The Vault Reviews: Purification Session by NiyoRah

I’m sitting here trying to figure out exactly how many TRULY GREAT Reggae albums that I have heard in my years of listening to albums and although I don’t consider myself to be the harshest of critics, the number really isn’t that high compared to the overall amount of albums I’ve probably heard. And, of course, that’s both a good and a bad thing. It is a good thing in the sense that the word ‘great’ is far too often thrown around, especially in matters of the arts (musical or otherwise) and bad in the sense that I can honestly say that I’ve probably heard upwards of fifty thousand or so Reggae ALBUMS and how many of them were TRULY GREAT? Maybe thirty. How many of the great ones were from the modern era? Maybe fifteen. So what makes a great Reggae album? Different things and it depends on the specific album, of course. But in the scope of a Roots Reggae album (which is, after all, why we’re here) the top criteria to my opinion is that the particular album serves its purpose. Now that’s interesting, of course, because either the purpose of the album, musically speaking of course, is not stated and is WONDERFULLY left to the interpretation of the listener; or the purpose of the album is some rather lofty and unattainable goal (I.e. “Ridding the world of oppression in any form in which it may exist“) which cannot be achieved in the course of the album, however, it is, again, left to the listener’s interpretation to see how far along that album has come. My first and foremost example of a great Reggae album in the modern era is, of course, Sizzla Kalonji’s Black Woman & Child which is the single greatest album of any genre I have EVER heard in my life. For my own personal opinion, the purpose of that album was to UNIFY and really just UPLIFT Afrikan people and I feel that was a goal which was rather EASILY accomplished in the course of that masterpiece. Similarly, another great one would be Buju Banton’s CLASSIC album ‘Til Shiloh in 1995, which, in my opinion , had a similar purpose as a later album, Capleton’s More Fire. The kind of parallel attribute which they both had in common was that they both somewhat REDEFINED the genre. Whether you took them as Roots Reggae albums adding a Dancehall-ish dimension or vice-versa, they both had that sort of rippling effect on the industry (and I’ve always made the argument that More Fire was one reason in Sizzla’s hyperactive experimental phase) as well as the fans of the music. There are more criteria, of course, for GREAT albums (like music quality) and other albums, of course, which have met these ‘requirements’ on my levels, such as Jah Cure’s STIRRING Ghetto Life and Sizzla’s other opus Praise Ye Jah which have stood out from the pack of miles of Roots Reggae albums as being head and shoulders above the rest.

Well sometimes you can be a standout without actually standing out. A few of my favourite albums in recent years have gone so far beneath the radar that I often feel as if though I’m the ONLY person who knows about them because of how little they’re actually discussed amongst Reggae heads. Albums like Elijah Prophet’s King of Kings, Jah Mason’s Never Give Up and Queen Omega’s Away From Babylon didn’t receive much buzz at all in their respective runs (add Daddy Rings’ MASSIVE The Most High album to that bunch) but each, their own ways were downright SPECIAL projects and big credit goes to the artists, producers and labels who definitely haven’t received their fair share of credit throughout the year for putting forth those pieces. Well another album I have held in similar regard over the past couple of years or so as being a GREAT piece is definitely the wonderfully titled Purification Session from Rock City based Dominican born chanter/singer NiyoRah. Not only did this album virtually catapult itself near the top of my list as far as albums go, it also did the same for the artist as well upon its release back in 2006 from Laurent ‘Tippy’ Alfred’s I-Grade Records. Now Purification Session was one which came with a ‘primer’ for me because I had thoroughly enjoyed Niyo’s very first album the year before, A Different Age, which definitely opened my senses to receiving the next album after it (incidentally, I should just mention that A Different Age was a part of the biggest promotion I’ve ever known I-Grade to half as it virtually simultaneously released it along with Conquering Sound from Ancient King and Rasta Awake from Army and I find it VERY interesting that the only artist for whom they have released an album since then has been NiyoRah). NiyoRah, even before A Different Age had my ears opened to his vibes being a part of the famed Star Lion Family from out of St. Thomas alongside superstar Pressure Busspipe and other strong members as well (Ickarus, Raffijah, Kimbe Don etc.) and after Pressure was the first of the SLF to release an album (and Niyo actually reached a sophomore piece before Pressure and since then Ickarus has debuted as well with Mind Of The Icktionary in 2007). In all of their exploits, together or solo however, the single GREATEST project to come forth from the Star Lion Family and its members has been Purification Session! This album went so far, at least to me, to arguably establishing NiyoRah’s talents as the best in the group (when at their best although I would probably say that Pressure has shown himself to be a bit more consistent at this point, just given his opportunities up until now). Purification Session was just such a big project and an undeniably large improvement over the A Different Age album which was already a very fine and solid introduction from Niyo and one could even make the point that the first album has been even more respected and discussed than it’s follow-up. Regardless of that case, Purification Session is the best album NiyoRah has done to date and back in 2006 ranked alongside albums like Tanya Stephens’ BRILLIANT Rebelution and Lutan Fyah’s MASSIVE Phantom War as one of the best Reggae albums of the year, period.

On the A Different Age album, production was left to Tippy himself and company (Tuff Lion), however, wonderfully, joining I-Grade on Purification Session is very familiar collaborators Lustre Kings Productions and Zion High in the States. That definitely spices up the vibes on an album where EVERY SINGLE SONG is at least solid. Solidifying itself and getting things started on NiyoRah’s OUTSTANDING sophomore album Purification Session is one of the real highlights on the album, the simmering Nothing To Prove. This SWEET vibed tune is one of Zion High’s productions and Niyo uses it to deliver a nearly brilliant tune of Afrikan upliftment and unity. This tune in the form that it appears here, wouldn’t have been on the first album as Niyo had simply improved so much between the two. LARGE opening. The next tune is arguably better, from a musical standpoint, and although it is much more specific as Niyo uses a storytelling style to deliver his powerful message of looking to His Majesty and righteousness in general to get us through hardships we may face in life, on the tune There For You, another Zion High production. Keeping things going on the opening few tracks is a BIG Livication to all of the Afrikan Empresses, Special Request. Although pretty expected is Special Request, it still rises to amongst the CLASS of Purification Session and I really enjoy the direction in which Niyo takes the tune from a lyrical point of view: He doesn’t just approach it from the standpoint of simply lauding the Woman (which is more than acceptable), but he also focuses a bit on the actual relationship between Man and Woman, as he says on the hook, “Special request, bigging up the Rastaman weh love Lioness”. And a GENIUS Tuff Lion guitar solo leads the tune out. BIG tune, Big beginning to a BIG album.

A Different Age only had one official combination, R.O.C.K. which featured fellow Star Lion members Kimbe Don and Ickarus alongside NiyoRah, but what happens on Purification Session is absolute MAGIC when it comes to the combinations. The first of the three tunes is also the best in my opinion and the finest on the album altogether. African Chant was the LONG awaited first big time official combination between Niyo and Pressure Busspipe and it certainly didn’t disappoint! This tune is MASSIVE and the two make a very MIGHTY duo, as expected, it’s a song that if you are of Afrikan descent (and I am) will definitely strike a chord in you, trust. HUGE tune, album’s finest. Incidentally the producer of African Chant (on behalf of I-Grade) is the artist on the second combination on Purification Session, the peerless Vaughn Benjamin, who checks in with Niyo on the WICKED tune Lion Have Mane. The crazy bounce of this tune (produced by Tippy) is right up Benjamin’s alley and he absolutely steals the show and reaches a point in the late middle of the song where Niyo is simply playing active backdrop to Benjamin’s brilliance! The tune is a mighty praising one for His Imperial Majesty and you simply will not forget this one! EPIC! The final combination here is certainly the most unexpected as the SMOOTH tune Nobody Knows features Cruzan veteran and potential superstar Ras Attitude joining NiyoRah. Unlike the first two tracks, this one is so laid back that it basically flew beneath radars in my opinion, but the ABUNDANCE of talent on the song, which simply reminds us to accept LOVE, is evident throughout. Let it grow on you, you won’t regret it. When Niyo is left to his own powers he definitely keeps the vibes of Purification Session just as high. The tune Kick Up is one after my own heart as it comes across one of my favourite LKP productions, the Shining Riddim (Lutan Fyah’s Fire In The Barn, big tune on that riddim) and is a wicked lyrical SLAP in the face to corruption and the systems which promote it. I don’t often find myself really enjoying acoustic sets (especially not in the middle of an album), but the one here, We Are One caught me A LITTLE. Perhaps it’s the fact that this tune is ran by Tuff Lion, or perhaps its Niyo’s sweet vocals or message. Either way, the tune is a winner for me. Another winner is definitely I Love The Way which I believe was featured as a single for Purification Session. This is another familiar one as it comes across LKP’s Arabian vibed Time & Place riddim (I THINK that’s the name) and is just a dynamic and sweet lover’s tune which was certainly aided a bit by the nice video. I Love The Way can definitely be regarded as one of the signature tunes from Purification Session and another three come up not too long after; Caught Up Inna Image, Globe All Warning and the HUGE We Shall See. Caught Up Inna Image is a more aggressive swipe like tune at those who deal with the more material things and vanity and such and with that HEAVY riddim backing it, really does big things. Globe All Warning is just BRILLIANT. The tune is (DUH!) a piece on the environment and the destruction of it and it is HIGHLY lyrical. There’s nothing obtrusively wonderful about the tune but you REALLY have to get into the lyrics as Niyo not only paints a BLEAK picture of the world and it’s future, but he also paints a way out of the coming failures. Its just so well written as the song appears to, midway through, shift from the negative to the positive. BIG one and easily one of the album’s finest. The tune We Shall See is a previous single from Rastar on their own riddim named after the label and was the biggest tune on that HUGE riddim as Niyo pushes a MARCHING upliftment vibes that is simply too aggressive to have been present on A Different Age. This song was probably one of my favourites from 2006 altogether and on this album, it isn’t very far from the top at all! As Purification Session comes to a close there are still a couple of surprises around. None of them bigger, perhaps, than Wha Yu Feel Say which is EXHIBIT A if you need to see the shift between the first album and this one. The song is pure KNOWLEDGE and comes in a pretty straight forward delivery on a Dancehall DJ’s cadence! The song is probably the most lyrically impressive on the album and that’s saying a great deal here. Definitely check that one out. The aggression sticks around on the next tune a bit with Defend which is a song which urges peace but not passivity and to DEFEND yourself if/when the time comes. That’s a big one there. Always is another acoustic piece, this time in a nice lover’s vibe (kind of reminds me of Sandy Weekend from A Different Age, as far as how its sung, a little). It sets the table for the aforementioned Nobody Knows and the SWEET closer Inner Light. This one is one of the album’s best as well. It really could have been an instrumental and still be strong as that riddim is just GORGEOUS and for his part Niyo pushes a tune which urges the masses to pay special attention to the voice coming within to end this eighteen track piece of MASTERY.

