Jamaican artist who had a record out. Those years ofapprenticeship in rock steady and roots reggae would inform everything that followed-and on his new solo record Inna Soul Steady Situation, Quiñones finally showcases those influences front and center.That quintessential blending of styles rings out immediately on the opening track Soul Steady Situation-Quiñones's vocals enter like a selector toasting over the riddim, an alarm call announcing his intentions with an urgency that feels club-ready and immediate. Then comes the classic drum fill, dropping into a rock steady groove that establishes the vibe: this is dancehall-infused soul meant for movement, not just contemplation. It's a deliberate departure from Thee Sinseers' lush orchestrations, stripped down to showcase the Jamaican foundations that have always lived beneath Quiñones's work.Before you know it, you've taken off on a sonic soul spaceship with Quiñones at the helm, supported by his two-person crew: Eric Johnson from Thee Sinseers on saxophone and Eleazar from the Brown Boyz on piano, as you cruise across silver-lined clouds and dip your toes into dreamy moonlit grooves found on Don't Let Go, Driftin' and One MoreNight.What Quiñones manages to do on this record-with the full support of Colemine Records, the defining label for contemporary soul music happening right now-is prove time and time again that he is an artist willing to take risks and continue to show his prowess when it comes to experimenting with different styles, while still being able to authentically express himself. It's a partnership built on trust: Colemine has established itself as the premier destination for modern soul artists pushing the genre forward, recognizing that genre-blurring isn't a gimmick but the natural evolution of soul music itself.With that authentic self-expression, Quiñones and his crew manage to squeeze in some lighthearted fun as well, establishing a sense of equilibrium to counteract the heavier emotional overtones found on previous Sinseers efforts. A perfect example is Bolsita, a tongue-in-cheek party song paying homage to iconic anthems like Tequila by The Champs and Tighten Up by Archie Bell & the Drells. But Quiñones doesn't stop there-he folds in electric boogaloo, early Ray Charles big band energy,and the Latin soul flourishes of Joe Cuba and Willie Colón, creating something that feels both nostalgic and fresh. Eric Johnson's saxophone takes center stage, adding playful solos that widen the sonic spectrum. The term bolsita, which translates to little bag, serves as the lingua franca for let's get the party started-it's admittedly corny, Quiñones will tell you, but it's the kind of song where everybody's going to shout along whether they like it or not. And that's precisely the point.