Fortified: A review of Hello Africa by Chezidek

Always around. I think that if you, like me, are a fan of modern Roots Reggae music, then we just might be a little spoiled. It's the type of genre which isn't the hardest to support as it consistently provides not only a great deal of material, in general, but a lot of it which is of tremendous quality. On top of that, I think while it may have been the narrative that people like me went on a few years ago -- Roots Reggae being underrated and underappreciated -- that things have changed in the biggest pictures. Certainly, like in any type of music (or probably in any type of anything else), we have more than a few individual artists and producers who go overlooked in respects to their talents, but I think Roots Reggae has grown to a level which even tops Dancehall. Dancehall tends to have more spectacular, breakout moments than Roots does, but on the 'day-in and day-out' business, we definitely see more work being done, globally, on the Roots side. Sure, a great deal of that would be due to the works of people like Chronixx and Jah9 and Kabaka Pyramid as this new class of reigning queens and kings that we currently enjoy and, even more so, to the likes of Sizzla Kalonji, Capleton, Buju Banton, Luciano and Anthony B who saw over the previous era. Of course, if you wanted to, you'd trace that back even further and ultimately end up at a man named Bob and his peers and the processes have continued. Today we're taking a look at someone who I didn't just mention but is a name who, SO WONDERFULLY, is within a group of very powerful artists who, while they do tend to receive a great deal of attention at  times and are capable of scoring sizable hits at any time (and often do), are not THE biggest names in the genre. I'm talking about people like Richie Spice. While I've never been his biggest fan, I have to give credit where it is du. Richie Spice has had an incredible career and, were he to never voice another record, he'd go down as one of the greatest champions of Roots Reggae music of his era. I'm talking about artists like Jah Mason, Queen Ifrica, Lutan Fyah (a definite favourite of mine now and long time), Mark Wonder [ditto!], Bushman (probably going to review a Bushman album pretty soon) and a few more (like Norris Man). These are individuals who have countless hits amongst them and will go on, likely, to have quite a few more. You'll find bona fide classic albums in there as well and you cannot tell a story of the music in its modern era which is worth a damn without including each and every one of their names in some respect. If you take a closer look at that lot, maybe the single biggest name would be Richie Spice, and someone very much in that scope would be the fantastic Chezidek. 

I took the angle I did for this review because, when I decided I was going to try to write for this album, i found myself thinking, heavily, about a couple of things. The first was something I'm going to tell you about in just a minute and it was an extension of the second (... I guess that makes the second one the first then) (nevertheless). The second thing on my mind at the time was just how impressive of a career Chezidek has put together. It was a very brief nineteen years ago now that the singer from out of St. Ann with the unusual voice would begin to make his name globally via the release of one of the most solid debut albums you'll ever hear, the Xterminator steered "Harvest Time" (which is probably a modern classic contender) (I can definitely call it a PERSONAL classic). Since then, the singer has gone onto enjoy such a wonderful career which has taken him all over the world and seen him score a great deal of hits. As I said about Richie Spice, were Chezidek never to make another song, his legacy would be secure as one of the most CONSISTENT lights Reggae music has ever produced. And last year, when he dropped his most recent album, the only thing he did was to enhance an already CHUNKY musical estate (it could stand a few minutes on the treadmill). 

Along with reaching with a relatively steady stream of hits of varying degrees and a nearly inerrant supply of big tunes, Chezidek has also done big business on the album side of things. Along with "Harvest Time" ["INNA DEM MIND!"], he has given us GEMS such as "Inna Di Road", "Freedom Fighters" ["Dem ah dweet. A dem ah dweet"], a woefully forgotten GIANT of a release produced by Bassie Campbell (still available on the digital side, check it out if you have not) and, most notably, "Judgement Time" and its followup "The Order Of Melchezidek", which were both produced by impressive Dutch outfit, Jahsolidrock (who is still around!). "Judgement Time" was his best album to date in my opinion and it has gone on to become declared an actual CLASSIC on these pages. During out hiatus, he remained very active, releasing a trio of projects over the course of three years. The most recent of these and the most high profile was a SWEET set by the name of "Hello Africa" which arrived just last year (a few months following "Timeless"... which I probably shouldn't talk about too much because I may decide to review it one day) (it was very interesting). Throughout his career, Chezidek has done albums for a variety of different producers and labels. Along with the aforementioned Jahsolidrock [MUSIC FROM THE HIGHEST REGION], the Bobby Konders produced "Inna Di Road" came from Greensleeves, "Harvest Time" and its very strange younger sibling, "Rising Sun" (an album which has wholly perplexed me for the last sixteen years and, should I live long enough, will likely do the same for the next sixteen), were VP Records' releases produced by Xtermnator and he's also worked with the likes of the legendary Sly & Robbie ("I Grade"), Flava McGregor ("Firm Up Yourself") and others. For its part, the self-produced "Hello Africa" would come to fruition via the always reliable Tad's Records (simply one of the strongest labels in all of Reggae music, whether you realize it or not) ("Through It All", new album from George Nooks, available now). This was not a first pairing either. Back in 2009, there was the "Herbalist" album, also from Tad's. That album stands out in my mind, unfortunately, because it basically inhaled much of the Al.Ta.Fa.An. controlled "Mash Dem Down" from three years prior (and, again, that's unfortunate because, looking back, though a bit HEAVY at twenty-two tracks, "Herbalist" was a pretty good album), but it was the first Chezidek/Tads's Records link. Eleven years later (ten for the disc), they'd do it again and, this time there would be absolutely nothing "unfortunate" about the results. Let's talk about it!