Overall, NiyoRah’s Purification Session is probably one of the best ten albums that I’ve heard since the turn of the century. Yes, it’s that good. What is probably most impressive is the fact that I remember listening through the A Different Age album when it released and thinking how impressive the youth sounded back then (and how much he sounded like Warriour King) and definitely that was a solid album, yet Purification was LEAPS AND BOUNDS ahead of it in all respects. Musically speaking, it just may be the single greatest album that I’ve ever heard from the VI Reggae scene altogether and lyrically one of the more impressive (of course, on that side of things NiyoRah has to ‘compete’ with walking word processor Vaughn Benjamin) ones. Over the almost three years since it’s release, I find that it’s material has only gotten stronger and only gotten more anticipating of his inevitable third album, maybe even this year (I-Grade did release a mixtape for Niyo in 2007, Stolen Scrolls which was full of tunes from his first two albums). Regardless of the future, leave it at Purification Session and its STILL VERY IMPRESSIVE. As I said, one of my top criteria for a great Roots Reggae album was if it accomplished its purpose. The purpose here? To make good music: Check. To praise His Majesty: Check. To uplift the masses: Check. To actually purify: Check. Mission accomplished. One of the best damn albums I’ve ever heard, period. AMAZING! GO GET IT!

Rated 5/5 stars

I Grade Records

2006


http://niyorah.com/

Creativity - A+: A Review of Riddim Driven: Beauty & The Beast by Various Artists

I will probably forever maintain in my lifetime that the single greatest thing to ever happen to the Dancehall on the production side is the birth of one Dave Kelly nearly forty years ago in Kingston, Jamaica (SHOCKED when I learned he hadn’t even reached forty yet). Dave Kelly introduced a rather revolutionary style of production apart from many of the strong producers who were around at the time, most notably King Jammy and Donovan Germain of Penthouse (under whom Kelly, as an engineer, honed his craft). This style was far less ‘structured’ than the ‘Dancehall one-drop’ (as I like to call it) which dominated the scene of the most of the early digital era of Dancehall, going full on until the late 1980’s/early 1990’s. To my ears, Kelly also inspired an immediate group of slightly younger producers, with the primary two being his brother Tony, of course, and a next product of Penthouse, Stephen ‘Lenky’ Marsden, both of whom have shown the same jovial and youthful approach to riddim production as Dave Kelly himself. Now, while Kelly remains a very prominent and BRILLIANT producer in the game as have Tony Kelly and Marsden) running his Madhouse label as well as steering the career of Dancehall superstar Baby Cham who he discovered and developed under his own wing, the TOP of the producing game is a lot more crowded these days than when Kelly rose, ESPECIALLY on the Dancehall side of the business. I could go ahead and d name the usual suspects and cast of characters, but you probably know them already and they are already (Di Genius, Don Corleone, Daseca etc.) and while Dancehall specifically has been receiving so much criticisms as of late, one would have to objectively admit that the Dancehall right now may just be near a next height of creativity. We’ve seen some of the most ambitious productions within the last few years in the Dancehall and most of them (regardless of how much I myself may or may not like them) have found success with the masses. Of course, the greatest example in terms of pure creativity and experimenting would be the aforementioned Lenky’s Diwali riddim from a few years back. To this day a good case could be made the Diwali is the single most popular Dancehall riddim EVER (if it isn’t the one then that distinction probably belongs to the Sleng Tend) as it dominated the Dancehall and the international world when Lenky decided to make a Soca-ish base track and throw some hand clapping behind it to score MASSIVE results. Don Corleone’s entire catalogue is also a WONDERFUL example of Kelly-like creativity with BOUNCING riddims like the Mad Guitar, the Good 2 Go, the Mad Antz and the French Vanilla (VERY underrated riddim). Scatta with the Coolie Dance (in all its variations), Di Genius’ various pieces, probably most notably in this situation, the Workout and just a whole heap a others (including Kelly himself with the Eighty-Five) just make the point that even though you may not like it, the Dancehall has slowly been building some CRAZY creative vibes in the last few years under some of the new TOP producers. 

 Arguably, one of the most ambitious riddim PROJECTS I’ve seen recently was from production group Daseca in 2005-06 I believe with the AWESOME monster which was the Anger Management Riddim. Announcing not only its own arrival, that same riddim went on to help establish Daseca (and, by extension, Serani) and two very significant Dancehall artists, both Mavado and Busy Signal who dropped the WICKED combination Full Clip on the riddim (and Mavado also had Real McKoy which was, arguably, his first signature tune). What you may not know about that riddim, however, is that it also had a slightly more amped version, the Angrier Management (Full Clip was on the Angrier while Real McKoy was on the Anger) as the production team had simply used the same foundation riddim to make two different riddims. Well, if you, like me, were hoping to someday perhaps get a taste of the Angriest Management Riddim, then perhaps that day has come (not really, but maybe something to take your mind off of waiting) as Daseca again returns to drop one of the most creative riddim projects that you could have imagined, The Beauty and The Beast. This time the up and coming TJ Records takes the credit for the actual production. That label, headed by one Teetimus is also responsible for one of the (if not THE) most popular Dancehall tracks in the world right now, Mavado’s I’m So Special on his equally popular Unfinished Business riddim (which Dave Kelly is suing him for, I digress). The Beauty & The Beast construct has had people whose opinions on Dancehall I respect openly wondering if it may be the long awaited ‘sequel’ to the Diwali in terms of success (that riddim’s literal sequel was, of course, the Masterpiece) and although I wouldn’t go that far to ponder that question openly, it is definitely about as DIFFERENT a riddim as I have ever heard. Now VP Records, having dropped the ball on the Diwali and missing out on what become probably the most popular riddim album of ALL TIME with the riddim (to its then rival Greensleeves Records) and also missing out on the Anger Management album which Daseca released on their own, are fully up to the cast and tap The Beauty & The Beast as one the two in latest releases in their always solid and welcome Riddim Driven series (it is being released simultaneously with The Rock Steady riddim from super Roots producer Kemar ‘Flava’ McGregor) which, although appears less and less these days, seems to have streamlined itself in a good way as opposed to its formerly OBESE days. Now, what actually occurs with this riddim which is even more creative than the Anger/Angrier Managements is that a base riddim is present, however neither the Beauty nor the Beast follows it exactly (meaning neither are, in themselves, the actual base), however they display different takes on it. The Beauty takes it into a more dancing and bouncing and vibesy direction, whereas the Beast, as the title would suggest, is a war zone of a riddim. The results? Mixed, as expected, but the riddims themselves, the real stars here, shines BRIGHT on Riddim Driven: The Beauty & The Beast, the series’ most high profile piece in a very long time. 

After you get past that absolutely BRILLIANT cover art for the album, you’ll turn it over and you’ll then notice the artist selection, which isn’t exactly the best, but does offer quite a few surprises. The way the album is set up is that the first ten tracks are dedicated to the Beauty and the final seven to the Beast. To the Beauty. Getting things going on the Beauty side of the album and the entire album itself, TJ Records’ Riddim Driven: Beauty & The Beast is a WONDERFUL clean version of the riddim. These are always welcome and (if they are present) they’re usually at the end of the album, but here, VP decides to put it up front which is a nice touch. The clean version of the Beauty is absolutely KNOCKING and is, in and of itself, one of the best tunes on this album and the same riddim itself. The first vocalist taking a shot at the Beauty is the most welcome surprise for me personally, veteran STAR Dancehall singer Wayne Wonder, who delivers another of the riddim’s finest efforts, the banging lover’s piece, Stay Close. Wonder is such a CLASSY and SKILLED artist that he can do several tricks to accompany almost any backing and I would suggest that if you listen to almost anyone else on the Beauty, it sounds a lot faster than he makes it sound! He actually ‘stuns’ the riddim just a bit and melds to it nearly perfectly. Big tune. Next up is the up and coming Ishawna with Ladies Night which is a song which I’m not feeling very much at all, but in all honesty, my niece does, and she is FAR more the target tune for such a song and I’ll just mention that some modicum of international stardom may actually await Ishawna at some point in the not too distant future, in which case, you may want to get used to hearing Ladies Night. Four artist choices for the Beauty actually concern me in different ways. In the case of Voicemail, Wayne Marshall and Chino, those three acts are EASILY amongst my LEAST favourite artists going these days and neither Voicemail nor Marshall ‘disappoint’ in that respect as their efforts, Pull It Up and Dance, respectively, are much of anything to write home about (even though Marshall is afforded one of the most addictive mixes of the riddim). Chino, on the other hand, does do quite well on his tune, Style It, some very nice straight djaying on that tune, to give credit where it’s well due. The other rather curious choice is Bramma, easily one of my favourite artists going now, who chimes in on the well exhausted Daggeration. I’m just tired of daggering tunes and even Bramma can’t save this one, but he shouldn’t have had to. He should have been on the BEAST! Continuing to raid Big Ship (after Bramma and Chino), TJ does strike gold with young Laden whose tune, Anytime is EXCELLENT. The undeniable peak of The Beauty, however, is CLEARLY the ridiculousness which is the X-rated Wine For Me from Elephant Man. I won’t ruin that at all for you but when madness runs in Dancehall, sometime down the road, it eventually runs into Ele and as CORNY as Wine For Me is, trust me, it will grow on you, all over you (he also gets a nice mix as does Laden)! 

Then it’s the Beast. The Beast sounds like a war march type of riddim at first which eventually ascends into a mystical sounding backdrop for some of the Dancehall’s harsher lyricists (two in particular, of course). Just as the Beauty did, the Beast gets this side started and although it isn’t as all around BEAUTIFUL as the Beauty it still definitely stands up as one of the best offerings on this side. The first lyricist to actually go at the riddim is the same one who you thought it would be, Vybz Kartel, who takes a not too veiled shot at one Gully God with Kill Dem. Kill Dem is absolute MADNESS! One of the most scathing war tunes I’ve heard in awhile and it was definitely a point on Kartel’s side in their feud (although Mavado fired back on the WICKED Gangsta Nuh Play, curiously absent from this album). Kartel’s two protégés follow him, the first of which being Black Ryno on Shot A Buss. I don’t know if I’m just tiring of hearing his type of flow but Shot A Buss, a decent enough tune, just doesn’t win me over. The same, however, simply CANNOT be said for Aidonia who drops Badman A Step which is, to my opinion, the strongest tune on either riddim and on the entire album. Once a role played by Bounty Killer and Vybz Kartel (to a degree, although the little ‘hitch’ Kartel has in his style typically lends him to a more melodic style), of DOMINATING the highly digitalized HARDCORE Dancehall riddims like the Beast is now bestowed upon Aidonia. Badman A Step is some EVIL EVIL genius piece of tune! You can check that flow in any way shape or form, as messy as it sounds at times, it is COMPLETELY on point and Badman A Step is highly calibrated Dancehall. WINNER! The final three tracks on the Beast and thus the entire Riddim Driven: Beauty & The Beast album come from three very high profile artists as well. The first is Demarco whose tune No Fear just may be the second best overall on the riddim, his level of versatility makes him a candidate to ride both riddims on this one (only Ele did that, his completely insane Plan Fi March being absent from this album). Very impressive, as usual. Dancehall’s most miserable, Bugle steps up next with his very lyrically impressive Hypocrite Friend, another of the real standouts on the piece. As is his norm, Bugle’s rather unique (dark, deathly, dreary, whatever you want to call it) take on things leads to one of the very few tunes of actual substance on the album. Ending matters here altogether is upstart Konshens who brings his tune Don’t Leave It which doesn’t really register much with to be honest. It’s a very odd sounding tune (with Konshens YELLING at times) and really this artist excels on a different type of vibes, more smooth and a little laid back (which means they should’ve switched him out with Bramma). Leaving a rather unusual final stamp on a rather unusual project, to say the least. 

