Ghetto Shine: A Review of Viv La Vi by Tiwony & Bredrens

Quite frankly, still caught up within the absolute joy which is the Contagious album from Tarrus Riley and scrutinizing it to its core at this point, I find myself going through several thoughts when spinning the piece. The first (DUH) is just how good the quality is. Not to overdo it by any means but just in terms of its sonic appeal, Contagious definitely ranks as one of the best albums I’ve heard in quite awhile altogether, you can make complaints of various natures on the actual tunes themselves but you’d still have to admit that the pure SOUND of the tune in question is truly a beautiful thing. This thought almost inevitably leads me to questioning ‘why’ and the first stop on that road is that Riley, himself as an artist, has obviously been detailed and refined and polished to such a degree that, even when he does a song at this point which may not be to someone’s liking. Having grown up under the guidance of Jimmy Riley (himself DEFINITELY a very refined artist in his own right), as his son and, perhaps even more importantly, (from a musical standpoint) having grown up as an artist under the tutelage of the downright legendary musical genius that is Dean Fraser (now could you imagine had Tarrus come around about a decade earlier or so when Fraser was spending his time developing the likes of Sizzla, Luciano and Mikey General at Xterminator?!), the younger Riley would have had every opportunity to become the artist he is today with that downright brilliant sound. Having most likely forgotten more about actual music than many of his far more veteran peers. Perhaps even more remarkable is the case of the even younger Etana who, although not to the degree of Riley, also shows such a ridiculously high level of refinement. She, too, having learned under Dean Fraser and a whole heap of others including the baddest man on the planet Kemar ‘Flava’ McGregor and primarily Devon Wheatley, head of the formerly STACKED 5th Element imprint (who gave similar seasoning to both Richie Spice and Chuck Fenda). I’d also point to WICKED younger artists such as Assassin, Baby Cham in particular who, although critics will (and do) ‘hail’ him as a robot, under the controls of the greatest Dancehall producer of all time Dave Kelly, has shown himself to quietly be one of the most skilled younger wordsmiths in the Dancehall as well as showing a great stage presence and a general strong musical approach and knowledge. You could look at slightly older artists such as Tanya Stephens, Junior Kelly, SANCHEZ and General Degree who, in my opinion, stand as very good examples of artists who have literally been molded (either by someone in particular or through their natural maturation as an artist) and show that in their vibes through an EXTREMELY refined and polished style (Ras Attitude would be another).

But there’s more than one type of polish that can be applied to an artist, thankfully. On one hand you’ll have that type of artist like Sanchez, who seemingly spent (and probably still spends) so much time in singing classes throughout his life (“You have to PROJECT”), while on the other is someone like Sizzla who. . . didn’t do that. Sizzla would be at the forefront of artists like Capleton, Anthony B, ESPECIALLY Jah Mason and, of course, Lutan Fyah (and to add a singer to that bunch to get the actual contrast, think of someone like Jah Cure, who, despite his ridiculous vocals, still has that ‘rough around the edges’ feel to his music). This is what we’re going to call ‘Ghetto Shine’. Ghetto Shine is the more RAW type of shine where you’ll hear someone like Sizzla and it may not (it isn’t) be the perfect pitch exactly but it is absolutely PERFECT for the type of music that they make. Sizzla has copious amounts of Ghetto Shine, so does Jah Mason and Capleton as well. However, one of the most plentiful sources of ghetto shine these days is the downright PAINFULLY glaring scene of French Reggae where literally EVERY big name artist (especially those from out of the French Caribbean) are literally soaking in Ghetto Shine. . . Juices. Artists all around, Yaniss Odua, Admiral T, Krys, Lady Sweety, Saïk, Saël, Blenda, (ESPECIALLY) Paille, Daddy Mory, Straika D, (ESPECIALLY) SamX and others, ALL OF THEM are big owners of Ghetto Shine stock. That being said, however, BY FAR, the artist who seems to have cornered the Ghetto Shine market is the supremely talented Tiwony who is probably the most skilled French artist I have come across in the few years from I’ve been listening to French/Creole Reggae. Tiwony had me literally HOOKED off the strength of his debut solo album, 2007’s outstanding (but short) Fly. That album (did I mention that it was short?) showed an artist who, although I, and probably most of the Reggae listening world, had yet to hear of the name Tiwony to any great degree, was potentially EVERY BIT as talented as his far more well known Jamaican peers. Tiwony well fits into that class of Roots/Dancehall chanters of the aforementioned stars and, as it would happen, he is actually seemingly just as talented battering about on a hardcore Dancehall riddim as he is floating across a DIVINE one-drop. Perhaps owing, at least in part, his degree of proficiency (albeit on almost COMPLETELY different avenues), is Tiwony in much the same direction of Tarrus Riley in that his father, Vicky Edimo, is also a famous musician who is, in all honesty, probably more well known than Tiwony. Well, now more ears are certainly going to be open as Tiwony releases his second ‘solo’ piece, Viv La Vi. Seems as if Tiwony caught the same idea that Al.Ta.Fa.An and Mark Wonder caught with their release, as he employs quite a few of his buddies on the album and thus dons it by “Tiwony & Bredrens”. Whatever the case and the source of his inspiration for such a project, Viv La Vi is MADNESS! It comes across almost as if it were trying to remind you how wicked the artist was, lest you have forgotten since Fly. I didn’t forget Tiwony. Not even a little.

