Next?? I'd like to think that I'm at least a little discerning so it doesn't happen very often at all, but if you look at the history of these pages, you'll notice several things. The first, obviously, is that I talk entirely too fucking much; another thing you might notice is that, every so often, I'll come across an artist and IMMEDIATELY become a fan of theirs and turn into one of their more vocal supporters online anywhere. Think back to individuals such as Messenjah Selah (an odd example, I know, but I'm still relatively confident in saying that no one has still written as much about his music than I have), the brilliant Reemah and, of course, Funky Comfort herself, Sara Lugo. Well, though it may have been a long time since last we encountered such an individual (or has it??? I should probably also include the likes of Vaughn Benjamin, Norris Man and Mark Wonder), I'm thinking that I've recently come across the latest example of someone whose music is going to be receiving a whole heap of my attention on these pages and already has, the incredibly interesting Khalia.
(....Yes, I know what you're thinking and I agree. She is stunning!) Khalia, in her best form for me, might make the most refreshing form of Lover's Rock Reggae music that I've heard in a very long time. There is a very smooth and organic vibes to her work and as someone who wouldn't describe themselves as the hugest of Lover's Rock heads, she's the greatest thing to happen to Reggae love songs, again, in a very long time. She isn't a one-trick pony either and Khalia will routinely touch the typical topics terrestrial to Reggae music (like that, didn't ya), but when the Jamaican born UK grown songstress makes a song about that special someone, she SOARS virtually every time and it caught me! So, you know what I wanted and while that full blown project remains something to wait for, Ineffable Records have done something wonderful and released "Stay True", the debut seven-track EP release from Khalia. Not only has she shown great promise on her own, but she's done so under the guide of one of the greatest maestros the genre has ever seen in Tony 'CD' Kelly whose handiwork is delightfully all over "Stay True". So just to recap: We have someone who is quickly becoming one of my favourite artists today working alongside someone who has long become one of my favourite producers of all time, doing a brand of infectious music which she is in the process of making her own. You know I'm interested and, if you've read this far, I think you might be as well. Let's talk about it a little.
1. 'Waiting On You'
The first tune on "Stay True" is probably its very single that I heard after learning that the set was forthcoming and with its captivating old school bounce, by its end, it sits as one of its highest of highlights and I probably have an even greater appreciation for the tune today than I did when I first laid ears on it a few weeks ago now. 'Waiting On You' very quickly finds a groove that it settles into that is in the STARS somewhere and Khalia maximizes it to its full potential. This track is unfortunately quite short but, if you think about it, it's really an exercise in patience as Khalia finds herself waiting on her special someone and, CLEARLY, the girl just got tired of waiting. BOOM!
2. 'Didn't I'
I'm pretty sure 'Didn't I' was a completely new song to my ears and... the things that it does to my ears.... DAMN. What a truly GORGEOUS creation 'Didn't I' is. For me it establishes itself as the clear winner here early and though it is chased by some excellent work, by the end of "Stay True", it reigns supreme. The song also fully captures what I meant when I said that Khalia had a "refreshing" take on Lover's Rock as though I don't think anyone is going to find it as revolutionary or something they've never ever heard before, there's something so delightfully and comfortably MODERN about 'Didn't I'. My absolute favourite Khalia song is one you won't find here, the Collie Buddz produced 'High', but 'Didn't I' is definitely in the process of making a challenge to it.
3. 'Tings & Times' featuring Mortimer
The first of a surprising four combinations finds Khala linking up with Mortimer (who, at least at times, sounds a bit like Serani) and doing so in an ever so slightly different tpe of tune. At its core, 'Tings & Times' is surely a love song but, specifically, it's one about persevering through hard times and maintaining the love and the relationship. It also, at least for me, has elements which seem to reach between a romantic relationship as you could very well apply these concepts to.... friendships or family ties as well. It's just about DEPENDABILITY. However it sizes up for you though, I think we'll all be able to agree that 'Tings & Times' is also EXCELLENT.
4. 'Double Trouble' featuring Shaggy
If you were going through the first three tunes and came to the conclusion that maybe you needed a little BITE to the vibes of "Stay True", Khalia pulls in the great Shaggy for just a bit of spice on the all kinds of fun 'Double Trouble. You should know what to expect here, you've heard it dozens of times before but, as is the case here, when songs like this are done WELL, they are damn catchy and infectious and I would expect 'Double Trouble' to be one of the, if not THE most listened to selection on "Stay True".
"Worries and problems again
Yeah we make good lovers but we're terrible friends"
5. 'No Answer' featuring Tanya Stephens
There are very few bona fide geniuses in music --or in anywhere else in the world-- but Tanya Stephens is definitely one of them. The longtime Dancehall veteran lays claim (EASILY) to being one of the most intelligent minds the genre has ever come across and, even on paper, a combination between Stephens & Khalia is a big deal. In actuality it did not disappoint as the two come together on a GORGEOUS social commentary where they seek explanations for the way things are and, ultimately, come away empty-handed with 'No Answer'.
"Everybody know seh wah yuh fertilize di most have di highest probability fi grow
So why dem investing in crime and ignoring education?
Khalia, ask dem.
Wi waan know"
The vibes of the song are also top notch with a 'dramatic' scene painted around an old school set and what we end up with is definitely amongst the heights of "Stay True".
6. 'Stay True'
The severely R&B/Pop infused title track isn't a favourite of mine, but I won't completely dismiss it because of the message behind it. I'm going to tell you what to do if you hear this track on a superficial level and don't love what you hear; just do one thing. Go back and listen to the second verse on 'Stay True'. Listen very carefully and then cast your judgment on it. I don't think the tune is going to reach a lot of heavy Reggae heads (it won't) who'll not give it a chance, but when you skip it, you'll be missing out on a little lyrical gem (somewhat reminiscent, coincidentally, of Tanya Stephens' tune by the name of 'Do You Still Care', where you have a message built on different stories), but you do what you want.
7. 'Go' featuring Blvk H3ro
I also don't see 'Go' tapping too many people who come here seeking Reggae and Reggae all the time but, to its credit, it's even better than the title track in my opinion. This song, which features the helping hand of Blvk H3ro, is an inspirational trip which kind of grew on me a bit, especially during its middle portion. Khalia and Blvk H3ro deal with all the things they've grown through to reach their standings in life and how they still have to struggle to maintain it and to set a proper example for others who are to follow them. Again, I'd tell you to not just take what you hear on the surface before passing through 'Go'. It isn't a GREAT song, but there is DEFINITELY substance here and, should you give it a chance, you will find that substance damn hard to shake.
