'What She Does': A review of "Guilty" by Tanya Stephens

Always in demand. There is just a handful of certain individuals in Reggae music who, for one reason or another, have put themselves in a category for me, personally, which makes them absolutely impossible to ignore. Not all of these reasons are exactly positives -- I'm slowly giving up hope, but you'll likely never catch me going too far in not paying attention to the work of Turbulence, wishing and waiting for a return to form -- and some of them are full on strange, but even aside from the lot of names which I would declare as my favourites (although), there are just some people who manage to consistently make their work standout for me. The best example here is definitely Jah Cure. Though I previously was a much bigger fan of the singer's than I am now, I still look forward to his work and am sure to check what's coming from him if I haven't heard anything in quite awhile, which is rarely an issue in the active case of Jah Cure. Of course, in his particular instance the attraction comes within the fact that he simply has the single greatest voice in the history of voices and listening to the man sing anything, anything at all, can be wondrous and he is very skilled, so hearing him at or near his best is just special. I also look at someone such as Perfect Giddimani. Take out the condition he exists in these days, being on a career-best and, perhaps, career-defining stretch of making amazing music, Perfect's unabashed unpredictability makes him a must on my players because you do not know what he will do next and whether or not it will work as well. The same could also be said for Busy Signal who, along with perfect, very much display the element of 'musical theatre' in their work and, obviously, know that music can (and probably should) be both educational and entertaining, regardless of their genre. Though our subject today isn't necessarily someone who tends to come in with an unpredictable style (style - no. CIRCUMSTANCES - yes!), it is the exact opposite trait which makes her music so damn unforgettable and even if she is inactive, keeps her name floating somewhere in my mind. She is as dependable as it gets for the crafting of her significant skill. When it comes to lyrics in Dancehall music, Tanya Stephens has very little peers. She is one of the greatest of all time and for that reason, whatever she does and whenever she does it (and for whomever) - it deserves not only attention, but some level of respect as well. 

"Gangsta Blues" [2004] & "Rebelution" [2006]

More specifically, besides coming up with very unique perspectives from which to write and present, Stephens' greatest asset when it comes to her lyrics is an abundance of good common sense, a very subtle but infectiously addictive sense of humour and a stirring blend of obvious confidence with a 'focused vulnerability'. And when you think of great writers, from any genre of music, I think that one of the biggest compliments you can pay to them is to say that every song that they do is ABOUT SOMETHING. It may not be something which is easily comprehended or even easily applied (biggup Vaughn Benjamin), but when they make a tune, they have an idea in mind for it and it almost always comes together and appears like that. 

"Infallible" [2010]

Speaking of coming together, when it comes to albums, things get even more interesting for the veteran. I won't go back too far (although maybe I should someday, as she would be a good subject for a future Discography post, because I think she's the type of artist who has more albums than people usually realize), but what Stephens did between a couple of years and a couple of albums was to, 'merely', push two of the best albums that I've ever heard. In 2004 Stephens would reach new heights with the MAMMOTH "Gangsta Blues" album which was very popular -- most notably containing 'It's A Pity' ('We A Lead' was also on that album) ["Yow, pass di paper. Gimme di pen. And mek mi slap some lyrics inna some fool face again. Run di riddim. Andrew gimme a track. And mi spit this, mi waan si dem find a comeback"] [WHAT!] [BOOM!] -- and really pushed her to another level of stardom as a musician. And just two years later she would hit back with yet another master class of a record with "Rebelution". That album was also very popular, carrying a song such as 'These Streets' (and 'Who Is Tanya') ["Dem waan fi know who is Tanya. Mi nah haffi strip fi control dem man yah. Mi have di game inna palm a mi hand yah. A WORLD DOMINATION AH DI PLAN YAH!"] [Grrrr!] and many other excellent sets which would build on the work that "Gangsta Blues" would help to get started. There was really a point where a very strong case could have been made that Stephens was amongst the most popular stars of the genre for a time and while things have changed from then, those two albums and the work which constructed them are impossible to forget. However, as we come up on the ridiculous ten year anniversary of "Gangsta Blues" (no way it seems that long ago), Tanya Stephens has been through changes in her career. Both of the aforementioned albums were released via VP Records, with whom she had also worked previously and, seemingly, had a good relationship, but it stopped there (save for a greatest hits release in 2009). Her next album, "Infallible", didn't even have a distributor and, instead and shockingly, was given away by Tanya Stephens to fans online, completely free of cost. If I recall correctly (and I never, ever do), her reason was that she personally had benefited so little from obviously popular work that she felt like anytime she did an album for a label that she was giving it away for free anyway. In retrospect, that was remarkable, and it ranks as one of the most such moments in recent Reggae history. The album, however, was not as remarkable and did not live up to the exceedingly high standards set by its two elder siblings. But she goes on, still a pretty big name and, again, still the possessor of one of the sharpest wits and sharpest pens in the genre. So what next? Why not do a new album and why not call it "Guilty"?

