Think about this: This year’s Carnival season in Trinidad definitely had more than its fair share of stories, especially considering what last year turned out to be. Of course there was the ‘leftovers’ from 2009, a season which was musically dominated by the one Fay-Ann Lyons and the questions were whether or not she could have a similar reign of dominance (and although she didn’t, Lyons’ Carnival 2010 was very impressive to say the least) in the new year and even if she didn’t, what could she possibly do as an encore was definitely a big question. What would subsequently become the biggest highlight of the season, a wee little tune called ‘Palance’, also became a VERY large story on its own. Coming from radio guys essentially, in JW & Blaze, the tune was arguably one of the biggest since the turn of the century and its dominance at both Soca Monarch and Road March demonstrated just that. And there were the typical signs of light from Bunji Garlin, Iwer George, Blaxx and a whole heap of others as well which were to be seen. All in all, I do have to say that, musically speaking in retrospect, I was quite happy with what became of 2010 from Trinidad Carnival. Still, with all of that going on and all of the big artists being present and all of the new artists coming through, one of the biggest stories of Trinidad Carnival 2010 was DEFINITELY an artist who intentionally chose to make himself absent for the most part, Machel Montano. Even the most casual observers of the music would see that as a big thing because with so much to talk about in front of you, what type of status would an artist have to enjoy to be discussed arguably as much as any occurrence in Carnival for MERELY NOT BEING AROUND! I don’t think it could have been that way for any other artist on the scene today, but it was exactly that case for Montano who didn’t perform very much at all for the season, didn’t release a video and did so with his increasingly WICKED HD Camp of artists (Patrice Roberts, Farmer Nappy, Umi Marcano etc.) having collectively and individually one of their best years altogether. Montano was said to be working on several things this year, following a very STRANGE 2009 for himself, which are supposedly to include the release a full length film of all things (Bollywood style) (don’t even ask) (because I don’t know) and there was also word of a very ‘different’ album release from Montano this year as well. Well, with Carnival well in the bag, it’s now time to play a bit of show and tell with the Soca superstar and take a bit of a glimpse into what exactly he spent his time doing instead of losing his mind on stage for the enjoyment of thousands.
34. Thankfully, Machel Montano didn’t take the entire year off and had spent considerable amount of time in the studio, otherwise looking forward to this one may have been even stranger than his 2009 effort Heavenly Drum. However, what he did record was quite strange as well (and personally I was disappointed as FUCK that he didn’t deliver what has become a yearly personal favourite of mine - a combination alongside Patrice Roberts) as he didn’t even seem to go along musically with the HD artists and instead seemed to run his own thing. Well, what he “ran” is to be found on his brand new album release for Carnival 2010, Album 34. Now where do I begin? Perhaps I should deal with the cover of the album being a collage of Machel Montano’s, Xtatik’s and Machel Montano HD’s albums to date over the years. On top of that, what you’re likely also to notice (if you’re a fan) is the fact that Montano is going sans the actual ‘HD’ label this year as well and if you’re really a keen observer, you’ll also notice that he chose to count (amongst his thirty-four now) the HD Family album from last year, as well as the Wining Season album (which I believe was an American doppelganger for the Flame On album two years ago). The idiosyncrasies do not stop there either, the music on the album has a bit of a different feel to it also and I’ve felt that through hearing what I’ve heard recently, it appears as if 2010 was just a year where, like last year, Machel just decided to take things a bit slower and play his hand a bit different and that is reflected in the album certainly. It should also be said to that end, however, that if you take a listen to what he did in 2010 from a music standpoint, you probably won’t walk away from it unsatisfied at all because, despite the strangeness and the absence, the case can be made (and I’m sure it already has been that Machel actually had one of his stronger years in the last few years or so as an aggregate. While there didn’t seem to be that one mega shot of any type, what Montano did was offer a series of bright and colourful tunes which went to build what is, in my opinion, perhaps one of his most (if not his absolute most) CONSISTENT seasons in a very long time actually. And again, all of that comes from an artist who deliberately tried to stay out of the limelight in 2010 (and I think doing so was largely successful as it definitely help to take members of the HD Family to the next level, especially the two youngest members - Umi Marcano who rather easily had the most musically impressive season of his young career - and Roberts who has more or less become a legitimate Soca STAR by this point of her career), such a fact should not go overlooked because, again, can you think of someone else who could have done such a thing? Bunji decided to skip out on competing for Soca Monarch, but was very visible (even at Soca Monarch) and had his own season of lyrical dominance in the process, but I don’t think even he could have essentially vacated the premises and STILL had all eyes on his (non-existing) movements as Montano did in 2010.
So what exactly was going on with this music that Machel Montano refused to showcase this year for the most part? Was it really fucking horrible? NO! Like I said (or at least I think I did), it was actually pretty good and although I struggle to find a consistent ‘theme’ like he had last year, Machel Montano’s own 2010 musically was just all around solid for the most part. And it’s all reflected in his new album Album 34 his thirty-fourth to date (DUH!) and a pretty. The first two selections on the album are two of the bigger tunes from Machel from this season, the very clever ‘Bumper To Fender’ and ‘Ramajay’. The first is just a COOL tune, to say the least. The Dwaingerous production is a very vibrant, yet decidedly groovy, piece which really shows s a near master class to my opinion and it did considerable damage as well and is rather easily one of the finest outings on the album. ‘Ramajay’ may be even better, however. This similarly vibed tune is just so nice and I’ll tell you on the side - my Wife absolutely LOVES this thing and just a slim spin through and it’s very easy to see why as the tune was probably one of the best done midtempo sets of Carnival this year and although I don’t think it ultimately got the respect that it deserved, I’m not going to complain TOO much, because I don’t even think Machel himself would mind too much actually. The third tune in is a tune in ‘Hot Like’ which just happens to be the first of several combinations on Album 34. It actually features Dancehall star Serani who really isn’t one of my favourites, but the tune isn’t HORRIBLE, I don’t terribly dislike and am predominately largely neutral towards its vibes. But a lot of people well enjoyed this one, so you may as well; definitely don’t just take my word for it. A very nice start indeed for the album.