As I alluded to, when I initially decided to do a review on this album, a pair of things really stood out. One of them was the just how impressive Chezidek had been throughout his career. The first??? The first thing that hung around for me in regards to "Hello Africa" was just how OUTSTANDING of an album that it was. Even before I get into the songs and just taking a quick glance at things - I can tell you that while I still favour "Judgement Time" and "The Order Of Melchezidek" (by slim margins), I can't say that about any of the rest of them. That includes both "Harvest Time" and "Inna Di Road". "Hello Africa" was fantastic from beginning to end. That "beginning" was a real highlight in the form of 'My Life'. Previously, Chezidek hit in a major way with a song called "All My Life" from "The Order Of Melchezidek" and he had something else special on his hands with this similarly titled (but different) track. 

"When good people bad-

And real people get mad

It's gonna be so sad

Who is gonna save the world now?

The hurdles are so high!

The gap's getting so wide!

And still we won't run nor hide

Stand up on yuh feet when the time come

CANNOT WAIT FI DEP SEA FI DRY DUNG

TRAP-SETTERS AH LOOK MAN FI TIE DUNG

John Crow just ah wait just fi fly dung

Whole heap a youth ah live just fi die young

Juvenile ah save up fi buy gun

AND YOU KNOW SEH JAH NEVA DENY NONE

My life, my only life

My life, defend it with all my life

I know that I have all rights

Fighting down yuh brother is all that you know

Where are you headed?

Where will you go?

Then you say you ae the victim of injustice

But hatred and jealousy is all that you show

How can you what I've endured?

You never walked my way, I'm sure

LEARN FROM EXPERIENCE UNTIL THERE'S MORE

ONLY JAH JAH CAN MAKE SECURE

How can you trust when you hurt before?

How can you love when you're tricked before?

When you walk right through that door

Only Jah Jah know"

BOOM! Lyrically speaking, 'My Life' ranks EASILY amongst Chezidek's very best (like EVER) and he uses a very sharp pen to push a message about things like pride and understanding people and their situation to the best of your ability. To my opinion, BARELY, it is the very best selection on the whole of "Hello Africa", but there may actually be around four or five others for which you could make that claim. Next we find the artist calling for 'Freedom' on an inspirational piece which (is excellent, but isn't amongst the best here for me, showing just how strong it is, ultimately) has this big, beautiful and vibrant sound to it. It is that vibe which will grab your attention at first, but it advances on more than that. Relatively simple, 'Freedom' will grow on you! You will enjoy it more on the fifth listen than you did the first and I think that is due to just how well done it is. Along with that attractive vibes, you have a song which is well 'covered'. There's nothing which is wasted and, for his part, again, Chezidek writes a very nice song and one which will almost surely make you SMILE. The  moving call to action, 'March', was one of the singles from "Hello Africa" and it was another big tune. This one, from a bigger point of view, was one of the most crucial on this album and probably from the last few years of Chezidek's career on the whole. It primarily looks at institutionalized racism from a historical side. Fittingly, 'March' is somewhat of a bleak song at times and it never fully gets around to lifting itself out of that, but near its end, Chezidek (accompanied by some excellent horn-play) does begin to offer the listener something in the way of at least a little sunshine, suggesting that the work is necessary to be done for the benefit of the forthcoming generation ["We must overcome - through the powers of The Most High, for the betterment of the children!"]. Even if this one were kind desolate throughout, however, because of what it is about, it would have worked, but that kind of bright moment at its end is definitely a highlight. 'Because I'm Black' continues the them of 'March' and, arguably, even takes it up a notch. Though a few years old by the time "Hello Africa" reached, it seemed to get something of a 'second-wind' via the nice push it received for this album. I hear songs, albums full of them, which I always think are so amazing and I always wonder what may have happened to them if more people got the opportunity to hear them on a bigger level. Fortunately I won't have to wonder the same thing about 'Because I'm Black' and, when you hear it, it becomes crystal-clear exactly why this song deserved such a spotlight.

"The whole a alla wi-

A one family tree

Created equally

To live in harmony

Then why must I be-

Fighting to be free?