SO! I really hope you enjoy Khalia's music because if you hang around these parts (you have hideous taste in reading material, you're probably [you are] going to be hearing about her work quite consistently and you already have. This set gives a nice little bite of very impressive talent and one who we will surely be keeping an ear on in the future. "Stay True" is available right now on Ineffable Records.
Sharpened. I've always heard people say that there were two different types of intelligence: Book smarts and street smarts. Having much of the former is documentable; you probably have degrees and other accolades in honour of just how much studying you have done. In terms of street smarts, while actual, tangible PROOF of your 'research' likely does not exist, your lifestyle may as individuals who are resourceful and truly know how to 'hustle' generally lead pretty nice lives as far I've seen. Both sets obviously have their pros and cons when taken in their purest forms but, in the best case scenario, you'd hope to be someone who has a nice amount of them both in your life. When we take the idea of smarts and general intelligence and attempt to apply it to music, things can get [they do, 100% of the time] very complicated. If you take the idea of book smarts and apply it directly to music then we're thinking of someone who has spent a great deal of time, literally, in a music school and we never think of that (even when it is the case) when it comes to vocalists. It is far more the case of musicians/players of instruments (and that's interesting in its own right: The way we hardly ever call someone who is a vocalist a MUSICIAN) that we observe any type of formal education that they may've achieved. However, we have seen certain individuals who, regardless of how much literal education they've received in their time, have clearly shown themselves to be massive 'conductors' of knowledge and I -- as I am sure you have as well -- have learned a great deal from these people. They are, effectively, our teachers. That being said, however, 'BOOK SMARTS, alone, doesn't sound right. It isn't very entertaining just hearing someone teach you something with no musical appeal whatsoever - no melody, no tone, no anything! That's where a more organic and informal type of learning comes into play and, when you can find someone who is capable of blending these two aspects of information together, what you have there is someone who is truly special. I won't go too far into names (besides the one I'm about to spend the next few minutes telling you about, of course), but just to name a couple of these artists (who I typically don't refer to enough) - think of someone like Reemah. The Cruzan firebreather is capable of presenting her music in a way which is not only informative, but also expresses her opinion and do so without the results sounding clunky or overly-programmed, perhaps. I don't know how far or how seriously Reemah took her schooling (and maybe still does), but she strikes me as someone with an addiction for knowledge much like that other legendary Virgin Islands chanter who is a favourite around here. I'll also bring up someone like Kabaka Pyramid (who may just be a damn genius) ["I am a liberal opposer, practitioner of yoga"], Damian Marley and Jah Mason as examples of others who have demonstrated their ability to thrill us and challenge us mentally during their careers (again, there're others, but I constantly mention them so I wanted to change it up).
Everyone I've named this far make music which is, predominately, of the Roots Reggae variety which is a platform which makes it easier for one to show what they've learned from a book and, maybe, even what they've learned in everyday life. If you move the proverbial cursor to the Dancehall, you run into far more limitations in my opinion. Here, because of the inherent nature of the subject of the music (a lot of Dancehall music is about one of the '3 G's': Girls, Guns and Ganja) (and it has been that way for a long ass time) showing what you've may have picked up along the way in the brain region of the body is different. Still, in a genre which is basically backboned by street smarts (or a lack thereof), we do have a few examples of artists who have shown that they have a definite appetite for learning. I can recall during his early years how much people paid attention the background of one Vybz Kartel. In his earlier years we rarely heard his name without a mention of his academic pursuits and, although they were not 'lofty' at all, the idea was to attempt to explain how this lyrical wizard had come to prominence. I can also remember hearing similar things about the former Assassin (now Agent Sasco) and, to this day, Sasco is someone who ROUTINELY makes Dancehall music from an 'enlightened' point of view, pinnacling with his 2016 album, "Theory Of Reggaetivity".
2004 & 2006
Someone else who has made a far more than respectable career for themselves largely via the strength of her ability to convey a downright EXLPOSIVE wit and intelligence has been the all kinds of remarkable Tanya Stephens. To put it simply: When she's at her best, Tanya Stephens just always seems to know what to say. She can back herself into any lyrical corner and either dance out of it gracefully or crowbar her way back to center - there is always some nugget of wizardry at the other end. Stephens has the history to back it up as well, having been with us since the early 1990s'. Her style has always been loaded heavily on the street-smarts side, but Stephens has exhibited this with a level of progression which, at least from my experience, is emblematic of someone who has either spent quite a bit of time in a classroom or has otherwise a deep thirst of knowledge. During her rise, she was often compared to her contemporary, Lady Saw. In retrospect, an excellent contrast could be made between the two if you look at their more 'risque' songs, in particular. With songs such as 'Life Without Dick', If Him Lef' and probably a hundred others, Lady Saw was a battering ram of sexual energy at times (and an underrated lyricist and a FANTASTIC deliverer of the spoken word). Stephens, on the other hand was more adroit and her songs -- even the dirty ones -- provoked and required a bit more thought from her listeners. In my opinion, Tanya Stephens hit a peak in the mid 2000's on the strength of a pair of the greatest albums the Dancehall has ever produced: 2004's "Gangsta Blues" and "Rebelution" from a couple of years later (both released by VP Records). They were, collectively, GENIUS; and though much of the work that comprises those two sets features the artist at or near her best (DUH!), it wasn't out of character. It was, essentially, Tanya Stephens being Tanya Stephens. Prior to those releases her catalogue was already solid and was highlighted by an earlier pair of offerings from VP Records, "Too Hype" and "Ruff Rider" (the latter was nearly outstanding) (and, if you're interested (and you are), in 2009 VP released a lovely compilation, "Tanya Stephens: Collection Of Hits"), so there was ample reason to pay attention to Tanya Stephens, especially when she's in the album-making mood and, luckily, that is where she's at these days. Her latest drop, "Some Kinda Madness", is now out for your approval (or whatever else you want to do with it) (that's your business). In her two albums following her time with VP, Stephens has gone in two different directions. In 2010, there was "Infallible" which (was not very good) was given away freely online and you can probably still find it bouncing around somewhere and then there was "Guilty" from late 2014 for Sanctum Entertainment which I don't believe I had ever heard of prior and have not heard from since. For "Some Kinda Madness", however (THANKFULLY), things are much different as the new album finds the star teaming up with, BY FAR, one of the most trusted and reliable imprints in all of Reggae music, Tad's Records. Not too long ago at all we told you about the excellent "Two Colors" release Tad's did with the legendary Dean Fraser and Ernie Ranglin and, even recent-er (WHAT!) Tad's also did "M.O.A.M", the new album from sweet singing Hezron. It's like that. Tad's is the goods and they have been for a very long time. So given the circumstances, though the 'competition' isn't exactly the strongest, "Some Kinda Madness" became my most anticipated Tanya Stephens album in over fifteen years. Also, I've enjoyed seeing the early buzz surrounding this one as it has definitely shown just how passionate and plentiful Tanya Stephens' fanbase is after all of these years. Therefore, the only question remaining is how the album manages to deal with these lofty expectations. Let's find out.