 Overall, the real star of VP’s Riddim Driven: Beauty & The Beast album is, of course, the riddim itself and it NEVER fails, not once, during the entire seventeen tracks on the album. In my criteria for judging riddim albums, somewhere very high on the list for a project EXCEEDING the standard album is one where the tunes receive a bit of individuality because the producer will take the extra step and offer various mixes for different artists on the riddim. Besides the built in mix on this one (I.e. having two different riddims) there are several inter-riddim mixes as well which, from a musical standpoint is just highly ADDICTIVE and IMPRESSIVE, regardless of the vocal acts’ quality or lack thereof. That, combined with a base which is just so BEAUTIFUL definitely pushes this one to the next level as a riddim. Riddim Driven: Beauty & The Beast is by far one of the most creative and well executed Dancehall PROJECTS I’ve seen in awhile. I definitely would like to see this one get some type of international push (with probably someone like Ishawna or maybe even Wayne Wonder being the most likely candidates (maybe even Ele actually or Serani, whose tune, We Grow, on the Beauty isn’t included here, crazy mix on that one also). This one is recommended to ANY fans of modern Dancehall and is guaranteed to look mighty fine (literally) in your collections and newer fans as well, who may need to get used to it sooner or later. Big riddim. 

Rated 4/5 stars 

VP Records 

2009

Wickedest Album?: A Review of Love Is The Way by Jah Hem

There is an unfortunate trend going on and has been going on for quite awhile now which even I myself am guilty of perpetuating of having Reggae artists (and Caribbean artists in general) who have a more ‘soulful’ quality to their voice being thought of as Pop, or R&B sounding. Such is the case to an extreme now where, even if it is a new artist who hasn’t developed his or her style to ANY degree and are just the happenstance of nothing else besides themselves (and mother nature), the discussion amongst even the most harsh of Reggae heads (again, your’s truly included) will deem those artists as having a more American style and literally start (figuratively speaking, of course) fitting that artist into a far more international genre. To my own self, I’ll admit to having done the same thing with two artists recently, both Mykal Somer and Claudette Peters. Somer is a WONDERFULLY soulful vibed artist from out of St. Kitts who, although he hasn’t had much success as of late, (and we DEFINITELY are anticipating his conquering return) has, in the material he has put out, like his excellent debut album, Element Of Surprise, demonstrated himself to be an artist with SOUL who can surely fit into a Reggae landscape with absolutely no problem. In the case of Antiguan Soca Monarch FIREBALL Claudette ‘CP’ Peters, her voice is simply so far off the charts that people have wondered if a career in gospel might not prove to be just as successful (if not even more so) than her already crowning achievements in Soca from the diminutive Taxik front woman. And while I doubt highly that either will cross the guard into a next genre of less Caribbean intensive music (at least not in the immediate future), THANKFULLY there are MANY talented voices on vocalists of whom there is virtually NO QUESTION of where they truly belong. Of course, my first choice of artists who were seemingly born to sing Reggae music is Jah Cure. My main point of reference to the efficiency of the Cure’s talent is the number of friends, many of whom were longtime R&B fans, that I’ve played his music for and I used to be flat out SHOCKED at how they responded by saying that either they weren’t impressed or that (and I heard this a few times), they thought he sounded “like a computer”. in Reggae music, however, the Cure’s rather ridiculous and martian like tones are absolutely perfect as he continues to build a catalogue full of tunes which no one besides someone named Jah Cure can sing. I’ll also say the same ting for someone like Bushman oddly enough, because on the surface at least he is simply a baritone voiced singer. However, that RICH and FULL voice would be doing the world an absolute CRIME were he not using it to sing the wonderful brand of Reggae which he currently does. Add to those two names like Luciano, Warrior King, NiyoRah (especially) and Mavado in the Dancehall and you see certain artists, although they definitely have a certain universal APPEAL to them definitely belong full time in a Reggae arena.

And sometimes those talents come with ‘twists’. Such would be the case with a singer who rose to significant prominence throughout the Caribbean with hits over the lest couple of years or so, Jah Hem, who, to my ears has all the makings of someone who was specifically CREATED (like in a warehouse somewhere) to sing Reggae music but chooses to deliver in a DELIGHTFUL style which incorporates a bit of R&B into his own style. Of course, it’s not a very heavy level, so much to interfere with his still Reggae heavy vibes but when you can successfully meld the two genres (R&B and Roots Reggae in particular) you potentially have something special (think Alaine). This apparently has been the case with Jah Hem as he has become one of the most powerful voices (if not THE most powerful) in his native Bahamas in Reggae and his popularity within the last year has began to explode throughout the Caribbean. I actually hadn’t even heard his name until earlier last year/late 2007 for the most part I believe, my previous experience in terms of Reggae artists from out of the Bahamas probably began and ended with the same name, Monty G, who is a Reggae/Dancehall/Gospel artist who has been on the scene for quite a long time and is a very respected artist throughout the genre. Last year, besides Hem, I also became aware of a Hip-Hop/Reggae hybrid artist by the name of Jah Doctrine and another WICKED chanter name Jah Nyne, both from out of the Bahamas and are solid Reggae artists as well (might be a next album from Doctrine pretty soon, also). With the amount of attention Jah Hem attracted in such a relatively short time (at least on my radars, maybe he was pining away for years, but after reading his bio, it only says he moved back from Florida to the Bahamas in late 2003), it made his solo debut album, Love Is The Way for Cutting Edge Entertainment, which is a label he apparently owns and runs with a group of others, one of the most anticipated REGION-SPECIFIC releases of 2008. And thankfully Jah Hem and the people at Cutting Edge have made it available worldwide as well. Now, Jah Hem has a very SOULFUL style like I mentioned, but in my opinion, it is one which is PERFECT for Reggae music. I’ve heard several people disagree with me, but I definitely hear a little bit of Jah Cure in Hem’s vocals. Although he can’t exactly reach that stratospheric type of levels as the Cure in terms of range and tones and such (NO ONE DOES), Jah Hem definitely adds a more ‘translatable’ style to the vibes, almost to the point of being Gyptian-like (thankfully his lyrics are better than young Gyptian’s however). I have to say that Love Is The Way has been one of my favourite albums for the better part of the last year and it has been doing quite well for the single apparently as it was VERY well promoted throughout the Caribbean, as far as albums go. But how about the music? It is a little bit R&B and a little bit soul, but more than enough EXCELLENT Reggae vibes to impress an old Reggae head like me.

This project is very well put together so definitely credit goes to Jah Hem and Cutting Edge for pushing a very PROFESSIONAL looking product to the masses. The album ends up going in a few directions and it WONDERFULLY throws a few surprises into the mix as well. Mixing it up first on Jah Hem’s debut solo album (his bio says that he previously had another album as part of a group in Florida which never was released) Love Is The Way is somewhat of an R&B type of vibes in a Reggae song (DUH), but very nicely done on The One. The tune is a lover’s track with a SWEET vibes which later adds a kind of winding keyboard, which to me at least sounds like an R&B type of ‘freshness’ in the song. Regardless, however, you categorize it, at the end of the day you’ll have to call it a big opening for the album. Next up is the first of two REALLY BIG surprises on another very R&B type of Reggae tune, Call Me, which features Jah Hem alongside none other than superstar Ky-Mani Marley. As a former R&B head, I can tell you that the sound of a phone ringing is the CLEAR sign of a forthcoming R&B song and that’s sort of what happens here, but after the intro to the tune (which runs a little too long for my tastes) what develops is a beautifully LUSH riddim with a hard nyah drum behind it. I was actually quite surprised, musically speaking, what happened with Call me in a good way and although I don’t rank it all as one of the class pieces of Love Is The Way, it’s certainly isn’t a bad tune, but I do feel that Hem himself could have added more to the tune earlier than he ends up doing while giving Marley the lion’s share of the tune for himself. Decent enough lover’s material there. The third similarly vibed lover’s tune in a row to start the album, Tonight Is The Night is my choice as the best of the three and is the first of the small bunch to offer a DIRECT forecast on the BRILLIANCE which is to come later on Love Is The Way. This tune in itself, however, is VERY strong. This is the type of material you’ll find coming on one of Don Corleon’s downright ENCHANTING pieces every once in a while with its smooth and romantic type of vibes. Easily one of the album’s best tunes altogether and a strong opening for the album in total.