Don't make yourself to be-

Downpressor to me

YOUR HATE WAS ALL YOU SHOWED

WHEN LOVE IS WHAT WE NEED TO GROW

Don't come crucify I, because I'm black

You waan come persecute I, because I'm black

You waan come execute I, because I'm black

You waan come exterminate I, because I'm black

You waan come demonize I, because I'm black

You waan come false imprison I and I, because I'm black

Enslave I and I, because I'm black

Brainwash I and I, because I'm black

Deceive I and I, because I'm black"

There is a song on "Hello Africa" called 'Jah Protect I Life' which is, in full, about as COMPLETE and SATISFYING of a Roots Reggae selection that I've heard in a VERY long time. It is a SENSATIONAL song! There was a project that Bushman did years ago by the name of "Signs" and on of the biggest things about it was that it was recorded entirely (if I recall accurately) with a live band. And when you listened to it, you could hear the quality in the musicianship and the sonics linking so nicely. I don't know if 'Jah Protect I Life' was recorded like that (I doubt it), but it DEFINITELY has that quality to its sound. It just pushes this stinging level of... I don't even know how to explain it (I tell you all the time, I'm an old ass man). But I walk away from hearing it, thinking that someone really did their job on 'Jah Protect I Life'. For his part, the singer is sure to not waste the moment and we find him at the height of his powers, giving thanks and praises to a degree that has me now rethinking my selection of the best song I'm finding here. 'Jah Protect I Life' was downright MAGICAL. Later on we get another song which grabs me in a similar way, the MASSIVE 'Inna Dem Eye', on which Chezidek takes on a history lesson for the ages. 

"Twenty-first of April, 1966

King Selassie I made that visit

RASTA MADE DI BABYLON DEM LOOK LIKE RUBBISH"

He goes from speaking directly about His Imperial Majesty's visit to Jamaica, to things like His coronation and Bad Friday and really just takes a look at several significant events in the history of Rastafari. What really stands out for me from 'Inna Dem Eye', however -- even with its great sound and how wonderfully it is written and presented -- is the CONFIDENCE it exudes. And it isn't all positive and glowing ["Bad Friday, 1963. Coral Gardens, Montego Bay City. Under the order of Bustamante, dem kill and abuse Rastaman brutally. And still 'one love', Bob Marley, after all these atrocity. RASTA PUT JAMAICA PON DI MAP GLOBALLY. Reggae music internationally"], but he seems to be saying that, with all Rasta has gone through, the result is COMFORT. I've been scarred and battle-tested, I'm not afraid of anything you can bring to me. The name of the song; 'Inna Dem Eye', rings confidence. I'll put in your face. I want you to see it. I don't care how you respond. I welcome it in any way.

The clever 'No Guns' also sits amongst the biggest winners from 'Hello Africa'. The way this one was composed is so COOL because what Chezidek does, initially, is to show just how welcoming he is. It doesn't matter who you are, what walk of life you come from ["You can bring a draw of herbs or some roots or fruits or nuts will do. Bring your Quran, your Torah or your Bible"] or what you believe... but if you're bringing a gun, you can just stay home. We don't need to see you today (or tomorrow either). What subsequently develops is a unique anti-violence track with an infectious BOUNCE to it. I gravitated towards 'No Guns' immediately and it hasn't waned at all for me. It won't for you either. 'Standstill' may be the oldest offering on the whole of "Hello Africa" and, as he is the producer on the album, I'm thinking Chezidek included it because it definitely fit the theme of vibes of this project and he PERSONALLY really enjoyed it. I like it too!

"Turn to di hills from dem caan tek di vibe yah

Caan tek di suffering pon di streetside yah

Sew nuff seeds, but it hard fi survive yah

Caan find money fi buy fertilizer

SKILLFUL! MAN HAFFI GO SKILLED LIKE MACGYVER

LONG FINGERNAIL HAFFI GO TURN SCREWDRIVER

Hunger mek yah swallow yah pride with saliva

Inna dem yah hard, hard time yah"

It would have been nearly a decade old before appearing on "Hello Africa" so, again, it leads me to think that it was one which meant a lot to the artist for it to pop up here somewhat randomly. It is a relatively straight-forward social commentary at its core, but what I enjoy about it, specifically, along with its delivery (which finds Chezidek basically deejaying much of the song) is how he says that when people are struggling, we have to find other means to get by, lest we get lost in the shuffle and end not progressing at all. We have to 'hustle' in a sense and do what we can. It covers all of the other proverbial bases that you would think an offering like this would, but it goes a very nice extra step in making a mighty point. If you missed it the first time, 'Standstill' stands on a very high ground this time around [Note: He also has a tune called 'Still Standing', which is excellent. Just thought I'd let you know] ["Inna di middle of battle where mi find mi comfort. ACTION MI AH DEAL WID, LONG  TIME MI DUN CHAT!"]. And I also have to place the golden motivator that is 'Try Again' within this lot of my absolute favourites from "Hello Africa". This one has a lovely sound to it, but I am in love with its direction. As I have said in the past, I always appreciate songs and messages, in general, that stress just how NORMAL it is to make mistakes and to be unsuccessful at various things in life. It's okay. It is NOT okay to be perfect (if you're perfect you're an alien). It's not the end of the world (and if it is the end of the world, WHO CARES?! It's over anyway! You won't have any time to regret). 'Try Again' carries that wonderful notion in a gorgeous package and I would well recommend that you join me in spending a considerable amount of time listening to it ["Things work out, try again. It is not over when they say it is the end"].