The first thing you'll notice about "Some Kinda Madness" is probably its size. At nearly an hour and a third spread out over TWENTY tracks, with only one being less than three minutes long (strangely enough its shortest is also its strongest), the album definitely seems as if Stephens was intent on both making up for lost time and getting a lot of things off her chest. Unloading first is 'Be Who We Be', an anti-judgmental slap at those who refuse to give others their space as individuals. I took this one in a variety of different ways including maybe parents who're entirely too involved in the lives of their children (proud to say that I have never been such a father) to others just far too quick to spray the criticisms. It can have a really bad effect on people (and it's just annoying as hell also) and Stephens is sure to say what she thinks about such actions ["If you no like what you see, betta you take off on the next plane"]. 'Intervention' is almost funny, as the artist finds herself in a life-and-death struggle against... nature.
"Intervention, intervention-
Mi friend dem gather round and everybody ah mention-
Dem no like di type weh mi time ah spend pon
I guess dem forget my intention
Yuh si mi sekkle already, mi nah want another
And mi no waan meet nobody mada
That's why mi draw fi a likkle choppa wid some oil fi give
Ambition likkle but di dick still big"
Strictly looking for a good time with all of the serious things having worked themselves, Stephens is wondering what all the fuss is about. The song retains a subtle comedic edge to it throughout (strictly based on what is said) which helped to make it a favourite of mine after all was said and done from "Some Kinda Madness". Also, I'd point to a tune such as 'Intervention' as a good example of what you should expect if you haven't listened to much Tanya Stephens in the past. It is definitely a dirty song, but it is in a way requiring some level of thought on the listener; and it never threatens to dominate the tune in anyway. Next is 'Too Much Party', a tune building PRECISELY on its title. You see, Tanya's had a bit too much to drink and she had too much fun last night and today she has to pay for her actions. I'm an overthinker, of course, and I hear songs like this and I always attempt to find some greater meaning in it, but I was completely incapable of doing it here. I can't speak from experience, but I'm sure it's very relatable, but I do not get he full feeling that 'Too Much Party' is about alcoholism or anything like such, it's just about that single point of time where, maybe (CLEARLY) you overdo it and have to deal with what comes next. Like its predecessor on the album, 'Too Much Party' is also somewhat funny (considering that Stephens swears off drinking by song's end... well, at least until the weekend that is) which, again, works in its favour, ultimately. Things get really interesting with the downright intoxicating 'Zig Ziggler'. It's tempting as hell to listen to this one superficially and just enjoy the nice, tropical vibes to it, but if you choose to dig beneath that at all, you'll stumble upon a nice motivating and uplifting message. On ANY tune from Stephens, you definitely need to have the antenna up but I won't blame you should you get distracted on "Zig Ziggler' as it is also one of the easiest spins on "Some Kinda Madness". In that same discussion would be early single 'FIFTY' which places Tanya Stephens alongside Dancehall enigma, the Queen of The Pack, Patra. The infectious BOUNCE on this tune is the second strongest of its kind on the album (I'm going to tell you about THE best next) and the two veterans use it to make for such a fun time. 'FIFTY' is just VIBES! It does have kind of a bigger statement behind it, essentially saying not too overlook and underrate the elders and I also think it speaks, ever so slightly, to the longevity of its stars, but it is just a good time had and it's always nice when your typical listening routine leads you to Patra (who is in a fine form here) ["Forty good, but fifty ahgo better. Real goodas girl get tighter and wetter. Patra, di original queen, trendsetter. Have a .33 and buss it up like berretta"].
On track six of "Some Kinda Madness" is an absolute GEM of a Dancehall tune by the name of 'Aloe Vera' It sounds nothing like it at all but, for some reason, it reminds me of one 'Boom Wuk' from the aforementioned "Gangsta Blues". This Tony Kelly aided drop is the single finest moment on this release to my opinion, as it not only features a Stephens TOTALLY dialed in at her cleverest, but it also comes equipped with a soaring authentic Dancehall riddim which compliments it perfectly (DJ Sunshine's Bumpa Riddim). 'Aloe Vera' is the type of song I would have wanted to hear going into this album -- it would have been incomplete without it -- and from the very first time I heard it, it did not disappoint. The second biggest winner from this batch (biggup Batch) of songs is definitely the impressive 'Weight In Gold' which features the incomparable Nadine Sutherland. Sutherland's guest credits say that she just may be THE greatest 'featurer' in the history of Reggae music and her present can only improve what is there. 'Weight In Gold' is not an exception as the Kingston native actually 'threatens' to steal the show from Stephens, still in a good lyrical form, on a song all about instilling pride and self esteem into its listeners. A Sabrina Qureshi joins in on the jovial 'Jezebel', a tune certain to get people up and moving (my daughter absolutely loves this song) (Wife just cast her vote for it as well). I had to listen to 'Jezebel' quite a few times to get what was at the center of it and what I come away with from it now is that it's a story about a 'rule' breaking kind of heroine - a song meant to inspire people, women in particular. It's dynamic and damn pleasing to listen to as well with this inherently LARGE sound that it pulls. 'Blame It On Rock & Roll' is another big sounding selection and one I was kind of surprised to see here. There is a hint of a Reggae bounce here behind all of the other sounds you'll hear, but I don't love this song and it just may be my least favourite song on "Some Kinda Madness" altogether. By comparison (and just on its on), 'Not Today' is some damn ear candy. The song taps a version of an older riddim best known for supporting Israel Vibration's classic 'Same Song' (and you will find yourself singing 'Same Song' at times listening to 'Not Today'). This track grew on me a bit from the first few times I listened to it as I got more and more into the message of it. It's just a statement about REFUSING to feel bad and have a bad day. Sometimes you wake up and you feel entirely too good to fuck up that day and 'Not Today' is about THAT day. It isn't the most detailed that you'll ever hear Tanya Stephens and, at least as far as actually GOOD songs go, it's probably the broadest she is on this album, but it works!