Love Is The Way is clearly a tell a two albums in one. The first being a more romantic lover’s rock set which drifts in between Reggae and R&B vibes and the best of this bunch is BY FAR the previous single Come Here Girl which is downright MASSIVE! The tune was the lead of the bunch which attracted a great deal of attention to Hem and it’s no wonder why, it truly is an excellent vibes. That first half of the album also ends with a pretty nice tune, Missing You which actually flows on the very familiar Guardian Angel riddim from Jamaica’s super producer Arif Cooper. I don’t know if Hem actually got the riddim from Cooper or just did the works himself, regardless it is another big tune and another on a riddim which features basically NOTHING BUT big tunes. By time the title track hauls in, in the seventh position on the album, suddenly the vibes have changed and we’re now listening to a Roots Reggae album! Love Is The Way, the song, is one which urges society as a whole to focus more on love and righteousness than the violence and the corruption in the world (it actually sounds VERY Jah Cure-ish at times). It is a very nice message of course, and perhaps more importantly it sets the table for the tune which follows it, Love Is The Way, the album’s, finest tune overall. Enter the Wickedest Time. LOVELY! BEAUTIFUL! ENCHANTING! All are words which can accurately describe this tune, Wickedest Time, which was definitely one of my favourite tunes of 2008 altogether. Really it is an IMMACULATELY sang tune and the message gains much more amenability and palatability when you literally douse it in the richness of this song. I have been just so affected by this tune and I’m sure so many people have all over the world and when you pick up this album, you will be too! Holding the unenviable task of following Wickedest Time is a song which just may be the entire album’s second best tune or at least the album’s second best Roots tune, Be Strong. This one is just an uplifting message for the masses to put our trust in His Majesty and to keep faith in HIM for things, one way or another will get better and it is such a nice song with that CRAWLING riddim supporting it. Definitely check it out. As Jah Hem’s Love Is The Way begins to wind down, it saves the final three of it’s four in total combinations (including the aforementioned Call Me with Marley) and it just so happens that ALL three are definitely big Reggae tunes. The first of them, oddly enough, with the least known artist, previously mentioned Bahamian chanter Jah Nyne, may just be the best of all three. Nyne links with Jah Hem on an SUBLIME tune, The Most High. This song is bouncing vibesy praising tune to His Imperial Majesty and the two make strong duo. Nyne, for his part, is one of the more impressive unknowns in the Caribbean today in my opinion (check a next artist, Daniel Bless, from out of Trinidad as well) and I have been high on his potential for quite awhile as he reminds me a great deal of Jamaican chanter Bascom X. The Most High just may, fittingly so, be the most ADDICTIVE tune on the album. Next, is another superstar alongside Jah Hem, Luciano who checks in on another praising tune, Make A Joyful Noise Unto Jah. If Love Is The Way wasn’t spiritual enough for you in the previous ten tunes, then this ends on this Make A Joyful Noise DEFINITELY. I’m also happy to say that even with Luciano sounding in fine form, Hem manages to hold his own, vocally, with the legend, although that chorus which is one of the finest on the album is what most sticks with me throughout with Luciano’s PEERLESS voice riding the spectacular one-drop riddim and Luciano goes on to steal the show with a dazzling speech near the end of the song. HUGE tune and one of my favourite here. Closing shop on Love Is The Way by Jah Hem is the only ‘official’ two acts of ‘business’ to take care of. The album sans the tune Mama not only lacks an obligatory ode to Mama track, but it also lacks a combination with Monty G, both of which are taken care of here. Of the last three, this one is probably the least in terms of quality, although it picks up as it goes along and seriously, you know this was a NECESSARY tune for this album and a nice choice to end things here as well.

Overall, I have to say that the song placement here is quite interesting and, although I sometimes frown on something that isn’t necessarily a somewhat ‘random’ form of track placement, which, at the end of the day ends up helping the vibes along in the album move better by setting up the following tune. Here, however, the OBVIOUS trick which they did was to separate lover’s and straight Roots Reggae and if you notice very carefully, you’ll see that the big tunes, or potentially big tunes come right near each other in the middle of the album, surrounding the title track which brings attention not only to said title track, but the tunes around it as well with the others being surrounded by tunes already certain to receive attention because they’re combinations. Besides that technical bit, what we have here is an artist so CLEARLY talented and so clearly inclined to just reach A LITTLE outside of straight Reggae. However, as I said, I don’t think leaving Reggae is in Jah Hem’s best interest and I don’t think that is his goal. I THINK his goal was to make a HUGE impression on the Reggae listening community and just give a taste to the outsiders who’ll certainly get just that. If that was the purpose of Love Is The Way from a technical aspect: Mission Accomplished. From a musical standpoint? Mission more than accomplished. Top notch, one of the best albums of 2008.

Rated 4.5/5 stars

Cutting Edge Entertainment

2008

http://www.myspace.com/jahhem
http://www.jahhem.com/

Lyrics to Watch Over Me by Lutan Fyah

Strength!

Ceaseless Ises unto The King.

Haile Selassie love is everlasting.

Whoa no.

The Most High watch over me!
Conquer the wicked give I strength to carry on
Emmanuel watch over me!
When dem come to destroy meh flesh I'm firm
I must trample death!
The Most High watch over me!
Conquer the wicked give I strength to carry on
Emmanuel watch over me!
When dem come to destroy meh flesh
I must conquer death!

It seems to seh dem only come to rape and jeer
Backbiting hypocrits, waan fi treat us unfair
Dem no waan fi si mi rise
And wi dun see it clear!
Dem alla judge wi by di clothes weh mi wear
Den I sidestep dem
Watch how dem coming wid extra gear
A true dem scandalous
Thats why mi nah stay near
Your best friend could be your worst enemy around here
A who dem a try get scared?

The Most High watch over me!
Conquer the wicked give I strength to carry on
Emmanuel watch over me!
When dem come to destroy meh flesh I'm firm
I must trample death!
The Most High watch over me!
Conquer the wicked give I strength to carry on
Emmanuel watch over me!
When dem come to destroy meh flesh
I must conquer death!

I burn out dem flattering lips
Dem aim fi shoot
But dem gun dem stick
Man ahgo chuck dem inna di grave weh dem a dig
None a dem
Can stop di Rastaman from live!
Mi hear some badmind talk
Mi just guh zip dem up
Dun fyah done spark
Mi nah kick dem up
Pay dem no mind because di devil dun trick dem up
An if dem gwan too bad mi nah guh diss dem up
Hey, mi hear seh dem a walk wid dogs [Nightmare duppy]
Hey, inna dem closet fulla bone
Hey, but The Most High dun protect my soul
Man a RALLY ROUND SELASSIE I THRONE!

The Most High watch over me!
Conquer the wicked give I strength to carry on
Emmanuel watch over me!
When dem come to destroy meh flesh I'm firm
I dun trample death!

The Most High watch over me!
Conquer the wicked give I strength to carry on
Emmanuel watch over me!
When dem come to destroy meh flesh
I dun conquer death!

The powers of The Most High!

Truthfully known, the wicked man lies
I already mek my sacrifice
Hail the BLACK CHRIST
NO DISGUISE!
The righteous man will rise!
The devil all claim to be wise.

[Repeat verse one]

The Most High watch over me!
Conquer the wicked give I strength to carry on
Emmanuel watch over me!
When dem come to destroy meh flesh I'm firm
I must trample death!

The Most High watch over me!
Conquer the wicked give I strength to carry on
Emmanuel watch over me!
When dem come to destroy meh flesh
I must conquer death!

Taken from Lutan Fyah's album Africa

http://www.myspace.com/lutanfyahball

Enter Madness! A Review of Flame On by Machel MontanoHD

Following the 2008 Carnival season, 2009 had some REALLY big shoes to fill in terms of just how much attention it attracted, its total presentation and effect, and of course, musically speaking. The music from 2008, across the board, not just in Trinidad was just so BIG, and not even by my tastes alone, that had 2009 come in just as strong, it still would have had a hard time, by comparison, following the year. So, with Trinidad’s Carnival having now come and gone and all of those questions having been answered, I think it’s pretty safe to say that 2009 didn’t exactly do a good job (not that anyone expected it to) and in the five or six years now that I’ve REALLY been listening to Soca, it was probably one of the weaker seasons that I’ve been experienced. Now, that’s not to say that it was COMPLETELY a waste, of course it wasn’t. the undeniable highlight of Trinidad’s Carnival was DEFINITELY Faye-Ann Lyons who, although I don’t think she came in as strong as she did in 2008 (even despite the fact that, unlike in 2008, she won EVERYTHING and had two legitimate hits), turned 2009 into her own personal showcase headlined by two MASSIVE Monarch performances which won her two crowns and subsequently, a second consecutive (third overall I believe) Road March title for Meet Super Blue. Besides Lyons, also having a pretty good season in 2009 was longtime veteran and my favourite Soca artist on the planet, Destra Garcia, who probably had the biggest single tune (of course I’m partial) with Bacchanal and also steady and consistent Blaxx whose song Tusty, again, although not as good as his 2008 effort (the RIDICULOUSNESS that was Breathless). The always solid KMC also had a decent year, as did Nadia Batson and a few others. However, there were several SIGNIFICANT top notch Soca artists who simply didn’t make the grade this year or pushed forward at an obviously lower level than they had in 2008. The first of those is the most unusual as well, Bunji Garlin. The WELL decorated Garlin had about as LITTLE motivation to succeed in 2009 as anyone as he could simply phone in his entire Carnival season to support his wife (Lyons) which is exactly what he stated was his goal at Monarch. However, although he came nowhere near reaching the levels of 2008’s Fiery, Garlin’s 2008, highlighted by a tune which is growing on me still, Clear De Road. So, yeah, he clearly wasn’t at his best, but did he really want to be? Less questions of motivation surround someone like ‘D Boss’ Iwer George who really didn’t have that good of a season (not that you would know it, because he was EVERYWHERE with a commercial which now sickens me) in my opinion. The same is also said of BIG artists like Shurwayne Winchester, Denise Belfon (who is effectively past her prime, but didn’t even have as good of a year as she did last year when she was also past her prime) and Dawg E Slaughter (who just a couple of years ago was one of my favourites). So many artists just didn’t BRING IT, like they did in 2008.

All of that being said, BY FAR the greatest ‘offender’ of failing to live up to standards set in the previous year was Machel Montano. UNARGUABLY one of the biggest stars Soca has ever seen in its still young history, 2009 saw Montano seemingly either simply not trying/caring or just clueless as to what was going on. Because of the mastery he has exhibited just in recent years, the ‘Michael Jackson’ of Soca, at least from me, gets the benefit of the doubt that he was all but taking the year off and didn’t care that the tune I personally heard played from him most frequently wasn’t his Road March contender, Wild Antz, nor his combination with US based stars Lil John and Pitbull but a tune named Tempa Wine, a combination he did with protégé and potential superstar Patrice Roberts for last year’s Crop Over. I’ll just assume that he didn’t care, rather than that he is just faltering (although a public spat with Winchester may suggest different). Last year, although Montano passed the crown of Road March which he had won in the two previous years (with Jumbie and Band of The Year, respectively) to Lyons, he STILL ended up delivering a year which was downright MAGICAL, musically speaking. And what better way to celebrate the successes of a season than by releasing an album! While the jury is still out on if/when Machel will release a 2009 album (although I’m hearing now that it’s looking more likely), if it does come forth it will have downright MASSIVE shoes to fill as, perhaps only amongst the hardcore fans, Montano has been releasing some of the strongest albums in Soca music amongst anyone for quite awhile. 2008’s edition, Flame On, has to be regarded as one of the best he has ever pushed forth and while I’m not all that familiar with his albums going further back, just in recent history, standing in comparison to its two most immediate predecessors, Book Of Angels (2007) and B.O.D.Y. (2006), Flame On holds up very well. The album, reportedly his tenth to date, definitey capitalized on the wonderful year and pretty much stands as a ‘soundtrack’ to Montano and company’s orchestra of MADNESS in 2008. For my own personal reasons I definitely have to say that I was looking forward to this one and I’ve pretty much been playing it VERY consistently nearing a year now as Montano scored with some of my favourite tunes in so many of my favourite tunes in 2008 and I wasn’t alone as the demand was VERY high for Flame On and so much so that, unlike either B.O.D.Y (Band Of De Year) or Book Of Angels (which may just have the best title for a Soca album that I’ve EVER heard), this album was actually released in the Caribbean and Europe as Flame On, but, through switching labels, eventually became known after one of it’s largest hits, Wining Season as it reached stateside. Regardless of how you know it, Flame On or Wining Season, if you are a fan of Soca or of Machel Montano’s in particular you should have this one already because EASILY it was one of the, if not THE best Soca album of 2008, period.