Although I didn't mention them as favourites, the remaining selections here are very strong as well (you can just scroll ahead and see what I ended up scoring this one and know that I didn't do it on the strength of like eight or nine songs). Most notably amongst them is the title track, where Chezidek takes us on a geographical tour, musically of The Motherland. Gifted with, easily, one of the most beautiful riddims on the album named after it (it so nice!), 'Hello Africa', doesn't ruin the moment at all. Instead, it finds our star lyrically touching down all over the continent. During our travels, he takes us to places like Lagos, Addis Ababa, Lilongwe, Abidjan, Khartoum, Cape Town and several others. And the tune doesn't have 'wings' in the sense of trying to bring out some prevailing sentiment. It is LITERALLY Chezidek showing love and saying 'HELLO' to home. And I should mention (because I'm a nerd) a point at about two minutes and ten seconds in, where 'Hello Africa' SUBTLY presses the gas (when he says, "I don't ever wanna leave you. Never!"). It really hits another level of intensity and I don't know if anyone else thinks that, but it's a standout moment for me. Check the old school touched 'Unite' which came very close to being mentioned in the previous group (as did the next one I'm going to tell you about. Started writing both of them in there before changing my mind). Like a few songs here, 'Unite' will surely grab your attention from its sound, but if you take a minute and pay attention to what is being said, it goes somewhere considerably higher. 

"Let's unite!

LET LOVE FILL THE EMPTINESS THAT DIVIDES"

You've heard dozens of songs by this point teaching and preaching solidarity in the world (and you're going to hear many more), but hopefully this one sticks with you because it is does find a nearly perfect blend of sound and direction by its end. Later, Chezidek warns all to stary far away from 'Ungrateful People' and negativity in general, wherever you may find it. A piece like this can hit you in a variety of different ways. I like the kind of simple route, at least initially, which is in the small things. As I've gotten older I've tried to make sure I do things like say 'pardon me' or 'thank you' or apologize when I've done wrong. For me, the inability to do things like that are signs of being an ingrate. And if you push it further, you get to things like constantly complaining and whining (DONT NOBODY WANNA HEAR THAT SHIT!), while doing nothing to change anything. Clearly such behaviour bothered the artist so much that he made a song about it ["Dem no memba when dem down pon di floor. Now dem get big, dem no memba Jah no more. SI WI PON DI CORNERS AND TEK A DETOUR. JAH LOVE, DEM IGNORE"] and we're all better off because of it. The prevailing idea here, for me at least, is to try to treat other people better and just to improve yourself. And finally, not really, is bouncing 'Never Runaway From Jah'. If any song on "Hello Africa" gives you a chorus to continue singing long after you've finish listening to it, it's probably this one. As for its course, 'Never Runaway From Jah' is fairly simple: I love The Almighty SO MUCH! Going in any other direction is not an option for me. I wouldn't even think of doing it. It's foolishness. Again, however, good luck shaking this one from your memory. I'm not even listening to it right now and.... I'm singing it. 

But that isn't all! About a year after its 2020 release, Tad's Records did a very interesting re-release of sorts with "Hello Africa". The "Vinyl Cut" of the album featured THREE MORE downright appetizing selections for our digestion. 'Deliver Me', 'Fool and His Money' and 'Money Move' add nearly twelve minutes to what was already a HUGE set. The first of the three might be the best of them as every time I spin it, it grows on me more and more. It's just a very nice song about seeking the aide and protection of The Almighty and it is a gorgeous one of those. 'Fool and His Money' was Chezidek's cut of Tad's Old King Cole Riddim which was a remake of an older track, the I'm Just a Guy Riddim. Here's another one with vibes that will bring a smile to your face, but it isn't entirely a happy song, necessarily. If you don't know the TRUE place of money --it is important by our standards, but it isn't THE most important-- then you will mismanage, abuse and, ultimately, LOSE it. And 'Money Move' is similar to 'Fool and His Money' as they both deal with monetary issues and both check in across classic riddims. 'Money Move' was a previous single, also from Tad's, and received a nice push just a few years or so back. It is kind of the opposite of the track ahead of it as, if you DO treat your money properly and care for it well, it will return the favour and you can definitely enjoy yourself. Chezidek certainly is. And SPEAKING of money [!], I don't have any figures to back up this statement, but from everything I can tell, "Hello Africa" did quite well from a commercial standpoint. My evidence of that would be the existence of the vinyl cut. Initially released digitally, on CD and on vinyl (I do not know why it was called the "vinyl cut", both CD and vinyl versions have the same amount of billed songs, with the only difference being the order of one song (#2 on disc is 'Freedom' and 11 is 'Ungrateful People'. On record it is reversed, essentially, with 'Freedom' being #5 on side B), the album received a great deal of attention and should very well sit as one of the artist's highest profile releases to date (and I'm wondering what else might be in that line and definitely "Inna Di Road" would be up there somewhere, maybe even "Judgement Time", in retrospect). Furthermore, just LOOKING AT IT, it is a very well put-together release. The cover is uncomplicated, but effective and just beautiful, inviting and full of CLASS and respect.