Okay, for me, the first half of "Some Kinda Madness" is much better than its second. The most noticeable difference between the two is the music. The latter portions of the set features a variety of different sounds from Reggae to Rock to almost Country. There is nothing that really leaps out at me with the possible exception of the album's final offering (billed as a *Bonus Track*), by far its best in the area and one of its finest altogether. Before there, however, we do run into one or two others which did stick with me. The venerable Big Youth brings his signature joy to bejewel 'Reset' and, as always, makes it a memorable moment. Balanced by a classic composition, Big Youth and Stephens talk about that wonderful time in your life where lust and infatuation is in the process of maturing into love and how it makes you have to.... take a second and breathe sometimes to fully take in everything. Long overlooked veteran vocalist Singer J also makes an appearance on the very next tune, the well solid old school licked title track. This piece actually accompanies 'Reset' well as it deals with the wonderfully and beautifully chaotic NATURE of love and all the things that we do in the name of it. 'Some Kinda Madness' is a PERFECT way of describing and the song isn't bad either. In retrospect, it has grown on me substantially, really, and it ranks as one of the better songs on the album named for it. 'Feels Like Love' also leaves a nice impression, almost strictly on the strength of its vibes.
"There's an energy flowing through me
I don't know what it is but it feels so good, I said it feels so good
You got me bouncing up walls and tabled
Wide-eyed, bushy-tailed, up like morning wood
Like a morning wood
Hmmm, it's so good, I don't wanna reject it
I think it keeps us connected
It feels like love, so I'mma call it love
It feels like love
And so it must be love"
There is hair (a FOLLICLE) of some sort of different emotion behind 'Feels Like Love' which makes me think that maybe Stephens had a MOMENT on this song. At times it almost seems lke she's dealing with some feelings that you rarely hear from her. This one also represents one of the very few times where a Tanya Stephens PERFORMANCE threatens to overwhelm her words. Later on is a tune well worthy of attention as it jumps out on paper at you and it was probably the first song from "Some Kinda Madness" that I knew was from this album, 'Diamonds in The Sun', a combination with the also enigmatic (and utter genius) Diana King and, the king's daughter, Cedella Marley. From a strictly sonic point of view (as its title would suggest and make you hope it would be), 'Diamonds in The Sun' has a spectacular sound about it and it is a decent tune (Marley's vocals are going to make a lot of people wish she made more music), but it didn't really hit me with anything that stayed with me. You'll remember it because of the parties involved, without a doubt, but I don't know that you'll remember it for any other reason. The album's final guest, Kelly Shane, makes her appearance on a song that may stay with you for the exact opposite reason, the very interesting 'So Damaged'. You may not remember Shane's name (she's Tanya Stephenson's daughter and she has a VERY unique voice) (so maybe you should!), but you'll recall the unusual pacing of 'So Damaged'. The two sing on top of each other frequently, by design, and it sounds almost sloppy at times, but there is some quality here which has had me listening to it several times... wondering exactly what the hell am I listening to at times, but so be it. As I alluded to, the album's closer, 'Silence' is very strong. The word that first comes to mind in reference to 'Silence' is definitely "COMPREHENSIVE". What it does, it does it to a fine degree: Speaking out on the importance of speaking out. She thrills.
"Opinionate, pontificate
Replace, research and investigate
Victim-shaming, survivor-blaming
Villify the oppressed, justify the hate
How will the children ever be free-
When every time we talk about the internal enemy-
You beat them back into silence?
When I look at my people it's not too puzzlin-
To see how dem musclin and force di muzzle in
Got admitted, inna big house, free liquor guzzlin
NOW OPPRESSING EACH OTHER HAS REDEFINED HUSTLIN
And we can't even see we're into this together
KEEPS US BOUND TO THE FLOOR SO MUCH TIGHTER THAN EVER
THEY REFURBISHED THE SHIPS AND THEY ADDED SOME PLANKS
NOW WE BE PROUD TO WEAR THEIR NAME AND CHOP THE CANE
Volunteers, supervisors inflict so much pain
THEY WILL NEVER NEED TO CRACK THE WHIP AGAIN
AND THE PLANTATION SURVIVES ON SILENCE!
If we can't overcome ourselves and bounce confusion
Them I'm afraid there'll be no solution
I'm losing hope of reconciliation
Seems the train already pulled away from that station
I, never asked for a standing ovation
Just the right to speak, seated in my imagination
It's getting hard to resist in the silence"
Both extremely detailed and extremely broad at times, 'Silence' is lyrical WIZARDRY of the highest caliber and it's interesting that she chose a fairly specific social commentary for the time, making it, at least in my opinion, come through as both very organic and rehearsed (if that makes any sense at all) (and it probably does not). The song is the second longest on the whole of "Some Kinda Madness", at just north of four and a half minutes and it leaves absolutely no stone unturned.
I wish that I could say that was it but, in the name of being thorough (which is just my thing), I will mention the four remaining tracks here, 'Don't Hurt Me', 'World Goes Round', the very odd 'Serendipity' (thee longest song on the album) and 'River'. 'Don't Hurt Me' is Country-ish, it isn't terrible (none of these are), but I took nothing from it. It's break up, lovelorn... stuff. Pretty much the stereotype of Country music songs. 'World Goes Round' is Pop (???) and it sticks with me most because it has an annoying chorus. I do not like that thing at all. 'Serendipity' is strange. It masquerades as a children's song but most certainly is NOT. It's almost a parody of sorts for people who simply believe what they are told and Stephens seems to revel in playing the 'character' spinning this old weird ass tale. And for its part, 'River' is almost entirely unexceptional. I'll note it for the vocal performance from Stephens. I'm not going to sit here and call it underrated, it is not, but when she needs it, she has a solid, raspy singing voice which works for her. The album would have been better sans any of these tunes in my opinion and I hate to say that but "Some Kinda Madness" is a large project and it didn't need to be this big.