Though Tanya Stephens, apparently, has no problem taking on the charges, herself, her long time 'accomplice', Andrew Henton who helmed both "Gangsta Blues" and "Rebelution" did not stand trial here and instead, Stephens is represented by one Michael McFade, Sanctum Entertainment and herself. I didn't have much in the way of expectations for the quality of this album which was rumoured as early as late last year, but though it has taken its time, it's hear now and it is yet another occasion to hear one of the greatest ply her trade like no one else can. The first example you get to hear of this on hew new album, "Guilty" is on the album's eponymous effort which is also, essentially, an intro. This piece, among other things, sets the lyrical stage for what is to come on the nearly hour long record behind it. She goes after many topics, including just a general lack of respect that she feels she's gotten (and she's correct) and how she tends to fit into different categories because she is a female. Again, she's correct, so I'd like to reiterate my appreciation: SHE IS ONE OF THE GREATEST LYRICISTS OF ALL TIME - REGARDLESS OF GENRE. I also want to mention that part of the attraction to "Gangsta Blues" and "Rebelution" was in how they were presented and the opener here definitely gives this one a similar type of early feeling. Apparently it isn't much of a pity on 'Pon Di Side' which is next on the album as Stephens proclaims she has no problem with being or keeping a person on the side of her relationship. The tune appears to ride some version of the Red Wine Riddim (which you know for having backed Mad Cobra's 'Gangsta Flex' track from a few years back, though I don't recall that thing sounding this good). Stephens has a knack for making really cool kind of love/sex tunes and though this one is a bit too 'loud' to be one of those, it is still very good and she'll give you a fine example of what I'm talking about in just awhile. 'Hit & Run', the album's longest song on the album at north of four and a half minutes, is a selection which isn't one of my favourite here but it isn't horrible. It's kind of a Poppy piece dealing with relationships which, again, has a very unique sound to it and just didn't reach me well, but I'll continue to work on it. And I saw the title 'Too Real Fi You' and got the mental image of a sweet type of old school Dancehall song, but while that didn't materialize and what did was somewhat of an R&B tune, I wasn't wholly disappointed with. Give this one a few spins before passing a final judgment. And the first portion of the album receives a very much needed bit of a step up in tempo in the tune, 'You Can't Be A Baller'. It takes a minute to get there, but that riddim develops into a big piece of candy for your ears and as for Tanya Stephens, she's just getting warmed up. 

By the time the all kinds of interesting 'Bible or Gun' comes through, she's reached a full boil, however. Though I still wouldn't call that tune her best (obviously), I enjoyed it a lot because it substantially deals with a real life situation that so many people face daily in terms of trying to make it in life and choosing to do things legitimately or through more nefarious means and it doesn't paint an overly-rosy picture of things. The song which chases on it "Guilty", previous single 'Broken People', makes for a very compelling pair of tunes. This one kind of links everyone in the world from the previous one in terms of saying that everyone, from every walk of life, has to do what we have to do. 