Overall, I remember saying I felt confident that, while it was excellent, I still favoured both of the JSR albums over "Hello Africa", but after scrutinizing it now for the point of this review... I'm not so sure about that anymore. When I review an album and give it my highest score it means that I'm seeing either one of two things. The first is an album which is ENTIRELY spectacular from beginning to end. These albums have (for example) thirteen songs and thirteen of the thirteen are some type of amazing. They're also likely to contain one or two which will go down as all-time personal favourites as well. "Hello Africa" isn't that type of an album, but I'm thinking that it may be type 2. Those albums have CONSISTENTLY top songs. They are all of a certain level which is very high and I will find myself at a point when I'm nearly overwhelmed by how MUCH strong material I'm hearing. What "Hello Africa" may lack in the SPECTACULAR, it more than makes up for with a relentless persistence. By its end, in fact, a case could very well be made that it proves to be THE most consistent album from Chezidek, one of THE most consistent stars Reggae music has ever seen. Essential. 

Rated: 5/5

Tad's Records

CD + Vinyl + Digital

2020 + 2021

The Vault Reviews: "Break The World" by Fay-Ann Lyons

Her turn now. If I live long enough, I'm going to be damn interested to see exactly what history begins to do with a lot of the music that we cover. I'm curious to see if the stars from our current era become supremely revered in a similar way to those of older eras and I'm just as curious (maybe even more so) to see what I'm listening to these days which will some day grow into becoming that kind of a hidden/forgotten classic that we see so respected these days. When it comes to Reggae, perhaps slightly, the pattern may've already been set. Maybe if only for the fact that I pay so much attention to it, we've already seen an entire line of superstars enter a state of 'elder-ship', especially in the Dancehall arena, and we are already in the process of seeing it happening again. Previously, we had rulers such as Shabba Ranks, King Yellowman (who, I believe, is on tour as of the time of me writing this) and Super Cat who were names who not only found more terrestrial success in the Dancehall, but would go on to find an unprecedented level of global attraction as well which was previously unattained by the genre. Similarly (not really though, nothing is similar to this case), of course, there's the kind of mountain-figure in Roots Reggae that exists somewhere wayyyyyyyyyy out there whom we will refer to today as 'MARLEY'. Marley's particular case is extremely fascinating because we're also now beginning to see his direct offspring begin to age and on the way up is yet another generation of the first family of Reggae music. Back to the Dancehall, the next line of names which would follow Shabba and co., namely the 'three B's', Buju, Beenie and Bounty, have already entered into stages where we are beginning to look at what they have accomplished in terms of their legacy and not just their active careers. Of them, Bounty Killer is probably most interesting as he has inspired a line of up and comers, some of whom (like Vybz Kartel), themselves, have gone onto inspire and revolutionize as well. That will definitely be as big of a part of how history remembers him as any tune he has done. On the Roots end, in terms of the modern era, perhaps we also have slight indications how the likes of Capleton (especially Capleton), Sizzla, Luciano and Anthony will be looked upon by fans decades from now (twenty-five years isn't a terribly long time in actual time, but it is long enough to take a young lyrical genius from out of August Town and turn him into, arguably, one of the most influential artists the genre has ever seen). But history is like all time (future, present and even the past if you're willing to dig deep enough): It is unpredictable, ultimately. 

So, I have to admit that my curiosity is piqued when you combine something as erratic as time with something which virtually prides itself on its wonderful instability. When history links with Soca, what will happen? The artform, Dancehall's attention demanding (she doesn't really care if you pay her any mind at all... because she knows you will), amazing [slightly] younger sister, does not have the roots as its older sibling in terms of being at the highest level. You will surely find names who helped established the genre for what it is today, but if you know who people such as Lord Shorty, a Roy Cape and maybe even Superblue to some extent, you know them in a far more regional capacity than someone like Shabba Ranks. Instead, I think looking at Soca within the context of a historical point of view is MOST interesting when you consider it an ACTIVE process. If you are a fan right now, there's a chance you may've come up listening to Machel Montano and Alison Hinds and others (might throw Rupee in that group as well) and we are currently building a historical perspective in their cases, especially Montano's who we've 'known' from childhood, but it's difficult to say where it eventually goes as he's made his life's work something which, as far as itself, we do not know how history will look back on (and can you even begin to imagine what something like technology will do to Soca?!). And I look at and wonder about some of my personal favourites. If someday the genre becomes this highly lyrical art, Bunji Garlin definitely becomes something of a pioneer. If we begin to get an influx of these big, Gospel-like voices, we look at a Claudette Peters and say she was one of the first. I wonder what we'll think of Destra, Patrice Roberts, Skinny Fabulous, Problem Child, Mr. Killa, Tallpree. Are they genuine Soca legends thirty-something years from now?? And that's just them. I'm also wondering mightily how we'll look back on and attempt to qualify who and exactly what the hell the incomparable Fay-Ann Lyons was.