Overall, by its end, "Some Kinda Madness" does provide listeners, both new and old, with enough glimpses of the state-of-the-art processor that is the mind of its star. Sure, part of that (maybe a large part) has to do with its size. It's large enough to make a few fumbles and sweep them away (I would guess that the twenty tracks on this album were probably cut from a group of a few dozen, in deciding on what would ultimately be featured on the project). However, with that being said, it is not to the levels of the previously mentioned "Gangsta Blues" and "Rebelution", but that's fine. For me, "Some Kinda Madness" is best looked at as something of a 'catch-up' to what Tanya Stephens has been working on. Even when she was younger she was never the type to jump on every single popular riddim and, generally speaking, it has been my observation that she tends to become more active when she does have an album in the works (which is a pretty good way of operating). When you do arrive here and do begin to see what she's been up to, what you will find is that Tanya Stephens' wit remains amongst the very sharpest in the game and, again, although it may not steer her in this case to her absolute best, "Some Kinda Madness" let us into, BY FAR, one of the most calculated and damn interesting minds Reggae music has ever come across.
First up today on my radars is an excellent EP release from a just as impressive pair of sources as the legendary Tuff Gong releases the debut set from someone with whom it's well time you have gotten familiar, the potential LOADED Kazayah, "I Am Kazayah". Kazayah's is a name which has popped up and remained one to keep an eye on fairly recently and "I Am Kazayah" comes well anticipated by many - yours truly definitely included. The five-track release features some stellar material from both her previous recent work and completely new tunes (at least new to me), highlighted by the wholly THUNDEROUS opener, 'Rise'. 'I Know', which features MediSun and 'Mr. Sunshine', which is particularly delightful, also standout, but every tune here (the others being 'Let It Flow' and 'Sweet' (with its SWEET riddim)) all possess fine qualities of their own. The competition will surely be steep this year, but "I Am Kazayah" is probably at least in the discussion of one of the finest EP's Reggae has produced in 2022 thus far and if you haven't become acquainted with her wonderful music, now would be the time.
{Note: I started to write ' "I Am Kazayah" by Kazayah', but I did not want to insult your intelligence}
{Note 2: It's not like it's "I Am Kazayah" by.... Busy Signal or something}
Speaking of someone with wonderful music, also be sure to check the latest from one of the biggest Reggae talents from out of Israel, Queen Makedah, 'Clean Hands'. This tune featured on Makedah's most recent album release, "Peace Process" from 2020 and gets a remastered polish for its featured release here. The tune features lyrics in both English and Makedah's native Hebrew (at least I think that's Hebrew) and is backed by a GLORIOUS video clip presentation (which should probably be in here somewhere) that you also really should take a look at. Again, should you find this tune to be of your liking -- and you should -- also be sure to check out the balance of "Peace Process" as it features music of a similar level although 'Clean Hands' is probably THE class of its lot.
'Glory' by Jah Mason [Rebellion City Productions - 2022]
I have also been listening to quite a bit of Jah Mason music over the past couple of weeks or so and while primarily it has been from his older catalogue (the "Life Is Just A Journey" album, especially ["Some so captivating, manipulating - what's yours is theirs, automatically taken"]), I've also gravitated towards this relatively fresh single courtesy of Rebellion City Productions, 'Glory'.
"Hey, give The Creator the glory
No puppet-master story
Now dem going down slowly
Hey, give The Creator the glory
No puppet-master story
Weh dem ahgo do fi control mi?
Alright dem things no look as it really seem
Nah go mek dem shatter mi dream
Plant food inna di earth 'longside di green
Boil, mi cook, mi fry, mi steam
Mi wash, mi rinse, mi dry, mi clean
Check yuhself before you pick di beam
One door close, another let in-
AND NOW DEM AH WONDER HOW MI GET IN"
Aside from being an impressive lyrical display by the Mason, the vibes on 'Glory' have same a powerfully CHILLED appeal to them that it definitely has caught my attention. Jah Mason has, perhaps quietly, strung together a very strong last couple of years or so with big single releases and 'Glory' has to be considered amongst his very best in recent times for me.
Elijah Prophet 2022
HILARIOUSLY, after going what seemed like ages without releasing projects, it seems as if there is no stopping the venerable Elijah Prophet lately as, following last year's solid "Going Home" with Costa Rebel, the big voiced singer is back at work in 2022, most recently with a pair of outings. Coming from Zion Productions Music and Samaras Music, respectively are "Jah Calling" and "Crime Is On The Rise". The former is an EXCELLENT set (that I might review at some point), featuring big tunes such as 'One by One', the title track, 'The Truth' and others; while, for their part, the eight tunes which comprise "Crime Is On The Rise" also contain a share of highlights - such as the opener and title track, 'Guns Out' and 'Wondering'. I will say that, between the two, "Crime Is On The Rise" (a trait you most certainly would not have guessed based on the title alone) comes on a more old school and Lover's Rock type of vibes and I definitely prefer Jah Calling". However, altogether we have NINETEEN new-ish types of songs from one of the greatest and, perhaps, most overlooked, voices in all of Reggae music.
"Ruff Rider" by Tanya Stephens [VP Records - 1998]
And lastly, in the old and obscure categories, on my radar lately is a title whose reasoning for being there should go without saying (but I'll tell anyway in a few days), as I have been listening a great deal to "Ruff Rider" from the great Tanya Stephens on VP Records. You probably wouldn't think of such a thing given its title (and its cover) but this album, like much of Stephens' work, was a lot more than it seemed initially. There are some truly EXCELLENT, high-powered songs on "Ruff Rider", especially during its first half. 'Draw Fi Mi Finger', the all kinds of fun Gadaffi produced 'Big Ninja Bike' (across the woefully underrated Nice Little Baby Riddim) and 'Cry & Bawl' alongside Bounty Killer being some of the best of them, but the latter portions of the set (sixteen tracks long) also served up memorable material such as '1-1-9', 'Man Fi Rule' ["Man fi rule: Dat a di plan yah. But nah go rule Tanya"] and '#2'. For what it was, in retrospect, it may have been one of the most underrated Dancehall albums of its day in an era which was very good for Dancehall albums (...and how I miss it so!).