Unlike Mark Wonder’s attempt at a similar thing recently, the ‘friends’ here don’t play as much of a role in my opinion. Despite the fact that some of them are VERY well known and skilled (one in particular) and do good jobs (including the biggest tune on the album) the album definitely has more of a running vibes, thanks to, of course, Tiwony himself. Getting things started on Tiwony’s Viv La Vi from Backwarell (the sound system turned label where, I THINK, he got his start actually) is the hard hitting title track which has been getting big spins to my knowledge, coupled with a BITING video also. The tune is certainly a big one but not even really near the greatest exhibition of Tiwony’s skill (although lyrically, its right up there to my opinion) although a very poignant tune to get things going. Well done. Things get ratcheted WAY up in short order as the next tune up features odd voiced (auto-tune sounding) but wicked singer Prof A from out of Guyane. This tune is GORGEOUS and in my opinion ranks very close to the MAMMOTH shot that was Priyé Jah, from the Fly album. Jah Is My Guide comes across the spacious one-drop and Prof A adds just the right amount of spice to Tiwony’s in the name of His Majesty and sets it, in my opinion, up as the class of Viv La Vi. HUGE tune and one of Tiwony’s (and DAMN SURE Prof. A’s) best altogether. Finishing up the opening of Viv La Vi is a tune which is so damn interesting to me and in so many damn ways, Ka Nou Ka Atan Anko (I swear about half of Creole is nothing but mono-syllabic words). The first way is, of course, the wicked neo-style flow Tiwony lays the piece. . . And of course that ‘piece’ is none other than the Rock Steady Riddim from the previously mentioned ‘Flava’ McGregor. Wouldn’t it have been great if Ka Nou was included in Riddim Driven release? Regardless, its still a very large tune and definitely caught me by surprise putting a nice bow on the equally nice gift that was Viv La Vi’s opening.