2014

Maybe people in the future won't have any idea either. In a genre which tends to offer some of the most spectacular moments that anyone has ever seen, there is definitely something to said for the select few who can manage to maintain some level of consistency. The argument could very well be made that, at its absolute highest level, Soca music has rarely seen anyone as dependable as Lyons. Previously, I would have said that the Trinidad native may've gone overlooked to some degree, especially earlier in her career, after she'd already demonstrated herself to be supremely gifted (she's forty now, she won Road March way back in 2003, when she would have been only 22) [DUH!], but these days she carries as heavy a hammer as virtually anyone in the genre. And, on top of that, while there do exist one or  two bigger names, the fact that she has spent the last decade and a half or so making as strong of Soca music as anyone cannot be denied. Daughter of the aforementioned mighty Superblue and Lady Gypsy (another esteemed Calypsonian/Soca artist), niece of Calypso, Gypsy, sister of Terri Lyons (very underrated Soca artist) and wife of the aforementioned Bunji Garlin, a very large portion of Fay-Ann's life has seemingly occurred around the music (it's the family business) and it is my opinion, that when all is said and done, we'll look back on her as being the greatest of her clan ["Tell them I am not my father. I'm bad like him, but the truth be told - LIKE ME, THERE WILL BE NO OTHER!"]. She has made some of the greatest songs the genre has ever seen and also put on some of its greatest displays as well - with my personal favourite being 'Get On', which should have taken the crown at Soca Monarch 2009 (actually robbed by her husband) (THANKS!) (well, technically the judges robber her) and year-in and year-out is amongst the largest of attractions in Soca music, ANYWHERE. Still, after that lineage and that career -- which would go on to net three Road March titles and a double Soca Monarch crown in 2009 (whilst very pregnant) -- maybe there was something missing from Fay-Ann's catalogue. If there was, back in 2014, she and VP Records attempted to do something about it, when they entered into an agreement to produce what would eventually be the very first album on an amazing resume (Lyons may have actually had an album before it, if I recall correctly, but good luck finding it). For the most part, even less so than Dancehall actually (which is amazing), historically speaking, Soca isn't a genre which has produced a great deal of studio albums from even many of its biggest names. Off the top of my head, despite making music for well over thirty years, Alison Hinds only has two to her credit. And you will see others such... well damn near everyone who either have NEVER had an album (like Skinny Fabulous, which is fucked up) or may have had one or two throughout the years which may be virtually impossible to find (like Denise Belfon (I THINK), Patrice Roberts and Mr. Killa) and have never reached the digital side (Roberts' first album, "Blossoming", did. However, that second one, "Looking Hot", is long gone) (which is too bad because it was fantastic). Of course, on the opposite end of that would be Montano who, nearing fifty years old now, has released an album virtually every year since he was a child. Looking at Garlin is also very interesting as his case may have led us to what would subsequently become "Break The World".

Like Destra (still my absolute favourite), Nadia Batson recently and maybe one or two of their peers (or, then again, maybe not) (although the digital avenue has changed things just a bit, as it has for everyone) Garlin has had a few albums in his career. He doesn't reach Montano-like levels, but it was back in 2007 when the Viking released "Global". That album was not his debut ("The Chronicles" was, and I actually own it on CD) (biggup Me!) (WHAT!), but it was the very first of what is now three to date to come via VP (the most recent of which, "Turn Up", would come six months after "Break The World"). At that point, the label had apparently (correctly) decided that enough of its more Reggae & Dancehall charged audience had become familiar with the flaming wordsmith from Trinidad. Lyons, herself, has also been a staple on VP Records' releases, Soca Gold primarily, with the aforementioned conquering 'Display' appearing on the 2003 edition of the series. So, although it may have (IT DID) take longer than we wanted it to, Fay-Ann's would officially break the world in 2017. There was also "Raze", a four track EP from VP which solidified the artist/label relationship back in 2015 (making for an agonizingly long two year wait for the full album's release) (biggup Spice).

I imagine that constructed a project would be quite difficult. Lyons surely has even casual fans who were capable of putting together a 'greatest hits' compilation for her in 2017. They would ultimately settle on the route of filling the album's ranks with more contemporary material. Personally, as a nerd, I would have put more of that classic material in but she has flames from every year and, besides, the fuck do I know about making albums??? I just write about them. And today we're looking the 2017 debut from Aza-Sefu, The Silver Surfer, The ViQueen, The HyBrd, Fay-Ann Lyons, "Break The World", which got up and going with one its real highlights, 'Hold On Something'.

"Run"

The Stadic and Wetty Beatz produced opener was chaos at its absolute finest as Fay-Ann dazzles straight from the studio to the road. The song borders on exhaustive, despite being just shy of three minutes long, but if it does wear your ass out, you will not complain. From a direct point of view, Lyons has this kind of raspy delivery, which shines here somewhere between faster vocals and nearly singing at times. 'Hold On Something' is one of her best songs of the past decade in my opinion. Stadic also helmed 'More Than Dem' as their mighty Marli Wood Riddim backs a still scalding Lyons. It probably doesn't matter very much, but it is interesting that, especially considering what follows, that these two similarly paced selections head "Break The World" and they do so not just in style, but quality as well. Now you take 'More Than Them' and 'Hold On Something' and contrast them with 'Girls', and it almost appears as if Fay-Ann and VP decided to give us all a small break. If your feet are tired from jumping and your hands have waved just too much in the opening five and a half minutes of "Break The World", then 'Girls' is your gift as a slower paced tune. It's not a problem for her either. 'Girls' actually grew on me a great deal. I never disliked it, but it does have some type of quality to it (especially when the chorus really opens up) which gives a very nice GLOW to the  vibes. I'm more of a power-ish fan when it comes to Lyons' music but, as she has shown many times, she is no one trick pony. The album's first of a trio of combinations, 'Buff', is next. Most fittingly featuring veteran Buffy alongside Lyons (no matter what she does, every time I see her Buffy's name, I immediately start singing 'Anything' in my head ["A man wit a Heineken, he wine on a mannequin"] and it turns the intensity back up from 'Girls', but this  time in a different way. Buffy has always been someone who has incorporated more than a little Dancehall in her music and, the combination with Fay-Ann is interesting because something like that isn't outside of Lyons' bag either. So what you end up with is this entirely colourful and infectious track, underpinned by another Stadic and Wetty production, the Egyptolic Riddim. 