Hills. The vast majority of the reviews that I write tend to fall in one of two categories. The first and most obvious and most prevalent are albums of artists/labels/riddims that I either have a history of enjoying or, at the very least, have some quality at that particular moment that makes me confident that I will like it in some way. Be it something as cemented as the last review that I wrote, for a Pressure Busspipe drop called "Rebel With A Cause" - which was a situation involving a favourite artist of mine on a favourite label of mine (I Grade Records) in a collaboration which had already been proven to be fruitful (there was no way in hell I was not going to LOVE that album); or even just a track that I heard that seems to portend that I might have ears for the fuller experience - there's something positive that is going to draw my attention in the first place. Even within that scope, however (and fortunately because it is fun to review albums that I do not like sometimes), I do run into material that doesn't turn out very well for me, so there absolutely are no and can be no guarantees. Today I thought we'd do things a little differently as we're going to take a look at someone whose music I have found myself not 'not enjoying' at times and flatout 'disliking' at other throughout the years. Even if you love music, even of a specific genre, if you listen to enough of it, HOPEFULLY you'll run into it done in a way or by someone that just doesn't resonate with you for one reason or another (if you're someone who likes each and every tune of whatever genre, you are a ridiculous person) and I have encountered a few people who are like that for me over time. Maybe one of the most apparent instances of this would be Alborosie. I couldn't even begin to explain it and I have no problem with the man achieving the damn high levels that he has reached and even going higher (though I do give Alborosie his respect for a track called 'I Wanna Go Home' - probably one of the finest I've ever heard in my entire life). There's also someone like Gyptian who has enjoyed spells as being one of THE most recognizable names in all of Reggae music (and he's not even forty years of age, I would think he may even have another run left in him actually) during his career but, outside of the occasional tune here and there, I just don't get it. The Morgans would be a similar situation as I've never found the greatest of comfort in listening to what is probably Reggae's 'second family'; and from its first, neither Ziggy nor Julian Marley have consistently made music which has done much for me (...neither has Ky-mani, really, though he has what I consider to be a borderline modern classic album in his vault by the name of "Many More Roads"). There're a few more that I've ran into who have established at least respectable careers, but who have done so on the strength of vibes which don't seem to travel in my direction.
Like who??? A healthy dosage of these artists can be found in the Dancehall by some chance. Apparently, I don't have the stomach for mediocre Dancehall artists and I have come by an unfortunate amount of them in my (many, MANY) days (on the other hand, I can easily digest mediocre Roots artists, but when the genres are performed at their absolute best, there is nothing like the THRILL of an extremely gifted Dancehall star) (it is a one of a kind feeling for me even still as an old ass man). So I've never been the biggest fans of names such as Buccaneer, Predator, Danny English, ALOZADE and a whole heap of others who have, again, achieved some level of stardom and respect and, for their fans have provided years of excitement (and there's nothing wrong with that, at all). Interestingly, another name who would find himself firmly planted near the head of such a list would be a veteran by the name of Bling Dawg. So what was it about Bling Dawg??? Quick to point out his alias, Ricky Rudie, I hate to say it but I think Bling Dawg just annoyed me (and I didn't even like his name. At the time he came to prominence, the word "bling" had been fully worn out and flat out bullet-riddled. I was tired of hearing it). So much so was it the case that I'd hit a point where I didn't really even pay attention to his music. He was extremely popular at points and you'd see Bling Dawg's name attached to some of the biggest riddims from some of the genre's greatest maestros. Don Corleon, Lenky, Daseca, Scatta, Burch, Steely & Clevie and a whole heap of others voiced Bling Dawg and he did register with quite a few hits in his day and was probably one of the most consistent artists the Dancehall had altogether at one point, but to be completely honest, without looking it up I couldn't name you a single Bling Dawg tune that has stuck with me to any degree, for better or worse (meaning, I cannot tell you one that I love or one that I hate) (Shit: Even after looking it up, I still can't say that I'm familiar with any of these songs, though so many of the compilation album covers are old favourites). [note: For some reason, I distinctly remember the first time heard of him, people saying that Bling Dawg was making a comeback of sorts. This would have been in the early 2000's, I do NOT recall hearing of him prior to that at all]
But things don't always have to stay the same, do they? Nope. They don't. A number of the Dancehall acts from the early 2000's never got around to doing full albums. Individuals that I've mentioned already like Alozade and Predator (even though he signed a deal with Greensleeves Records) at the pinnacle of his 'Head Nuh Good' popularity, the project never actually materialized) and several others (Zumjay, Hollow Point, Danny English and the likes) (Desperado, Calico, Jagwa) (I actually ended up liking some of Desperado's music) did not either and Bling Dawg was one of them. Given his particularly persistent level of acclaim (and the company he kept) (more on that later) it is somewhat surprising in retrospect, but the Bling Dawg album --which I do recall being discussed and seems like a natural step for the once mighty Greensleeves -- did not come around (biggup Collie Buddz).... but it has now. Almost ridiculously, bright and early in 2022 the debut album of loooongtime Dancehall star, Bling Dawg, "Elev8", has now reached and it is not at all what I would have imagined. The release comes via of the artist's own Dawg House Productions (and he takes executive producer credits), as well Creative Titans Music, who has been doing a lot of biig dealings as of late and figure to do more later this year (HOPEFULLY we get our paws on "King Of Kingston" in 2022). Unbeknownst to me, Bling Dawg had spent the majority of the past few years inactive in terms of making new music, but ultra-active as far as his personal life. So he enters this latest portion of his life and career having discovered Rastafari and lost a great deal of weight (biggup Bliing Dawg!) as well. So as I read up on him, thinking it would be fun to write for this album, I was very pleased by what I found out and figured that this was as good of an opportunity as any if I were ever to really dig into the work of Bling Dawg.... and I was right (for once). We have seen career path changes previously in Reggae music with probably the most noted instance being that of Buju Banton a really long time ago. Had Buju continued along the path he was going, his skill and appeal may've seen him as one of the Dancehall's greatest champions of all time (and you could make the case that it still has), but he has followed a more spiritual path and, despite what may have been for him, you can well say that he made an excellent choice in following his heart. Capleton also underwent a similar transition and you can well see that it has also worked out for him, to say the least (we've also seen shifts from the likes of Spragga Benz, Frisco Kid and I think Chuck Fenda very early on in his career as well). Bling Dawg is older than Buju and Capleton were at the time and while I do not foresee a similar future for him in terms of his stardom, the early buzz surrounding "Elev8" has been damn impressive to the point where I, personally, had gone from thinking about how interesting it may be to analyze to thinking that it just might turn out to be a pretty good album! Though I didn't have a great opinion of him, it is quite clear that his peers and, as I said, the producers, all had a very high level of respect for the DJ and his abilities. So were there ever a chance for me to finally catch on, "Elev8" seems to be it.