"The world is full of Black people and White people -

In the middle trying to make it right people

Everybody just getting by 

Broken wings, trying to learn to fly

Straight people and gay people -

In the middle trying to find a way people

Everybody just getting by

AND WE'RE ALL JUST A LITTLE BIT BROKEN 

We hurt

Broken people hurt

We feel

Broken people feel

We feel, but we heal

And we fight, but tonight, we're gonna be alright"

As a person who has been broken and repaired and re-broken and re-repaired several dozen times over I appreciate a song like this which, essentially, says that everyone is kind of fucked up in some way but we do the best that we can still! It is one of my favourites on "Guilty" and hopefully I'm not the only one who thinks that. Check the delightful '140lbs of Love' with its great old riddim and the captivating 'More Music'. This song is so interesting for several reasons, not the least of which is its growing intensity. As it continues its way through we find Stephens basically telling her peers to step up their work and to make better songs, but midway through this thing you kind of begin to realize just how pissed off she is by the situation. Definitely be sure to take a heavy listen to that one. Oh and, unless you really feel like crying, you might want to avoid 'One Time' - a song which will force you to make an emotional commitment to it, even if you are not wanting to.

'Unapologetic'

If 'One Time' didn't finish you off (but if it did, you have not lost my respect), the latter stages of "Guilty" injects a (… just to stress the point, 'One Time' is not a bad song, it's very good actually, but it is a depressing one) few smiles into things including on one of the album's best, 'Crazy'. This offering deals with one following one's heart instead of your head or what other people may say about things in your relationship because what makes sense and is perfect to someone does not and is not to everyone. I like how she kind of turns things around to say that the relationship isn't insane, but to NOT pursue it IS. On the only official combination on "Guilty", 'Corners of My Mind', Tanya Stephens taps new veteran (biggup Lloyd Brown) (an album on which Tanya Stephens guested) Sanjay which is nearly excellent and a strong addition to this album. I can't say that I've paid a great deal of attention to Sanjay's work throughout the years, but apparently I need to correct that going into 2014. That tune follows one which I don't like in the Country-fied 'Never Let You Go'. Despite its sound, which isn't bad, I think the song could have used a bit of an edge, but definitely listen to it for yourself and make up your own mind. As things wind down, the edge which is present on 'Never Let You Go', is prevalent on the album's final trio of tunes. First up is the adorable 'Get Up & Dance'. Like I said, its subtle, but when you listen to enough of Stephens' music, her sense of humour comes out in several ways and this is a tune which both made me smile and laugh at times. But with all of that being said, the tune which reigns supreme on "Guilty" for me, unsurprisingly, is 'Unapologetic'. This is the direct descendant of compositions such as 'Boom Wuk' as just a really frosty sexy type of song (I know that the two don't typically match, but they do and do so very well in this instance) which she just does so well. This isn't quite THAT good ('Boom Wuk' was… it was golden), but it is in that same direction and I love to hear Stephens with the cool confidence set high ["Mek a bitch gwan bitch - a her job that"] and it is blowing all through 'Unapologetic' as a woman who knows what she wants and is unashamed to go after it. Lastly, check 'The Beat Goes On' which is a lyrical tirade from Stephens aimed, again, at those who refuse to giver her what she is due. Perhaps the entire album, in a sense, had similar intentions and though I've never known Stephens to be a very criticized person, surely she deserves more than what she's gotten as being such a remarkable gifted artist. 