'High Heels' was a most interesting single selection for "Break The World". Accompanied by Jus Now's Get On Riddim, the song is basically a Dancehall song (which may explain why they chose it) and, while certainly not a favourite of mine on this album, it isn't actually bad. I would have been really curious in the results had VP dialed up some classic Dancehall riddim and given Lyons a spin on it. I think it would have been amazing, but 'High Heels' wasn't bad either. 'Everybody Joli' is the second combination, this one featuring Garlin, who I may have mentioned once or twice already, as well as Joli Rouge Sound from out of Martinique. On the surface, 'Everybody Joli' is a pretty straight forward BIG sounding kind of medium paced Soca song. It does build in intensity, wonderfully, in spots and it just has a very nice vibes to it. However, what stands out to me is that it is very cleverly written at times and, in the midst of the jumping and waving you have the occasional burst of brilliance.

"When you si mi, si wi cause everybody, everybody joli, JOLI!

When wi party, wi party, like nobody

Everybody joli, JOLI!

WATCH YOUR BODY MOVING LIKE IF IT WAS A SYNERGY

AND DI SWEAT UPON YUH FACE EVIDENCE OF ENERGY

IF WI GO ANY HARDER

AND WI GET ON ANY BADDER

THEN THEY MIGHT CALL THE POLICEMAN FI WI TO STOP!"

You don't pay attention to it on such tunes and she probably knows it when she writes them, but Fay-Ann has done very clever things like this throughout her career (she has a tune called 'The Letter F' which is lyrical genius from beginning to end). The suddenly inescapable Stonebwoy (also appearing on Etana's "Pamoja" and Cali P's "Vizion" which we also recently reviewed) joined on the final link from "Break The World", the infectious and KNOCKING 'Block The Road'. This tune was a bit more 'fashionable' than I thought it would be from the title (a few dozen Soca songs you see with the word 'road' in the title and none of them sound like this one) (biggup Bunji, had an EXCELLENT one called 'Clear Di Road') and I might even call it more of a Dancehall tune than Soca. The song got a very nice push and was another official single from the album (which means you should find a video in here somewhere) (biggup Bredz!) and, again, when you take even an easy listen to it, you don't have to wonder too hard why that was. Speaking of getting a big push, there was also 'Raze', the title track from the pre-album EP which I told you about. This one was just DIFFERENT! It featured Lyons showing off those beautiful and versatile raspy vocals to supreme effect and it also kind of crossed some genre bridges as well. Lyrically, 'Raze' was Soca. It talked about things in a way which is inherent to the genre but the way it was displayed was (probably smaller) part Soca and Electronic and maybe even some other stuff I don't know the name of. Whatever you wanted to call it, for what it was, when I look back on Lyons' entire career right now, it's a standout and for more reasons than just being one of the most high profile songs she's done to date.

"Wake up everyone who's sleeping

Meet me on the road"

If it is possible to have a similar sound to 'Raze' -- and I don't know that it is -- then perhaps 'Catch Me' accomplished that. This one is even less Soca and drifts further into Electric waters and that isn't a bad thing in this case. You listen to 'Catch Me', SOMETHING about it will grab you. You will find yourself nodding your head or tapping something, I guarantee you. And I will also pull in the title track here which also has a very unique sound to it. This one doesn't rank amongst my favourites on the album named after it (although I know why they chose it as the title, because it is a fantastic title) but, like 'Everybody Joli', 'Break The World' actually does excel lyrically and if you follow it out a little more (like I always do) (can't help it), it has a theme of inspiring people to do things and spark a change in the world. That being said, however, the middle portion of this album does serve up my absolute favourite from its tracklist, the truly MADDENING 'Air Supply'. This one was two (or three) tunes in one. There is a wonderful moment about a minute and a quarter into it when 'Air Supply' kind of SPLITS IN HALF for the first time and becomes this super intense and completely STUNNING.... something else. It's almost overwhelming. And while it doesn't have that kind of stereotypical Soca sound which I do love so much (the rest of the album takes care of that), its attractive intensity is of an incredibly rare breed even within an artform which mastered that type of energy on the day that it was born.

The final lot of songs on "Break The World" were songs from a couple of years or so prior to the its release. They were all produced by either Stadic or Stadic along with Wetty Beatz and what they all shared besides producer and artist were that they were Soca. They're BEAUTIFUL pieces and modern Soca music and, for me at least, they all rate amongst the very best material on this release. My favourite here was probably 'Done The Party'. The tune may've been the biggest hit on the Oil Stain Riddim which was excellent (Skinny Fabulous' 'The General', which would net him the 2013 St. Vincy Soca Monarch crown and the truly RIDICULOUS 'Wrenk', by Lavaman also featured on the riddim ["MY BEHAVIOUR STINKS!"]) and is amongst Lyons' very best work of the past decade in my opinion.