So was it??? Kinda. Though by the time I got around to listening to it, my thoughts of what "Elev8" might be in terms of its quality was much better than it would have been at any point prior, I still wasn't sure exactly what to expect in its sound and its course. What does end up happening on the very DENSE set (seventeen tunes with an intro and outro and over an hour in length) is a fairly straight-forward Roots release which provides even this most cautious of observers with more than a few exciting moments. Following an intro (which, literally, sounds like music you'd expect to hear playing behind the opening credits of a drama/fantasy type of film) (biggup my Wife. Those were her thoughts and I agree) we get to the opening selection of Bling Dawg's debut album, "Elev8", the star-studded 'Yo!'. The tune not only features singer Christopher Martin, but is also helmed by Reggae super star Damian Marley and, if I recall correctly, was the very first official single off the project. 'Yo!' was kind of magical and it has no equal on the album that I can find. While it comes through as very general, with so many different topics being touched both directly and indirectly, everything it does touch, it does impacts deeply. I can remember hearing this one for the very first time and thinking that it sounded absolutely nothing at all like the Bling Dawg that I can remember hearing - I didn't know he could do something like this and I was tremendously impressed one song in. Bob's youngest son also steers a later selection in 'Married To Music'. This one samples the handiwork of the legendary Barrington Levy and (probably to me and me alone) sounds somewhat Gappy Ranks-ish - and I don't mean that in a bad way (biggup Gappy). Next we go spiritual on the wings of 'God Is Amazing', another impressive effort. This one is very strong and I actually read an interview where Bling Dawg named it as his own personal favourite on "Elev8". It doesn't quite soar above the opener for me, but it isn't totally surprising that he chose it. The star, for me, is the sonic appeal on this one. It sounds SO nice and when you add the nice and uplifting message, you have some powerful material on hand. The similarly guided and delightful 'Father God Guide Me' follows 'God Is Amazing' and it may be an even stronger track. I've actually found evidence that this song may be as old as a dozen years old, but I don't care at all. The RIDDIM on this song is SO BEAUTIFUL! IT IS SO NICE! Production credits is given to Dog House and Starplayer Music and a big credit it is, because this thing GLOWS behind Bling Dawg who uses the opportunity to give another big shout to The Almighty. Sticking with that theme, later there is a song called 'Prayer We Use', to which the always interesting Popcaan lends his talents. Though this one doesn't hit me in the same way as 'God Is Amazing' or 'Father God Guide Me', I wouldn't at all be surprised if I'm in the minority in that (especially since virtually everything Popcaan touches seems to do major damage these days) and the Bling Dawg produced drop may have a similar future in store for it as well. Also winning near the head of "Elev8" is the golden oldschool licked 'Step Son'.
"Dem caan push mi dung a step and call mi no step son
Breathless fi mi goals, a so mi mek run
Every idle leader bout yuh fi step dung
CAUSE AIR-CONDITION NAH KNOW SWEAT RUN
Fifty-two card inna di deck player poker
Four king, so mi fresh, mi walk pass di joker
Night-stand no inna nuttin wid sofa
IF LIFE DRIVE MI CRAZY THEN WHY NEED A CHAUFFEUR???"
I was almost sure that I'd heard 'Step Son' somewhere previously but, as far as I can tell, it's an original for "Elev8' and it is EASILY one of the album's best offerings.
As I said, in his time in the industry, while he may not have made a fan out of me (though we may have to talk about that later), he's earned a whole heap of respect and made a ton of friends and several of them, along with the aforementioned Popcaan and Christopher Martin join him throughout "Elev8". On paper the biggest one makes his presence known on the Bulby produced 'Buss A Road' as it features the "King Of Kingston", himself, Bounty Killer. There is a wonderful documentary that goes along with this album (which you will certainly find in here somewhere) (biggup Bredz every single time) where Bounty features prominently and, at one point, they show a photograph of the two together from "like nearly thirty years ago". Bling Dawg is double his size and Bounty looks like a kid. That just goes to show how long these two have been friends and CLEARLY the Killer had to be involved here. Such a background would also seem to forecast a big tune as both would recognize the moment and put forth a big effort and that is what happens with 'Buss A Road' as Bling Dawg and the Killer deliver a collaboration befitting of both their musical and personal chemistry. The outstanding Romain Virgo tags in on 'Pride'. This one was another single I believe and it was an obvious choice given just how easy of a listen that it is. Originally I had referred to 'Pride' as a "love song", but I don't think that it is quite that. Instead, I would say that it is more about having a high self-esteem and confident ["When mi miss yuh presence, baby girl a yuh mi call. Mi waan wi stick together like concrete to wall; like basket to ball, like winter to fall. Mi nah tek you no shopping, girl mi waan purchase di mall"]. And though it features no one besides Bling Dawg alone, I do feel compelled to mention 'There She Goes' right here because it is quite similar to 'Pride' and it immediately follows it as well. Though more of a stereotypical lover's selection than 'Pride', 'There She Goes' is almost the other side of that song as, there, we heard about someone carrying themselves in a proper, upstanding manner; while here we look at what happens when you do that. 'There She Goes' is largely about how others respond to that person as if you treat yourself well, others will pick up on it and it will make a very positive impression. Earlier, I had mentioned how I wasn't the biggest fan of Morgan Heritage either and the Morgans, coincidentally, join Bling Dawg on 'Feelings' here. This is just a NICE song. It's very enjoyable to listen to and it has the more typically BRIGHT sound that I generally attribute to the Morgan's music. I have no problem with it at all. On the opposite end of 'Feelings' would be 'Tables Turn', a track I was damn interested in hearing because it has the work of someone who most certainly is one of my favourites, Busy Signal. It took a bit of time for me to warm up to, surprisingly, probably due to its kind of overly-simple computer riddim (it sounds like something from an old Nintendo game) (which isn't a bad thing really, but it is..... damn odd). I've said it in the past that Busy Signal is truly one of a kind and when he's long gone, I'm thinking people will celebrate him for the inventive artist that he is (I'm not waiting (because I likely won't be here either), I'm throwing the praises at him right now) and he thrills on 'Tables Turn'.