Some of the names costarring on Viv La Vi alongside Tiwony are VERY strong. By far the one which grabs the attentions most, at least on paper, is that of Lyricson who features on the tune Don’t Play. This tune (like a few here) was very familiar to me and the two DEFINITELY make a very nice pair here as they have in the past. Boubou’s name is a next which was familiar to me and only because I had already heard the tune he features on, Menm Met’ La. I remember the tune from awhile back and it took awhile to grow on me but Boubou is TOP NOTCH and literally forces Tiwony’s hand to go at the riddim on a strong and aggressive type of style and they both do MAJOR damage on Menm Met’ La (and keep an eye out for Boubou also). Singer Speedy is the only artist getting the ‘callback’ from Tiwony on Viv La Vi as he features on BOTH Police and later Mon Offishal. Police, which was the class of Speedy’s own recent album, Gangsta Cry (to my opinion), is the better of the two but definitely don’t skip on Mon Offishal which takes a minute to grow on you (because it sounds odd as hell). And then there’s the very well regarded Zouk songstress Jane Fostin who guests on the kind of Zouk-ish (DUH) and SWEET Nostalji A Lanmou [~Love Sick]. The tune kind of rolls in and out of styles almost appearing to mirror whose style is going at the time and in my opinion its brilliance and one of Viv La Vi‘s best. I’d love to hear tunes like this in the future also (maybe with Kénédy??? Just a suggestion). Supa John (whoever he is) does very nice on Ekilib An Mwen also. The two biggest combinations here (outside of Jah Is My Guide), however, is the WELL vibed Zacharri who joins in on previous single the MASSIVE Pagans Eyes (Zacharri also apparently has an album of his own out next month, look out for that) as they make a great team; then there’s the big unification vibes that is Independence which features a few different artists (the only one I’m familiar with is Lusdy, who I believe is a member of Blackwarell as the label released his debut album last year, Manman Mési). The tune is BEAUTIFUL and both actually prove to be amongst the very best on Viv La Vi. As I said, the ‘friends’ portion on this album didn’t carry as much weight here as it did on Mark Wonder’s and that’s probably because Viv La Vi features twelve (by my count) solo tracks featuring Tiwony all on his WICKED own. Armaguédeon Time is EPIC! The tune ultimately has to pick up the scraps that used to be Special Delivery’s Visions riddim after Queen Omega and Gentleman obliterated it with their MASSIVE combination Revolution and it does a very find job of that as Tiwony says the time is now! Indeed. And, should you forget that Tiwony keeps his hat in the Dancehall arena there are quite a few such tunes in the middle of the album which will make you sorry for thinking him just a Roots head. Pep La Ni Maw is a HUGE and POUNDING tune, Full Up Stamina is as well (that one being addictive after a few spins) and the same can be said for Mouille Le Maillot (after it picks up and gets REALLY going, I’d have to call it one of the best here) but the CLASS of that section is the IMMEDIATE MADNESS which is Pa Etenn Difé La (Fire Can’t Cool). The tune features Tiwony flowing crazy lyrics á la Bunji Garlin (who I think he sounds like) and pushing a vibes even the Trini fire keeper would be proud of. Speaking of Garlin, his favourite two tunes on Viv La Vi would most likely be either Shashamane Dance or Chéché Rézon Aw, both of which have crazy Soca-ish type of vibes (Chéché Rézon Aw actually sounds like some big top circus type of tune and its probably the stronger of the two). That all sets the stage for the closer, Pwoblem An Nou which you just KNEW would be some big Nyah drum backed tune and its exactly that. Of course Tiwony goes closer to the conscience with the lyrics in the name of His Imperial Majesty which is sweet and, again, gives a display that the man can and does do anything on Viv La Vi. ANYTHING!

Overall, YES! Buy this album. Again, I really want to emphasize the fact that this album, although clearly pushed as “Tiwony & Bredrens”, Viv La Vi is Tiwony’s album and Tiwony is a serious artist and talent. I can remember pulling through the Fly album (brevity and all) and just really being amazed that someone like this hadn’t been even more of a big deal. Of course, part of that has to deal with the fact that Tiwony doesn’t deliver in English (or any derivative thereof) but I’m SORRY (no I’m not) if you like Reggae that slowly is becoming no excuse whatsoever. When I had NO command of the language, I could tell that someone like Admiral T and Saël had bona fide talent. And, subsequently, that basically forced me to start learning the language, well you, reading this now, its time. Tiwony is one of the STRONGEST Reggae artists in the world, regardless of language/dialect and Viv La Vi is an EXPLOSIVE showcase of his impeccable skills. Ghetto Shine and all.

Rated 4.75/5 stars

Blackwarell

2009