"Lehwi end the party right now, before somebody gets hurt

Before some get  mad and want to take off their shirt 

Lehwi stop di party right now, before this really get dread

See that crew over there look like they want to wine on their head

Lehwi done di party right now, tings could really get tense

See the crowd getting antsy and they start to tear up di fence

Lehwi stop di party right now-

Cause a man running through the crowd-

And it looking like he fi shouting like, he fi saying like he waan-

MASH UP SOMETHING!"

"Lehwi end di party right now

Put everything on a cease

Cause the artist up there right now, have di people swarming like bees

Lehwi done di party right now

This could get outta hand

Cause the dem woman start to act crazy and waan wine on somebody man

Lehwi done di party right now and try to pick up di peace

Cause somebody might get all frightened and go and call di police

Lehwi done di party right now- 

Cause I see a man in di crowd and he running through and he pushing through and he looking like he waan - 

MASH UP SOMETHING!"

Vintage Fay-Ann Lyons, 'Mash Up Something' did something wonderful in showing off her personality and sense of humour which you will see in abundance when you see her live, but is difficult to capture on a record. She has this way of kind of criticizing or regulating intensity, sarcastically of course (CLASSIC example is 'True Lies') and 'Done The Party' is a mighty illustration of it. She's essentially saying that while she's performing, it is getting too crazy and out of hand, that before someone gets injured or worse, we need to stop this shit and go  home. You can go. I'm staying. The frenetic Wreck It Riddim (biggup Ralph) (first movie... not the second one) carried 'Doh Hold Meh', another significant piece in its day (best song on that riddim was Skinny's 'Mental Home') (MADNESS!). This one is Fay-Ann making a declaration that she will not be held back or down by anyone or anything. It's another very clever one but in a subtle way (I'm probably the only person ever who has used the word 'subtle' in describing 'Doh Hold Meh'). LISTEN TO IT! Don't listen to it as something which is going to change your way of thinking (unless you were attempting to hold her back), but listen to its details. It's a gem of a song. The Bitter Riddim is one of the heaviest Soca compositions that you'll find from any era and Fay-Ann puts it through its proverbial paces with her 'Drift' (Bunji also grinded it with brilliant bare 'Do It' ["When I do it. I do it mad."]. This song didn't break any new ground and it didn't 'take it to another level' (whatever that means and stuff), but it was thunderous for what it was and, really, just a fine display (all-around) of what Lyons is capable of. All these years later, 'Drift' was probably considerably underrated (and I'm pretty sure that I hear Tallpree in there somewhere). Anytime I hear the riddim for 'H.I.T.A. [Hands In The Air]' it just makes me SMILE. Why? Two reasons. The first was the fact that Fay-Ann Lyons made this song you may've heard of, it's called.... 'H.I.T.A. [Hands In The Air]' (I think it was on her last album, actually). It was DIVINE! Somewhere in that sweet, SWEET pandemonium exists a stunner of a track. It might just be the nicest listen on the whole of "Break The World" and is just one might display of melodic control: You could be REALLY hearing-impaired and still find a vibe in 'HITA'. The other reason it makes me smile, briefly, is because the same riddim backed 'Done' by Icon which is one of the greatest Soca songs I've ever heard. And finally, was the wicked tempters anthem, 'Keep Some' from Stadic's ViBeat Riddim. Probably one of her bigger hits from its time, 'Keep Some', again, found Lyons in a sterling form and really represents a period where history might look back and realize that she enjoyed a wholly SHATTERING streak of output and because of it, we all did.

Those last few songs, although a bit older and less attention-grabbing on paper, perhaps, really helped to 'flesh out' this project. Not just in terms of making it bigger, but adding some significant structure and QUALITY. The remedy for the question of how you build a debut set for such an already established name, at least in the eyes of VP and Fay-Ann, herself, was to go back and maybe not find 'greatest hits' types (like 'Display', 'Meet Superblue', 'Get On' and such), but to add proven more recent work and while I would've loved some of those older ones to be on board, by its end, I think they made the right decision. 

Overall, although already four years old now and with some of its material nearing a decade old, the thought that is in my mind foremost about "Break The World" at the moment is regarding just how FRESH it sounds. There is nothing dated here and, though I have heard some of these songs dozens of times over the years (if not more in a few instances), there's nothing stale on this set. On top of that, maybe it's Fay-Ann's style and her attributes help to 'preserve' her music, but even if that is the case, you still have songs on the album which seem very current and if you listen to her music now, you'll find grand similarities (big tune now called 'Something Special') to what she was doing. That stretch of quality that spurred the idea to have "Break The World" kind of never ended. I don't know when, exactly, it began, but it never stopped. So, if you are HISTORY; if it's thirty years from now and you've stumbled upon this review in doing research on Fay-Ann Lyons I'll tell you something: When it comes to Soca, she had virtually no equal in her era. She was one of a kind and, while you're reading this, she still is. Probably the best Soca album VP has ever done. 

Rated: 4.45/5

VP Records

CD + Digital

2017