"Rough inna di start, none a dem no tek wi serious
Now look at how those kids they wanna be us
Ready fi di fight because a Massa God ah lead us
HEAR THIS: MI SHELL DOWN DI WORLD LIKE A PEANUTS
Mi press delete pon dem negative speech
Some get complacent inna di place weh dem reach
Neva get weak and when di journey get steep-
Dog mi hold mi owna set and caan get impeached
Far man ah come from and no bridges neva burn
Look how di tables turn
Look how di tables turn
Look how di tables turn
Haters dem ah talk, but dat no stop wi, still ah earn
Look how di tables turn
Look how di tables turn
Look how di tables turn"
Now, with all of that being said, when I saw the lineup for "Elev8" one of the selections, above all others, caught my attention and it is the final combination, 'Seh Dem A Love Yuh' which pulls in the downright brilliant Tanya Stephens. The 'back and forth' between the two on this track is damn impressive as.... pretty much everything is for Stephens when you catch her in form. I'm hoping this shot is a signal that she may bless us with a musically productive 2022 because Reggae is a much better place when Tanya Stephens is around and a HUGE accolade goes to Bling Dawg for tapping the veteran for this release ["You show dem love, yet dem still hate you same way. Caan blame dem: Mi code it inna dem DNA"] on a vibe telling everyone to be careful who we spend our time with.
Bling Dawg does have a few big cards left to play on "Elev8" and probably none of them are bigger than the GOLDEN 'Walk This Way'. Another production collaboration between Dog House and Starplayer, this tune is such a beautiful and powerful vibes and the artists uses them to make a very interesting composition. 'Walk This Way' is seems to be really streamlined in terms of its ideology and what I ultimately took from it (besides how nice it is, if I haven't mentioned that already) is the idea that everyone has a choice to make and he's right. You may not have a choice in terms of where you are and who/what is around you at all times, but we're all responsible for our own actions and what we choose to make of our lot in life. 'Walk This Way' is a definite highlight here and one of the best tunes Bling Dawg has ever made in my opinion. 'Gaze' isn't quite on those levels for me but it is very strong and it actually kinda/sorta expands on the thoughts expressed on 'Walk This Way'.
"You've gots to give
You can't live and expect fi get
Dreams do come true
Apply yourself, move ahead of regret
No bodda live wid di notion bout Jah know di tings set a way
When ah gaze you did ah gaze and expect benefits
Gaze you did ah gaze so you caan win"
Here, we have a kind of a kick in the ass courtesy of Bling Dawg. This anti-procrastination anthem is directed towards any and everyone who sits around waiting for something to happen -- for better or for worse -- instead of getting up and at least trying to better them. The social commentary 'Facts Of Life' is another at least solid offering with a sweet, sweet riddim backing it ["If you poor then you will face affliction. A no every man can sing a song like Gyptian"]. This one is a bit harder than some of the others as, here, we look at certain things in life simply being the way that they are. They may be changeable in the short term, but we will still have to deal with them in one way or another as people. I don't know what're the future plans in regards to "Elev8", but I could easily envision 'Facts Of Life' receiving some type of push because I think it would be well-received by the masses. The same maybe could be said about 'My Struggles'. Riding a cut of Buju's sublime Steppaz Riddim, Bling Dawg serves up one of the album's real highlights in discussing how difficult (impossible) it is to walk in another person's shoes. I am actually predicting 'My Struggles' to get some type of a bigger look and be that the case, it will do well ["Mi tell miself mi nah go shred like lettuce. Mi pray fi mi blessings and say thanks when mi get it"]. And finally (although there is an outro which is literally five seconds long) is 'Nah Follow Trend'. This one got me to thinking of a prevailing idea in regards to "Elev8" which I will elabourate on in just a second, but it is a nice selection particularly on the lyrical side ["Yard sale, everybody, dem, sell out"] where the artist deals with the wonderful amazingness of originality and individuality. I would have maybe even preferred if this one were on the lighter side actually to have some type of contrast in the sound (more on that too momentarily), but for what it is, 'Nah Follow Trend' is nearly a big tune.
Overall, yes, "Elev8" is very much a matter of a well known and accomplished Dancehall artist making his debut album with what is a Roots release. HOWEVER, this is a very MODERN Roots set. Even the material the will give you vibes of yesteryear (like 'Step Son' and 'Married To Music') do so through a very new school filter. There is nothing wrong with that at all, but you shouldn't head into listening to "Elev8" expecting to hear Roots in its most traditional form, at least not in my opinion. Also, there're seventeen different songs here which is, obviously, kind of overstuffed (although, in his defense, people have probably been waiting for this album for twenty-something years so Bling Dawg clearly wanted to make the most of it). Because there're so many of them, I would have liked to see more deviation in the sound. There is a certain 'base' in terms of vibes on "Elev8" and nothing really seems to stray too far from it. It is an album desperately in need of a changeup (I cannot think of one as I sit here) (maybe 'Father God A Guide Me') (.....no that isn't it, I just REALLY love that riddim). Aside from that, and just in judging it based on the material that is here, "Elev8" is just fine. It is a much better than average release from someone who, maybe as recently as four or five years or so ago, I wouldn't have thought of delivering such results FOR ME. While "Elev8" probably doesn't suddenly make me want to go back to the Dancehall years of Bling Dawg to see what I maybe missed, it is easily enough -- going forward -- to point my attentions in a direction which I have spent so long intentionally overlooking.
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.