Tanya Stephens

Overall, while "Guilty" is not as good as either "Gangsta Blues" or "Rebelution" (and you didn't expect it to be), it is considerably better than "Infallible" in my opinion and a more than fitting album from Tanya Stephens at this point in her career. As to her lasting point on this album in terms of giving her the credit she has earned in an amazing career, I think it may take some time, even beyond the timeframe in which she makes her music for her to receive that. Years from now someone will come along, male or female, and will be a top star and list amongst their greatest influences Tanya Stephens and maybe that will help to lead people back to her unique ways. She may not be the exciting person to listen to. Her command of melody may not be the greatest and she may not be as active as you'd want her to be (she isn't), but when it comes to actually writing lyrics and crafting together songs, Tanya Stephens is in very thin company. There isn't anyone who does what she does and even on an album like "Guilty", it remains brutally apparent. Not her best, but a very solid album. 

Rated: 3.85/5

Sanctum Entertainment

2014

CD [January 2014] + Digital 

Review #485

Most Wanted 2014

With big names such as Sizzla Kalonji, Etana, Luciano, Machel Montano, Mr. Vegas and many other showing up with albums for 2013, we begin to take a look at just who might be in the offering for the year ahead. Be it even more big names, amazingly gifted up and comers or someone who figures to return from long absences, this list, as it annually does, pulls together ten whom we would REALLY like to hear from, in album form, in 2014. Here are ten artists who could really do excellent work in the new year and we hope they do: Most Wanted 2014

{See last year's list}

{Note: Artist's appearing on last year's list were intentionally excluded}

#10. Prince Theo

Free again. Along with many other wonderful things, one of the most interesting occurrences which 2013 brought for me was definitely the full return of one of Reggae's most remarkably underrated and overlooked vocalists, Prince Theo. The veteran singer will almost certainly never receive the amount of attention that his tremendous abilities would seemingly warrant and I cannot even begin to think of something which would change that. What might help, however, would be a followup to his first and what, unfortunately, remains his only album to date, the wonderful "Set The Captives Free" which will soon be a decade old. Though you'll not find his name on any other list like this from anyone else, the Prince makes my list because I'm beginning to see a foundation built for a new set. He's done almost all of his recent material for Jah Mikes and Reggae Vibes Productions who recently did a new release for another veteran, Courtney Melody. I do not know what is in their plans, but if you're doing albums, why not mix in a brand new one which will have been a loooooooong time coming from someone who is guaranteed to make the most of it. 

#9. Kénédy

Pretty pictures. It took far too long, in the consistent sense, but I have begun to get back into the wonderful world of Zouk music and really pay a steady amount of attention to it as well. But hopefully 2014 will bring something which will make it even easier and I have two things in mind. One of which would be a possible all Zouk album from Achis Reggae favourite, the delightful Jalena, whose next album may be just that (and the only reason that you won't find her name on this list is because she has had THREE albums from the last time this artist had one) (which was only her second) and the other would be the album return of still my favourite Zouk singer, the amazing Kénédy. Last out way back in 2009 with "Entre Toi Et Moi", the Gwada songstress has managed to stay in the light with big tunes (most recently teaming up with Lylah for 'Femmes Fatales 3') and she's also managed to keep things interesting outside of the studio. Between her first album and the second, Kénédy already very attractive… got… attractive… er. She came back and was STUNNING and if you look at her these days, you immediately notice her growing addiction to tattoos. Will that translate into a more edgy sound for her next album? Maybe or maybe not, but I'd love to find out in 2014 with a brand new album from one of Zouk's finest.  

#8. Jahdan Blakkamoore

Release the Kings. Just as I'm waiting here to see what ten artists, in particular, have in store for fans in 2014, I'm also curious as to what some producers may be up to and one of those who have my interests very high are the Zion I Kings. We do know that they'll work the already scheduled "Beauty For Ashes" set from Midnite and we're also quite sure that they'll link up for an album for #5 on this list (or #7 if I changed it), besides that, however, it remains to be seen. Something I'd DEFINITELY like to see are the ZIK come back for is a brand new album for one of Reggae music's most adroit wordsmiths, Jahdan Blakkamoore. Though it has now been three full years from his last set, the very well-received "Babylon Nightmare", Jahdan did have a big year this year on the strength of appearing on one of the most talked about releases of 2013, Snoop Lion's "Reincarnated". A return to album in 2014 would be a welcomed one and, at least presumably, he may officially bring the "Kings" of the ZIK back with him as a return of another kind from Lustre Kings Productions (who didn't do an album this year, I believe). But I'd be happy with just about anyone, but a 2014 album from Jahdan Blakkamoore and the Zion I Kings would be a really, really nice thing to do and a certain master class of a record.  