The album definitely touches a variety of vibes and that’s to its credit that it reaches both on the COOL and GROOVY side as well as on the more edgier and powerful end as well. On that groovier vibes there’re very fine tunes on Album 34. Check the EXCELLENT ‘Thiefin’. This one is just sparkling and actually feeds into more of the ‘less is more’ variety which works wonders for it as it ranks as one of the album’s finest. Next in would be the very familiar ‘Slow Wine’ which Montano dropped on the Bubble Up riddim for Spice Mas 2009 (it also appears on Homebase’s Fully Loaded compilation). This one I’ve kind of grown neutral on a bit (from having heard it SO much), but it is a very nice tune and it did a bit impact as well. There’s also the combination ‘Really Hot’ with Trini Hip-Hopper Wildfire. I don’t too much rank this tune, but again, it isn’t BAD actually, just not on my vibes actually. Dancehall ace Busy Signal replaces Wildfire on the next tune ‘Wooeeii Gyal Wooeeii’ and he steps the levels up, although I’m still not too sure on what to make of this tune. I
t’s not actually Soca and it’s definitely Dancehall. It has heavy Afrikan drumming (it actually sounds like something from The Lion King film or something like that). It is most certainly infectious and it will stay with you for a VERY long time, but I haven’t quite figured out if that’s a good thing or not. And later on the BIG tune ‘Not Going Home’ captivates and scintillates as one of the strongest tunes altogether on Album 34. This one has a big vibes and it just makes you feel good and makes you kind of sad (that you had to go home) at the same damn time!
t’s not actually Soca and it’s definitely Dancehall. It has heavy Afrikan drumming (it actually sounds like something from The Lion King film or something like that). It is most certainly infectious and it will stay with you for a VERY long time, but I haven’t quite figured out if that’s a good thing or not. And later on the BIG tune ‘Not Going Home’ captivates and scintillates as one of the strongest tunes altogether on Album 34. This one has a big vibes and it just makes you feel good and makes you kind of sad (that you had to go home) at the same damn time!On the harder side, although not hit as often as the groovy vibes, I feel that Machel actually scores more in less attempts. Such is the case on the album’s biggest tune altogether, the DOMINANT ‘Doh Hold Meh Back’. This tune (I THINK) dropped for last year’s Crop Over and it has HAD ME ever since, I do love this tune with its kind of marching type of vibes which kind of keeps the vibes ‘in check’, but not really, because the tune flourishes despite having a ‘cap’ of sorts. It’s quietly one of the most complex tunes that Machel has dropped in quite awhile and the results were worth the effort because the tune is madness. In the traditional sense, however, it’s not as “mad” as ‘No Behaviour’, which was Montano’s Road March hope (if he had such a thing) for 2010. This one actually didn’t have as much hype behind it as one might’ve thought though, but I do have to admit that it’s grown on me considerably since the first time that I heard it. In retrospect, it had no hope for the road, but it’s a very strong tune as is and one which hopefully won’t just be kind of ‘swept away’ with the passage of time. It is LOVELY. And then there’s ‘FETTING ON’ which for me was the most significant combination on Album 34 in total (biggup Busy) (biggup ST. ANN’Z) as it features another of my personal favourites, reigning consecutive Vincy Monarch, Skinny Fabulous. The tune definitely did a bit for Skinny, showing to which levels he had risen to and it’s a HUGE tune and my choice as the album’s second strongest and I do so hope that I should get the opportunity to see it performed live at least once (now if I could just get a Patrice/Skinny combination, I could die a happy man).
Besides that, there is a very healthy (and expected) number of remixes on the album as well. I’m never a fan of remixes for the most part and here is no difference. Of the five on the album, the on paper highlight is definitely the remix of ‘Ramajay’ which features good friend and constant collaborator of Montano’s, American Hip-Hopper, Pitbull. The musical highlight is probably ‘No Behaviour’ or even the more enthused version of ‘Wooeeii Gyal Wooeeii’, but as I said, for me personally, I don’t typically pay much attention to the remixes.
Overall, this most curious of efforts from Machel I feel pans out better than most may have thought that it would. Seriously speaking, Machel Montano just may be (STILL) the most talented Soca artist ‘pound for pound’ in the world today and in saying that, he enjoys the ability to be able to not have to consistently bring his best material time and time again and not only still maintain his popularity, but still score consistent hits (even when he’s not trying to apparently). Album 34 certainly isn’t his best outing, but it’s also FAR from his worst. The album which arose through the most mysterious of circumstances does manage to captivate and thrill and just thoroughly entertain the listener just enough to meet the high expectations of the artist and his fans. Now, I’m hoping like anything that Montano doesn’t pull off a similar vanishing act in Carnival 2011, however, even if he does, I’m sure I’ll be around for Album 35. Well done.
Rated 4/5
Machel Montano/Mad Bull
2010
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