Flame On is SATURATED in hits from beginning to end (even the one tune that I don’t like here) and it’s even missing one. Hardcore Soca heads will IMMEDIATELY notice the absence of the aforementioned Tempa Wine which was done after the album’s initial release (but if you REALLY want it on an official release, mysteriously it shows up on the latest edition of Don’s Collector, Saison 3, a collection of hit tunes from the French Caribbean). Although being sans Tempa Wine, as I said, the hits on Flame On aren’t exactly lacking and they’re even bolstered in the most unusual ways as the album rolls in with the very ODD, yet equally ADDICTIVE Unconditional Love Prelude which clocks in over two minutes. This is like a GOSPEL version of the original tune which I’m sure embarrassed several Soca heads (your’s truly included) that we were just listening to it alone for quite awhile. EVEN THE PRELUDE ON THIS ALBUM IS BIG! The first actual song here is, of course, Unconditional Love’s original version and the real madness on Flame On begins! Before I heard another tune which I’ll be talking about momentarily, Unconditional Love was not only my favourite Machel Montano tune of Trinidad’s Carnival season 2008, the entire season in general as well (at the end of the day my favourite tune was probably Breathless, but I heard Unconditional Love weeks before it or Faye-Ann’s Get On, my number two). This one is just ridiculous and even though the next tune on the album was pushed for Road March, I think they made a mistake. MADNESS! Concluding the opening is the aforementioned Road March contender which I believe finished third after Breathless and champion Get On, Blazin D Trail. As I said, I do feel they chose the wrong tune to support (not that Unconditional Love would have won) (it wouldn’t have), but Blazin D Trail is still full on INSANITY! The song definitely does have the Road March feel to it, it’s just kind of overbearing at times and I think a more melodic tune would have done better for him (even Jumbie had more ‘funk’ than Blazin). But don’t take that as a diss, when you listen to this one ONE TIME, you recognize it’s power immediately! An excellent tune, an excellent opening in full and it gets better!

Meet better. One of the best things I feel Machel Montano has EVER done for himself was welcoming into his camp (formerly Xtatik, now HD, as he claims to be the first human to go High-Def) the diminutive potential superstar cousin of Bunji Garlin, Patrice Roberts. Besides her own endeavours, has supplied Machel, in combination, with UNFORGETTABLE hits, like Tempa Wine and even Band Of De Year. 2008 was no different as the two delivered my second favourite tune between the two (after BODY) the DAZZLING Rollin! Rollin brings tears to my big 27 year old grown man eyes, I LOVE THIS SONG! Roberts has a quality, like Nadia Batson and Antiguan singer Tizzy, to bring MELODY to these MONSTROUS jump up Soca tunes and she has rarely done a better job than when she chimes in on Rollin, effectively stealing the show from her boss! MASSIVE, HUGE and one of my favourite Soca tunes ever. Roberts is probably the least known artist who Montano taps for Flame On, he also gets the legendary David Rudder to join him on the COOL Oil & Music. This one is for the more MATURE ears (slightly), but whoever can really appreciate it and between powerhouses loaded at the front of the album your ears (and your feet if you’re moving) will definitely thank you. Cool tune. Even more popular than Rudder is The Mighty Sparrow, one of the most revered Caribbean artists altogether, who joins Montano on a remake of his CLASSIC tune, the Congo Man. This one is just BRILLIANCE and, in my opinion, one of the most significant tunes to come from 2008 (Bunji did a similar thing remaking Fiery from Maestro) in full. This one brought smiles to so many in the older crowds definitely and the youths will appreciate it as well, as it isn’t just a straight remake, but Montano adds just enough of himself into it to make it his own. EPIC! Then there’s WINING SEASON! The tune may have just been the single biggest hit for Montano in 2008 altogether and it’s BOUNCE will grow on you like a fungus, guaranteed! If Wining Season doesn’t get you moving in some way, then you, my friend, are a corpse! Setting the stage ultimately from Oil & Music is the just as cool Make Love which kind of went under the radar a bit, but for me is one of my favourites, especially for the dance floor. Getting a bit more GRIMY, Montano takes on one of the more popular straight Soca riddims of the past few seasons, the Pressure Boom (aka Leggo Mi Riddim), for one of my favourite tunes here, the somewhat underrated Jamishness. No, he didn’t reach the heights set by Lucian Ricky T (who dropped the Pressure Boom), but Jamishness is still a SPECIAL tune, indeed. The last original Soca tune on Flame On, sequentially is another of the underrated tunes, the somewhat generic We Will Live which I didn’t remember being quite as good as it is now listening to it for this review. It is essentially the first of two changeups on the album as it features Montano in a bit reflective and conscious states at times. Still, its real power is evident even though it may not scream out at you, listen to it a few times REALLY get it. Winding down Flame On the big remixes and combinations roll in as Machel taps to modern Reggae legends in Shaggy and Buju Banton. Shaggy does a better job on his take with Machel on Wining Season (it helps that he has a better tune to work with definitely) and the tune just generally sounds ‘louder’ and ‘bigger’ than in its original form (although I still prefer the original to the remix). Buju definitely adds a surprise element and a Reggae element to the already well chilled Make Love and he doesn’t hurt it at all, I just find it a bit unusual sounding (I REALLY wish they had made a video for this song however). Machel of course has a long history working with Reggae artists having worked with the likes of Beenie Man, Vybz Kartel and even Sizzla in the past and Bermy upstart Collie Buddz for this year on the tune Fly Away. Extinguishing the flame on Flame On is my least favourite tune on it, Defense (The Anthem) which features Montano alongside Lil John and Pitbull from the States. Given what occurs in the twelve tunes before it the Soca - Hip Hop - Reggaeton odd sounding hybrid is entirely forgivable ending things here (and incidentally the same trio repeated the feat this year on the tune Fire On The Floor which may be the only example of Machel Montano improving on 2008 as I ENTIRELY favour it to Defense.

Overall, Flame On is simply one of the strongest Soca albums from a single artist that I have probably EVER heard. The album gives me that POWER, jump up sound which I absolutely LOVE and just enough in the way of the smooth and groovy vibes to take the feeling off of being overwhelmed at times which is downright CRUCIAL when it comes to Soca albums like this. I also feel that the album is somewhat of a landmark in Machel Montano’s career as whole as, he may very well be slipping a bit (he turns thirty-five this year) and Flame On may have been one of the last bits of all out GREATNESS that he brings. Regardless of what the future may or may not bring, Flame On is a special album recommended for Soca fans new and old alike. 2009 may have seen a changing of the guard event or maybe just an off year from Machel Montano. 2008, however, was a different story, one which played out as one of his best, one where he was still King. AMAZING! Go get it!

Rated 5/5 stars

Ruff Rex Productions

2008

http://www.myspace.com/machelmontano

The Vault Reviews: Keep Your Joy by Jah Mason

For all five or six of us who routinely buy Reggae albums, when looking at a particular artist’s career and catalogue its almost always interesting looking back at their very first album and the circumstances surrounding it. This is especially true in the current era of artists who regularly release multiple projects each and every year (although within the last two years or so you find that less and less, assumingly because of the economy), that very first piece is often forgotten, or, at best in some circumstances, relegated to ‘collector’s item’ status, which is VERY unfortunate because in MANY cases, that very first album is not only pretty good but VERY INTERESTING considering what the artist did (or didn’t) turn out to become. I find that the most interesting cases are those who aren’t exactly how they appear to be today, in that they have made a significant (or semi-significant) career shift and lifestyle shift; like Capleton. Few would have thought that almost twenty years ago when the then foul mouthed Dancehall DJ Capleton released his very first album, the critically panned Lotion Man for VP Records (yep, even way back then), that all these years later he would have grown into being simply one of the STRONGEST ROOTS Reggae performers in the entire world. This, in spite of the fact that Capleton, back then, although pretty popular, wasn’t a SUPERSTAR and had yet to make the dent on the international scene which he would go on to make shortly after his sighting up of Rastafari. Similarly, just a year after Capleton’s Lotion Man, was Buju Banton, who was a potential SUPERSTAR at the time, debuting with his own album, Stamina Daddy. The same artist who pulled off Stamina Daddy, a BIG album in its own right, simply could not have done the forthcoming ‘Til Shiloh album, regarded as one of the strongest ROOTS albums EVER but that goes to show in just how many different directions Buju’s career has gone in throughout the years. Sometimes its still very interesting even though the artist doesn’t make such an obvious career shift, such as in Sizzla’s case. His very first album, Burning Up, way back in 1995 for RAS Records, and actually the first few after it (a streak which included his CLASSICS Black Woman & Child and Praise Ye Jah) DEFINITELY showed the August Town native as an artist worth keeping an eye and an ear on in the future, but I can’t imagine the once seemingly righteously unflappable Sizzla would have gone onto be involved in as much controversy as he has seen in his career, while simultaneously remaining arguably THE most dominant Roots Reggae artist over the same time span. Closest to Sizzla in so many ways would be his former protégé Turbulence. Turbulence’s self titled debut arrived for his home base label, Xterminator in 2000 and, again, showed him to be a very talented young artist. His FULL coming out party, however, wouldn’t be until the following year when he caught the eye of VP Records for the HUGE Rising, and both albums (which share a few common tracks) although fairly popular in their own right have definitely become seldom seen outside of the collections of truly hardcore Reggae heads and collectors at that. Hindsight being 20/20, there sure are quite a few interesting stories when talking specifically about debut albums and how they came to be.