#7. NiyoRah

A different era. In retrospect, out of all of the people who we've gotten to watch develop as artists in recent years, one of the most captivating and, ultimately, one of the most gifted has easily been NiyoRah. I can still pull his debut album, "A Different Age" and really hear a foundation of talent for someone who, in the then not too distant future, would grow to become a GIANT of a talent. These days, as evidenced by his last two albums, "Purification Session" (one of the best albums I've ever heard) and "Feel Your Presence", Niyo is amongst the very few artists today who is truly capable of ANYTHING. Whatever he does and whoever he does it for, I expect greatness and hopefully I can expect it in 2014. It's been nearly four years from the "Feel Your Presence" set and now would be a wonderful time for Niyo's fourth album which would be another set released at the height of his monstrous powers. 

#6. Alaine

… Alaine. One of a couple of females that you'll find on this list (it would have been a trio, but I thought it too soon to start asking for a new Reemah album), Alaine has quietly turned in a sterling year of music for 2013, which will have to be considered amongst her very best and, hopefully, she'll culminate her winning ways with a winning album next year. Alaine's situation when it comes to albums is very interesting because, like most of her musical things, it changed from a few years ago when she split with ace producer Don Corleon who had not only helmed many of Alaine's biggest hits, but was also behind all of her two or three albums (I think it's officially three, but one of them was released twice). But that is ancient history as far as music goes (though the two would produce bonafide classics together which will never die) and it is full time that album shelves get a lot more class and romance by virtue of a new album full of songs by one of Reggae's greatest conductors of both in 2014.

#5. Pressure

Coming back. It has SHOCKINGLY been more than four years now from the last time we received an album from VI Reggae superstar, Pressure Busspipe and, obviously, that is just entirely too damn long. Fortunately, not only is Pressure one of a couple of names appearing on this list that is relatively secure to have a new set in 2014, he's also going to have it for the aforementioned Zion I Kings. Pressure would have made this list regardless of his circumstances going into the new year because, much like his fellow Star Lion Family alum, NiyoRah, the chanter is at a point in his development at which only greatness is appropriate material coming from him and for such a person, going half a decade without is just wrong (biggup #3). He's been there previously with one of the finest debuts of the modern era, "The Pressure Is On", and on two subsequent albums he maintained those levels. Since then Pressure has remained one of the genre's most dependably impressive stars and he's also branched out - recording with some of the most revered maestros Reggae music has to offer. On his next album, he'll bring things back to center for I Grade Records and the Zion I Kings, which is a link that could not come at a better time.

 #4. Mad Cobra

The baddest. It would be so unfortunate if one of the genre's biggest stars ever was to go through such an upward turn in their career and do so without ever having a full release to mark the occasion. However, when the genre in question is the album-anemic Dancehall music, then that will probably be the precise situation heading into 2015. Dancehall albums from the biggest names, these days, occur at a rate of only two or three annually. But if one of them in 2014 could somehow, someway manage to be from the re-enthused Mad Cobra, the world will be a much better place. Over the past year, Cobra has given Dancehall a much need bloody nose by serving up some of the craziest and most vicious tunes heard in what has been a fantastic career brimming with such pieces. And, though he didn't take such a long hiatus away, it just seems as if this version of the DJ has found him in the same devastating form that was heard on his two most recent albums "Helta Skelta" and "Snypa Way" and maybe even a little better actually. I think it to highly unlikely that 2014 will bring us a new album from Mad Cobra, but if it does, I'll guarantee you RIGHT NOW one of the best Dancehall albums in a very long time.