If you REALLY dig into the annals of the REALLY obscure, you find even more interesting cases such as with the now MIGHTY but once virtually unknown chanter, Jah Mason. The Manchester native whose story I feel like I now know like the back of my hand (traveled from his home PENNILESS in order to get his big break auditioning for the legendary Junior Reid) now ranks amongst the most in demand Roots artist on the modern scene, but just as recently as a few years ago or so, toiled in ABSOLUTE anonymity like so many of his peers. Unlike many of them, however, the Mason had a level of TALENT which is undeniable and even though it took the well experienced yet discerning eyes of Junior Reid, I feel pretty comfortable in saying that he would have HAD TO have gotten through the door in another way had that been his course. I myself became aware of Jah Mason through a compilation which I now regard as nothing less than CLASSIC, the WONDERFUL Saddle To The East from the once powerful Brick Wall label. That compilation I bought while still living in the States back in early 2001 I believe and mainly because it had five new tunes (to me) from one of my favourite artists, Anthony B (including Good Cop which was a BIG tune). It also had four from one of my favourite underground Roots artists, the WICKED Steve Machete, who was then unknown to me as well, but beginning the album was five tunes from a “Jah Mason”. I was HOOKED on the Mason with tunes like Nah Left Mi Woman, Dem Gone and ESPECIALLY Life Too Pressure catching my attentions with his very SIMPLE but still impressive style. Jah Mason wasn’t the complicated ‘word visualist’ like Sizzla and he wasn’t as consistent as Anthony B, but he had this kind of ‘moody’ or ‘streaky’ appeal to him which I hadn’t heard in awhile, if at all. So, I was one who was VERY happy when later in the year I discovered Mason’s own debut album, Keep Your Joy (still waiting for Machete’s unfortunately) for the now (I THINK) defunct Ghetto Technology from (of all places) Seattle, Washington in the States (and my research tells me it’s the only thing they EVER did). Keep Your Joy has since become the first of, by my count, ELEVEN studio albums in the seven years since (not counting 2009 of course) with one more loaded and ready to go. You could also argue that it was one of the best. The album features a Jah Mason who, although CLEARLY still developing his talents, is an artist who has already begun in his maturity and is more than merely a foundation for the WICKED artist who would soon arrive (If he is a 10 now, during Keep Your Joy, he would’ve been a 7 or so).

Around the time of this album Jah Mason would have been one of the many faces hanging around David House, the camp made famous by the aforementioned Capleton, amongst others and, to my knowledge, along with only singer Moses I, Jah Mason is the an artist from that camp who has actually had an album (not including Munga who came much later or Fantan Mojah who apparently didn’t stick around too long) on their own (still waiting on both Military Man and Jah Thunder, longtime members). Getting things started musically on Jah Mason’s debut album, Keep Your Joy after an intro where Jah Mason (formerly Perry Mason) tells us about how he got his new name, is the COOL title track. Keep Your Joy is a tune which has become somewhat of an underground CLASSIC for Jah Mason. The song (and the album for that matter) arrived not too long after Mason’s good friend and frequent collaborator, Jah Cure went to jail and, I don’t know if he SPECIFICALLY wrote the tune for his friend, but that’s how it’s been taken (there’s also imagery and words to Jah Cure in the album’s liner notes) and has DEFINITELY helped the popularity fo the tune which was somewhat of a delayed hit and now you can see Mason still perform it occasionally. Big opening with one of the album’s best tunes. Next up is another nice tune, although not as nice as the title track, Impress, a tune livicated to the Afrikan woman. This one also has a much slower vibes to it, it’s interesting how he goes after these also because it sounds just a BIT awkward here (although not on Keep Your Joy), even though the chorus is SOLID, this tune is EXACTLY what I mean by him still developing here, Mason singing Impress now is potentially a hit tune. Solid enough here still. Completing the opening here is one of only (by my count) two combinations on Keep Your Joy and the largest profile of the two, False Hype, alongside underrated singer Chrisinti. The tune flows on the same King Of Kings riddim Capleton and Moses I DESTROYED with their tune Crazy Looks (which I’m pretty sure is a Jennifer Lopez remake) and these two offer a much more conscious spin on the riddim which is very impressive and ultimately one of the best tunes on the album altogether.

Listening to these now it kind of sticks out to me how much Mason sounded like a version of Capleton. Thus, the majority of the best material on Keep Your Joy is on a harder vibes as Mason had yet to REFINE the smoother style which would eventually score him hits like Princess Gone. A PERFECT example of this would definitely be my choice for the album’s best tune altogether, the WICKED Fire. Fire is a tune which came well within the ‘FYAH BUN’ stage of Roots Reggae in the early 2000’s and it went too far under the radar. This tune is an old school sounding Dancehall track over which Mason just BLAZES against corruption and all out nastiness! It is also a favourite of mine because it appeared on the Saddle To The East album as well, its large on either stage and on this one, it’s the largest there is. [Better] Be True is another one on a similar vibes where it’s hard hitting and it was actually one of the bigger hits on the riddim (its actually available as a single from Bulpus (who produces a bit here). And, keeping in the line, [Woman] Preserve It is a tune which definitely hits hard in telling the ladies to wait before meeting that special someone (preferably, by Mason’s wishes, a Rastaman) to become intimate and just generally keeping a positive vibes with as well. Keep It Like that is another heavy tune and this one actually features an American sounding rapper by the name of Jah Seven. The combination here is quite well and even though I’d NEVER heard of Seven (before or since) he definitely makes a nice vibes with the Mason no the WICKED tune, one of the real attractions on Keep Your Joy. The later tune, Smoke, is one which hits me on a few levels because I don’t know if I’ve heard it from somewhere else or I just know it from here, regardless it is a very BIG tune. It is, however, topped by the nearly EXCELLENT Zion Place which is a KNOCKING tune and downright addictive at times. This one will have you singing right along from chorus to ridiculously energetic verses throughout and it may just be the second best tune on Keep Your Joy altogether. As I said, Jah Mason circa 2001 still had a bit of work to do on the other, less intense portion of his game, but that’s not to say he was completely barren on the vibes and there are some pieces here which show the levels definitely to be solid on that side as well. They probably get no more solid than on the DIVINE Lift Up Di Name which is a straight praising tune for His Majesty, for Marcus Garvey and for Prince Emmanuel and I REALLY like this one. I say Mason has a very straight forward style at this point and Lift Up Di Name is a PERFECT example of what I mean by that with the free flowing style. HUGE tune. None Shall Escape is kind of vibed between harsh and slower as the delivery here is kind of odd at time with the Mason’s almost ‘jagged’ type of vocals. The tune really grew on me after awhile though and I have to say that it’s kind of my QUIET favourites of Jah Mason’s even today still. As Keep Your Joy winds down it goes to it’s finish with two very nice tracks which pretty much have gone unnoticed, Keep The Fire Blazing and Think All Is Well. Keep The Fire Blazing is, as I said, a pretty good tune, but it’s also pretty generic (unlike Fire), although it does have a bit of free-versing feel to it at times. Think All Is Well, on the other hand, is downright BRILLIANT at times. The BOUNCING tune which reminds everyone to really be careful and keep an eye out for EVERYTHING, lest we think all is well, when it really isn’t. Think All Is Well is easily one of the better tunes Keep Your Joy has to offer and a very fine way to end matters here.

Overall, this is damn near CLASSIC material for me. I so LOVED this album, not that it was the greatest album that I had ever heard, but it just came for me at a time when I was going through my own things in my life (like sighting up Rastafari myself) that it basically HELPED me with that (as did Sizzla‘s Bobo Ashanti). As it stands, impartially, however, Keep Your Joy is still a very good album, Looking into Jah Mason’s subsequent releases I would say Keep Your Joy EASILY ranks in the top half of his eleven releases only clearly trailing Never Give Up (his finest) and the Wheat And Tears albums and alongside albums like Most Royal and Unlimited. If you are at all a fan of the Mason’s then you know that means very good and if you aren’t actually a fan, then Keep Your Joy might be a good place for you to start. Of course that is if you can track it down. Should you pursue it and find it, it’s well worth it. Keep Your Joy was the very first stop for an artist who has now fulfilled on all of the promise he showed back then, so going backwards, for your journey Keep Your Joy is definitely a fitting reward.

Rated 4/5 stars

Ghetto Technology

2001

Listen Keenly: A Review of Caribbean Girl by Nadia Batson

Its always been my theory that because of Soca’s somewhat seemingly blind obsession with making you either break your wrists waving something, or your ankles jumping somewhere, that the lyrical aspect of the music can often be lost. I liken it almost to stereotypical Roots Reggae where Artist A may make a song with the very typical catch phrases like, “Bun dung Babylon”, “Oh Praise Jah” or “Uplift the people” and such, while never really saying anything; the same can be said for Soca at times where Soca Artist B will come in with, “Jump up and wave, misbehave”, almost like a programmed bit. And even as someone myself who LOVES to ‘jump and wave and misbehave’, I have to admit, it definitely does get tiring and I can even appreciate someone who even SLIGHTLY deviates from that standard course. In Roots Reggae, with artists like Sizzla, Lutan Fyah and Buju at the forefront of literally DOZENS of very talented wordsmiths who either eschew the tired and formulaic lyrical approach altogether, or are capable of taking that route and scoring with big (and MEANINGFUL) tunes, even in spite of it. In Soca, definitely things are the same although there are less practitioners of the almost OVER hype style who can add a bit of lyrical dexterity in between jump ups. Of course, the primary example is and has been for quite awhile now Soca Monarch King of Kings Bunji Garlin who at times appears to come off as simply a Dancehall artist playing with a new toy. Dancehall is almost inherently more lyrical (although you listen to a few tunes from Ding Dong or Matterhorn and you might not know it) than it’s cousin from Trinidad, thus, for every Bunji Garlin there are three or four, Vybz Kartels, Busy Signals and Aidonias of this era. Bunji, however, is DEFINITELY one of the most talented Caribbean wordsmiths going right now, particularly in the wing of the freestyle. Just this past International Soca Monarch competition last month he DELIGHTED the crowd, after announcing his intentions to merely support his wife, Faye-Ann Lyons, by placing as first runner up, with freestyle after freestyle aimed at all of their opponents and his own unborn daughter who, through her mother, had taken a lyrical jab at her father just a couple of performances earlier. I’d place Garlin on the level of his aforementioned Dancehall peers absolutely and in particular in the area of freestyle, he may actually be peerless (although Ninja Man may take offense to that). There is also one Ms. Alysha, often described as the female Bunji Garlin. Alysha, although nowhere near Garlin’s level of accomplishment (yet) has been well regarded for her rapid-fire like flows and infusement of a more Dancehall vibes into Soca. Besides those two, there are veterans young and old like Maximus Dan, KMC, Mrs. Bunji Garlin and Jamesy P from out of St. Vincy who are wonderful lyricists as well as younger veterans such as Skinny Fabulous (St. Vincy), Ricky T (St. Lucia) and the CRAZY S.K.I.NN.Y. from out of Dominica, all of whom have proven themselves skilled at taking a more tactful approach to the jump and wave.

Now, I may be the only one who thinks this way but I don’t think that a LYRICIST is the same thing as a SONGWRITER. Yes, a good one of them tends to be a good one of the other, but I take the term ‘lyricist’ to be a more aggressive type of title. Like Bunji Garlin himself is a wonderful lyricist and could probably write a wonderful tune for someone like Destra in the context of a crazy Soca song, however, when Destra finds herself in the mood to sing one of her gospel fueled ballads, the first person she might want to link would DEFINITELY not be Bunji Garlin. However, it might just be someone like Nadia Batson who is proving herself t be equally powerful lyricist AND songwriter through her relatively short time in the game. I only (embarrassingly at the time) have REALLY been following Batson for the better part of three years and primarily within the last two as she has cemented her place as one of Trinidad’s most prominent and SKILLED Soca artists in that same time. The most REMARKABLE thing about Batson, however, is that I had actually heard ‘her’ before I really thought I had because of the EXCEPTIONAL level to which her career as a songwriter had blossomed before her own solo performing career took off. To her credit are tunes like the OUTSTANDING Sleeping In Your Bed from Batson’s good friend Michelle Sylvester which won Sylvester the very first Groovy Soca Monarch crown in 2005 I believe. Nadia Batson also wrote the very strong tune Flames from Jabae which was a HUGE hit a couple of seasons back and before it ran its course produced an even stronger remix which included Destra herself. Were that not enough (and it was) Nadia Batson, even if she never sings or writes another tune EVER again will hold a special place with me as it was actually she who wrote El-A-Kru’s MAMMOTH tune Expose which is most likely my favourite Soca tune of all time and one of my favourites altogether, regardless of genre. Well, now it’s Batson’s turn to take advantage of the good streak which has turned her own personal way and what better way to do that than putting out an album which encompassed the majority of her hits from 2008 (her biggest year undeniably) and back. That album, Caribbean Girl was EASILY one of the best Soca albums from the 2008 season and was a more than welcomed addition to the usual releases from Bunji Garlin, Machel Montano and Shurwayne Winchester. The Caribbean Girl album is her very first and only to date but it definitely went on to help establish her name on an international level, planting the seeds sewn in her meteoric rise on a local level, placing hers alongside her aforementioned peers, in terms of big name Soca artists. And did I mention that it was GOOD too? Caribbean Girl is just as wonderful and DIVERSE as the artist herself and in the proves to be a winner and a great addition to the collection of any hardcore or new fan of Soca music.

Given Nadia Batson’s history as a writer and an industry veteran, I can’t imagine it was THAT difficult for her to get her foot in the door in terms of beginning to receive the opportunities for herself which she had previously worked so hard for others to get. Thus, you have to hold Caribbean Girl up to a certain higher standard than the typical debut, luckily it STILL doesn’t disappoint even under those conditions. Getting the impressing started after a brief introduction which finds Batson giving thanks beforehand and explaining how the album is merely her expressing all the wonderful different parts of her creativity (indeed), is Batson putting her best foot forward with My Posse. I have heard BEAUTIFUL material from Nadia Batson (most of it is on this album), but NONE of it is as downright EARTHSHAKING as My Posse. The tune was a real contender for Roadmarch in 2008 (I think it may have come in fourth) and ended up netting her fourth place for Power Soca Monarch last year (should have been third). My Posse was definitely one of my personal favourites from the 2008 season and I still find myself getting into the vibes BIG TIME whenever I spin it and I love how it’s both a powerful and still kind of a romantic vibes at the same (“Slow, slow, wine back yuh bumpah. Carnival time so sexy woman take over”). The album’s finest, probably the finest of Nadia Batson’s entire career and a HUGE opening for her debut album, Caribbean Girl. Just as they pick up with My Posse, the vibes cool off with the ULTRA-COOL chutney tinged Love Of My Life [Meri Zindagi] one of the signature tunes from Batson and the album. This one just has a PURE romantic vibes and sounds so exotic that you almost expect a Zouk tune to break out at some point but Batson RULES it and begins to show off those crazy impressive vocals in the process. You love that one. Completing the opening for Caribbean Girl is Caribbean Girl the tune which kind of registers somewhere between the two opening tunes. This one is EXCELLENT as well to my opinion and is probably one of the best WRITTEN tunes on the album named after it. Like another tune later on, Caribbean Girl has such a SWEET Caribbean unifying vibes and message to it that should you happen to be West Indian (and I am) or of West Indian heritage, certainly it’ll strike a chord with you, just as it does with me. Altogether, a LARGE opening.

The thing which will most certainly stick out when looking at the tracklist for Caribbean Girl on paper is definitely the amount of combinations. With FIVE in total, Nadia Batson shares more than a third of her album, wonderfully with her friends on some quality tunes. The first is definitely the most high profile and one of the strongest and she is joined by Tobago superstar Shurwayne Winchester on Loving Again. The two do get quite HYPE, but all in all, it’s just a smoother type of vibes where the tune really excels actually on one of the more COLOURFUL efforts on Caribbean Girl. Next up is my own personal favourite combination on the album and one which won’t mean too much in terms of celebrity unless you’re a BIG fan of Trini Reggae (like your’s truly). Nadia checks in on a one drop riddim alongside one of the strongest Trini artists on the Reggae side, Marlon Asher spar Royal Dainties, on the WICKED My Joy. These two may actually be a pair for real, but even if they aren’t, they’re quite well at making music as My Joy is one SWEET SWEET tune. Of course, the Reggae head in me would like to hear Batson do a bit more (Nadia Batson - Queen Omega combination! WHAT!), and I’m confident in the coming years that we just might. Big tune. Its all Soca next as Nadia is joined by KES D Band on one of the bigger tunes on the album, My Land, another Caribbean praising big big song. Batson outshines her friend on the tune (KES lead singer Kees) but when he does jump in, he does well and the two DEFINITELY make a nice pair at the end of the song. Chica is a bit out of my tastes but I find myself frustratingly singing along to it at times. It features Mista Vybe and [Don] Iko and it is Vybe joining Batson again on the SCATHING Start De Race tune. Vybe is a former Caribbean Soca Monarch and I know him from the HUGE tune Ting 4 Da Road which is a big calling card. Start De Race easily is amongst the class of pure Soca tunes and not far behind the absolute best with its crazy powerful ROLLING vibe (listen to that riddim!) (and Batson and Vybe are VERY good friends he actually co-wrote Sleeping In Your Bed, Bounce, another Batson penned tune for El-A-Kru and even My Posse). When on her own, Batson, arguably, delivers even bigger such as the HILARIOUS tune Mind Yuh Business, a tune aimed at the rumour mongers and gossipers out there which just needs to be heard. She namedrops a few of her peers (like Destra, Faye-Ann and Bunji) which is funny and the tune is just so very well done. One of the very first tunes I heard from the artist would have been the BRILLIANT One Island (which was on the Soca Gold 2006 album). Again, looking for a ‘region-wide’ unifying tune, you draw One Island which is adult ‘edutainment’ for adults of the highest order. Think you can’t make a substantive sounding Soca tune, this one, just like the title track comes in with a nice and COLOURFUL message and vibes certain to please and it was one of her bigger hits actually (DUH). As Nadia Batson winds things down on Caribbean Girl she explores her R&B side a bit on both Ready For My Lovin and As My Pen Drops. Ready For My Lovin is VERY straight forward type of a song you’d probably hear from someone like the members of Destiny Child or someone like such and is the stronger of the two to my opinion. And As My Pen Drops may be stereotypical R&B as well, but it definitely pushes a few boundaries (it sounds like something R. Kelly might sing). And, thankfully, as if to make sure you don’t forget what the hell you’re listening to, ending things on Caribbean Girl is the typical jump and wave and misbehave tune and frankly, after the two slower tunes, I just don’t give a damn! The tune, Confusion, is MADNESS, it is one of her biggest hits to date and I love it! Excellent way to end an excellent album.

Overall, Nadia Batson is TOP NOTCH Soca regardless of how this album turned out and luckily it turned out to be VERY well put across. The album has a big claim to being 2008’s best Soca album from a single artist altogether which, in a PACKED year like 2008, is saying quite a bit. The album itself, just as she says it will on the Intro, turns out to be sort of a microcosm to Batson herself. It goes ALL OVER the place, yet it never strays enough or consistently enough to alienate the first group of fans which Nadia won over, the Soca heads, of course. It also just shows how SMART and INTELLIGENT she is which are qualities which aren’t necessarily thrown at musicians, but in this case it is VERY applicable: The woman can write! She can sing! She can arrange! Caribbean Girl is the first, of hopefully MANY more, attempts to show the entire world just how talented the woman is. Hopefully they’ll catch on. If not, then we’ll keeping jumping and waving when she tells us to. Even if we have to pay attention a little more than usual. Very impressive.

Rated 4.5/5 stars
Dynamic Entertainment
2007/2008


http://www.myspace.com/nadiabatson

The Top 10 Sexiest Caribbean Artists

You wouldn't see a list like this on Amazon would you? The Caribbean is home to what are in my opinon some of the most beautiful women in the entire world. Whatever you like, we have it! And, of course, that is reflected in our music, which is just as varied as our looks. Thus, I submit for your approval, the cream of the crop, the Queens of Queens, the walking, talking murdahs.The Top 10 Sexiest Caribbean Artists in the World.

10.Misty Jean - Haiti, Kompas

Me still trying to figure out exactly what Kompa/Compa is and I’ve already identified my favourite artist and practitioner of the bouncy sounding Zouk-ish music, Misty Jean. I’ve actually known her name for quite awhile (I think the first time would have been on a Haitian mixtape headed by Wyclef or Top Adlerman) but now having a face and a frame to place with the name and WOW. Cutie! Misty Jean looks like someone you went to high school or college with, she is the ‘everyday, regular girl’ exaggerated with small hints of OOOOOH, here and there.

The look: The average girl. Like I said, Misty Jean has special herbs and spices which may very well set her apart from that type of girl, or she just may very well be her. Regardless, there seems to be something very COMFORTING there (at least for me, Misty is virtually twins with my ex) about her appeal which is definitely a plus.

The persona: PLAYFUL. That helps in the physical as well: I THINK Misty used to be a bit overweight, because she dances like a fat girl and I could honestly watch that all day! She also, at her best, makes very enjoyable music whether fast or slower paced she just loves the jump up (she recently heavily played Haiti Carnival apparently).

09.Faye-Ann Lyons Alvarez - Trinidad, Soca

To be perfectly honest, Faye-Ann may just belong higher on this list but she, even less than probably anyone else on this list, parlays her OBVIOUS sex appeal into even more success. Also, maybe it’s just me but, even in spite of the fact that you can go at it pretty much completely naked, Soca Music is one so powerful that you can ALMOST overlook the flesh for the jump or the wine.

The look: Faye-Ann’s greatest physical asset in my opinion is VERY unusual. Not because she’s the only one who has it, but because of the fact that because the new mother just had a child, it’s not known if she’ll ever have it again. Assuming she will, look at the woman’s FIGURE. Far from being a full figured woman, but the curves she does have are in all the right places, she is a walking, talking hourglass and she made women all over the Caribbean book a few extra sessions at the gym with the outfit she pulled off at 2008 Soca Monarch. And Faye-Ann’s face is highlighted by the most charming and cute gap which is so well hidden behind a mic, you might just not know that she had it at all.