#3. Queen Omega

Most royal. As each and every of the past five (soon to be six) years pass, Reggae album shelves are significantly lacking in one very major area. QUEEN OMEGA! THE MOST TALENTED WOMAN MAKING REGGAE MUSIC TODAY (and probably over the last decade) has not had an album since 2008's "Servant Of Jah Army" and it would have been even before then -- nearing a decade -- from the last time that she would release a set which was widely celebrated - 2005's "Destiny". Both of those are just terrible considering the fact that she hasn't left the scene. She hasn't gone anywhere! Instead, she has continued to cultivate her supreme skills and today remains the Roots Reggae fireball that she always was. 2014, like every year before it and every year after it, would be a fine return and I do see a bit of hope for a new Queen Omega album. This year, a burgeoning label by the name of JahLight Records, like the singer from out of Trinidad, made its album debut in the form of Matthew Greenidge's solid "Jah Rules Over All", an album which carried the work of Queen Omega (as both a featured guest and a backing singer, if I recall correctly). Presumably at some point they will want to make another album -- probably at some point in the next twelve months -- it would seem a possibility that JahLight may take this next step with her as the star. Such a thing would have massive results and she'd also likely have similar success with almost anyone (including 149 Records who did a video with the Queen this year) and I'll definitely be watching because I'm tired of being able to put her name on lists like this.  

#2. Bunji Garlin

We ready. Though he just had a full album in 2012 (the wonderful "iSpaniard", in stores now) Soca lyrics leader, Bunji Garlin, has just had a supremely powerful 2013 which, literally, dictates that he return with a new album, which will be his tenth in 2014. To facilitate this, the four time Soca Monarch recently [re]signed up with VP Records which will likely deliver the project. All of this, of course, comes through on the heels of the MASSIVE creation that was 'Differentology', but it was not alone and it won't be alone on the album (that would be really weird if it were). The likely result here is that VP allows the 2014 carnival season to play out, during which Garlin will likely have another hit or two and I would expect the album (to be called "Differentology") to be full of songs from his '13 and '14 seasons. Also I would like to hope that they would appreciate the moment. Though Garlin previously did two albums for the label [2001's "Revelation" and "Global" six years later], they both seemed to be at least somewhat packaged in a way to make his music more accessible to the typical fans of VP Records' releases. And there's nothing wrong with that (and it probably worked) but as someone who is always so upstanding about pushing Soca music, I really do hope that everyone involved on this set realizes that they may have something which has the possibility/likelihood of becoming one of the genre's biggest albums EVER. If they do, we'll have something special and even if they don't - I'll still be picking it up. And nothing can break it up. And nothing can break it up. And nothing can break it up. And nothing can break it up…

#1. Chronixx

Fit to lead. The biggest album jewel that 2014, seemingly, would have to offer Reggae fans would be the debut set from the leader of the latest rise of Roots Reggae stars, Chronixx. Though it is conceivable such a release could be pushed to 2015, I'm fully convinced that with the material that he has already done, Chronixx could probably put together a potential classic album right now, but if someone were to actually make an album for the sake of an album, it would be GOLDEN. The artist has shown himself to in possession of a very curious talent which is founded in a heavy streak of common sense and the application of common sense and humility. The blend has led to someone who has not only produced one of the most dominant streaks in recent memory, but someone who has also immediately gained the mass attention of fans. His situation has been similar to that of some of his more immediate predecessors, such as I-Octane and Tarrus Riley, but in Chronixx' case, it has seemed to be even more magnified. Furthermore, he has not faltered and in 2013, the youth turned Reggae music into his own personal flawless performance. He figures to do the same into the new year and an album would be a perfect bow to place on an amazing rise to prominence.