The persona: STRONG. Faye-Ann is literally SOAKED in CONFIDENCE, she absolutely exudes it, through her skin. You’d think she won every award there was to win every year and not just that one and with this outstanding year, it only figures to grow. So confident is Faye-Ann that it extends from her, to her husband and even to their fans. I SO wouldn’t be surprised if Faye-Ann was a bit ‘tomboyish’ back when she was a kid as she very much so has that ‘go get em’ attitude even today.

08.Thayna - Guadeloupe, Zouk

Young Thayna is the woman with two, or three, or four different looks. On one hand, I’ve seen her look downright geeky and nerdy, but on the next, you could make a good case for her being #1 on this list even. The first of three Zouk artists on this list, Thayna’s undeniable appeal will simply reel you in and when she gets you, what you’ll find is one of the strongest young Zouk talents currently in the game, period.

The look: Which one? The nerdy Thayna isn’t at all UNATTRACTIVE, she looks quite harmless and has somewhat of a college student feel to her. HOWEVER, when she gets nice and dolled up, such as she did on her RIDICULOUS album cover for her debut album, Nouveau Depart, last year and then you’re dealing with someone drop dead gorgeous. Make no mention of the ‘surprises’ she ‘carries’ after you dig into the liners for the album (she is a very well endowed woman, is how I’ll say it) before reverting back to the cover for a pair of eyes that can stop time.

The persona: TWO OF THEM. My little knowledge of Thayna would lead me to believe that she is definitely less of the sultry Soca Diva you’ll find later on this list and more of the shy unassuming type, likely to play hard to get. But, look at that face again and ask yourself: Do you really care???

07.Nnika Francis - Grenada, Soca

Of course Nnika didn’t deserve to be on a TnT Soca Monarch stage last year and of course shenanigans were abound and of course controversy, controversy and controversy. But Nnika, you sexy! Along with one other person on this list, Nnika is SO my tastes, she doesn’t look like her in the face much none at all, but she is shaped like my own wife. Chocolate skin, curves in all the right places and more than a little flesh on her bones.

The look: While I’ve seen more than a few questionable hair care decisions on her part, apart from that Nnika, to my tastes, is the total package like I said. The chest, the HIPS! DAT ASS! And, of course, love the chocolatey, wonderfully skin. The greatest compliment I’ve ever heard paid to her is when my 18 year old cousin (who is also Grenadian) said about Nnika Francis, “She looks like she smells good”. Indeed, and the face looks like the stereotypical ‘girl next door’ adorable and completely approachable.

The persona: BOUNCY. Confidence is a trait shared by most female Soca artist and certainly Francis isn’t lacking in that department, however, I’d also say that she would be one of the COOLER and more leveled headed Soca artists as well, which isn’t a bad thing exactly.

06.Tanya St-Val - Guadeloupe/Martinique, Zouk

The elder stateswoman on this list, Tanya St-Val is a bonafide Zouk SUPERSTAR. The mid 40’s singer is still just as BEAUTIFUL as anyone on this list. She simply personifies and OOZES what is Zouk music. It is sensual and playful at the same time and she is all of that. So much so is that a part of Tanya St-Val that one of the most wonderful things you’ll ever see her do, is getting interviewed, her voice is just as sexy as the total package.

The look: I believe St-Val to have an immediate heritage which includes some East Indian parentage which would explain her EXOTIC looks to say the least (Thayna may also have some of the same ancestry). She somewhat reminds me of one of my favourite actresses, one Tisha Campbell, at times. Her looks are CLASSIC, everything about her screams CLASS and, yes, you may very well want to do. . . Yeah, but you almost have to feel a bit embarrassed and that your punishment is forthcoming (not that I’d have a problem with that). Tanya St-Val is just a lovely, lovely creature.

The persona: MATURE. The persona is classy also and like I said, it is literally the human form of the music she sings. She can be the sultry Zouk Diva, she can be the playful and almost Soca-ish type and she can also be the serious type, all in all, you just cannot ask for more.

05.D’Angel - Jamaica, Dancehall

Took one lady to tame both Dancehall’s largest names, Beenie Man and Bounty Killer and because at least half (and probably more at this early stage) of her career insofar has been marred in controversy it seemed as if it took people awhile to wise up to the facts: DAMN! D’Angel is sexy! Now they’re appreciating the skills of the not so surprising former model as a DJ, but she sure does cast a LOVELY site!

The look: I’ve had the pleasure of actually meeting and shaking hands with D’Angel two or three times now and she can be downright DEVASTATING! She has a look which appears ALWAYS as if she is simply a painting and every bit of her appeal was carefully crafted by some master artist somewhere (insert Beenie Man joke here). The result of that is rather easily (whether you want to admit it or not) a beauty which is SO appealing and marketable for the masses and just fine! She is Jamaica’s version of Tyra Banks also, as she has JUST A HINT of the unpolished but cool gyal from Spanish Town she is at heart.

The persona: REFINED. Despite all of the OBVIOUS effort to believe otherwise, D’Angel is quite a cool person (she signed like four autographs for my niece) and she has, in almost every public situation I’ve seen her in post-foolishness era, come off quite well. She also spends quite a bit of time working with charities, especially with youth girls. Sexy with a heart. Gotta love it.

04.Alaine - Jamaica, Reggae/Dancehall

If the forthcoming Sweety isn’t my favourite then CERTAINLY that distinction goes to Alaine on a musical level. Probably the best way to describe her is the second coming of Nadine Sutherland (who could also have been on this list) as just a BEAUTIFUL and NECESSARY singer in the game. Alaine’s music is just about as beautiful and lovely as she is as well: You look like that and can sing a song like that??? Are you perfect?

The look: Try really hard to find a picture of Alaine NOT showing off what is clearly her greatest physical asset: That downright INFECTIOUS SMILE. Alaine is, as a whole (no pun intended) probably not as attractive as some of the women whom she outranks on this list, but her smile is EASILY the best on this list, she makes you want to smile!

The persona: PRISTINE. Alaine has all the makings of someone who RARELY screws up at anything and as strange as it sounds, we need someone like that in Dancehall today. She is the complete opposite bookend to the Vybz Kartels and Bounty Killers of the world and as her combinations show with the likes of Beenie Man, Beres Hammond and most recently Tarrus Riley, simply her presence makes people want to do better.



03.Lady Sweety - Guadeloupe, Dancehall

From a strictly musical standpoint, Gwada born infallible wordstress Lady Sweety is probably my favourite artist on this list altogether. What didn’t necessarily appeal to me when listening to her second album (which I thought was her first), self titled, was how sexy she was. As I said with Nnika, she was one of two who fit my personal tastes COMPLETELY, Lady Sweety is the other and perhaps even more than Nnika.

The look: Short, compact and curvaceous in all the right areas, CLEAR, STRONG and virtually undiluted Afrikan lineage reflected in that wonderful chocolate which wraps her body and a smile as cool as it is captivating. I don’t know if she has children (I’m pretty sure she does, however) but she also has a somewhat of a MOTHERLY look to her and I like that (I live and am married to one after all) which comes across as very comforting in her appeal as well.
The persona: THE PARADOX. Lady Sweety’s name is only somewhat applicable if you simply listen to her music and even look at her. She makes big and bad sounding music (like Ils Veulent Savoir) at one time and tries to project this bad gyal image (also check the MADNESS that is They Call Me Sweety on the massive Gang War Riddim), but in the very next spin, you’ll hear her big hit Chewing Gum or Fraggle Up (yep, you know how it sounds). You can’t make sense of it, neither can I and probably she can’t either. Nevertheless, sexy and pretty much anything you want her to be (and good at it!). Winner all over.



02.Jessye Belleval - Guadeloupe, Zouk

The sleeper on the list? Jessye Belleval is one of my favourite Zouk singers right now. Much like another of my favourites Fanny, she also just happens to be PERFECT in pitch and tone for singing Zouk music, she rarely, if ever at all, sings a bad note in her songs. Well, you do just a bit more research about young Jessye (who may very well be older than I am actually) and you discover that she is DROP DEAD GORGEOUS. . . Jessye I would not leave my wife for you, but the fact that I feel compelled to address that even though no one asked me (and it isn’t like it’s a possibility of it or anything) should tell you something. The woman is FLAWLESS, her look encompasses everything, she looks very young and energetic, but you get closer to her and you see there is a certain maturity to her as well.

The look: Jessye Belleval’s physical appearance is all the more appealing because it doesn’t look as if it takes her great lengths to arrive there (unlike the Peter Parker <> Spiderman like transition Thayna seems to undergo, and I say that with no disrespect). While certainly there would be some work, I would venture to guess that when she rolls out of bed first thing in the morning, she would be just as sexy, if not even more. I almost wish she were Jamaican or even American, however, as it stands, I and the rest of the Zouk loving world will GLADLY keep her to ourselves!

The persona: MYSTERIOUSLY SWEET. In the way she acts and comes off Jessye Belleval kind of reminds me of Alaine in the sense of the PRISTINE effect and appearance. However, in her field, the spotless world of Zouk, it’s a lot more difficult to standout because of that, than in the downtrodden groundzero that the Dancehall tends to be these days. I think it’s because Jessye has a bit of a secret, her eyes tell me that a little, although whatever it is, I’m not sure she even knows or care. I know I don’t, keep looking like that!

#1#1#1#1 Ce'cile - Jamaica, Dancehall
The Sexiest Caribbean Artist for me was a no-brainer when I started this list and despite the fact that I SERIOUSLY though of switching her out for either Lady Sweety or Jessye Belleval didn’t compromise her standing at all in the end. Were this a list of longevity alone, Tanya St-Val would be here; were this a list purely on looks, either D’Angel or Jessye Belleval would be top ranking; Personality? Of course we could slot Alaine here. . .
But all of those things combined and you get one answer.
Ce’cile. Fans of Dancehall have (literally and figuratively) watched Ce’cile grow up over the past decade or so in the business. Once destined to be the obvious heir to Lady Saw’s throne as the Queen of Dancehall, she hasn’t exactly waited for Saw to abdicate and has become THE most popular female pure Dancehall artist in the world over the last couple of years. Her looks have grown with her as well. Once lauded and criticized for her babyish looks (the cheeks!), Ce’cile (cheeks still there) is full on WOMAN now. SEXY, FINE, ATTRACTIVE, GORGEOUS WOMAN! Her personality is also right along with that. She is and has always been a little rough around the edges, she doesn’t make friends all of the time (think back to how she came on the scene with Changez and then later with Do It To Me), but should you talk to her, she is a very nice and sweet person. She is also the sexiest Caribbean artist in the world, period.