'Above & Beyond': A Review of "Pamoja" by Etana

Even more. There is a certain category of individual who exists in music, sports, films and virtually all forms of entertainment that we refer to as the 'one hit wonder'. These are individuals who either strung together a brief stretch of success, in one way or another, or who, LITERALLY, just arrived with one single act which earned them the label. Furthermore, the distinction is incredibly interesting because it exists in forms of both stationary and evolving. If you come up out of nowhere and score with a massive move, the immediate presumption is that.... you just may be a one hit wonder, with the only way around that being that you have some type of history to suggest that you may be forthcoming with output of a similar level. Therefore, while something may be your BIGGEST act, it has been preceded by smaller ones which have already demonstrated a particular level of talent. In the evolving sense, provided you are able to follow that initial strike with material of, perhaps not the same degree but sizable still, while you will distance yourself from the moniker, you will not escape entirely just yet. So if you score a big goal one year and have a decent season the following year, you will essentially buy space from the label. This ultimately leads to one of two directions. The first, and curiously most celebrated, is the 'BUST'. This is a sad and unfortunate group of individuals of briefly showed promise of some type but would conclusively fail to live up to the billing when all was said and done. And then we have the case which is so underrated and so ignored that it doesn't have a cool name like "bust". These people scored that goal and then, the next season, scored even more and even more then next season and so on. Seemingly, the only thing missing in their cases was either the time to develop or just an opportunity. Today we take a look at someone who, when I first saw that she had a new project reaching, the thing that started going through my mind was just how fruitful and successful she had become following a nascence which made everyone think that she would end up exactly where she has. 

Etana

Of course we're talking about 'The Strong One', the wonderful Etana. Etana has long ago paid her proverbial 'dues'. She's been on her proverbial 'grind' and she's checked the proverbial 'boxes'. She's also, in the process, constructed one of the most remarkable careers in the whole of modern Reggae music and has become one of the genuine faces of her respective era. While she may have several peers (who are very successful) about whom you cannot say the same, you simply cannot tell the story of Reggae, from about 2008 or so until now, without mentioning her name. Doing so would be doing a bad job of it and just damn incomplete at absolute best. Furthermore, Etana's rise has, splendidly, come along at a similar time as so many other remarkable female voices and I am sure that, given her higher profile, so many fans have come to the genre interested in learning and hearing more of her and her music and have walked away fans of Jah9, Queen Ifrica, Queen Omega (....not a single new Queen Omega album in about 200 years) and others (LIKE REEMAH! WHAT!). I'm also just as sure that she has driven the genre, in general, to a very captivating place which is entirely more palatable to newer fans of the music. She's also done a fine job of impressing old, jaded asses like You and I as well. Before we really get into the new project, I should also mention the way in which her image has evolved through the years. When we first began to hear from Etana ('the strong one years' - to this day, one of the coolest damn nicknames you will ever come across in music), she was a Roots artist (even had a big early hit called 'Roots') ["You caan wata down and dilute. You caan hide di truth from di youths!"] [BOOM!]. She sang songs about His Majesty and love ["I'm a whole lot of woman, full of everything in love is worth. FOR YOU TO HAVE ME ON YOUR MIND ALWAYS - YOU MUST BE CARRYING THE WEIGHT OF THE EARTH!"] and improving the ills of society. They were refreshing for several reasons (not the least of which being the fact that she sounds like an angel 100% of the time), but her music very much fit into the scope of modern Roots Reggae music. And as she developed and evolved this remained the case but Etana would began to 'stretch' her game and add different facets (about to tell you about one of them now), but she's always maintained a certain status. Etana is class. Her music is of a certain quality and she carries herself in a certain way. If you enjoy it (and if you don't you need to find something else to do besides reading this big ass review), you will always enjoy it, because it will not dip.

"Etana: Live In London" [2018]

Unlike a Turbulence and Ras Attitude, who we have covered following our hiatus, Etana has been damn busy on the album front. The last album we dealt with was 2014's golden "I Rise" set. Since that release (which would have been her fourth full release), she has followed it with a pair of studio releases, "Reggae Forever" of 2018 and "Gemini" from just last year. Also mixed in there was an outstanding EP called "Dimensions" from 2019 as well as, FANTASTICALLY, a live set, "Etana: Live In London", also from 2018. She's also been consistent in releasing singles, she's maintained her activity (she even made a tune with PAILLE! You remember Paille?! Nina Dancehall scarecrow!) The live album has long been an under-produced project in Reggae in my opinion and I was SO happy that she blessed us with such a set which featured several of her biggest tunes. It should also be said that she's developed behind the scenes as well. All four of her first albums came via VP Records, but since then she's branched out - working with Tads (biggup Tads) for "Reggae Forever" and a small imprint called Freemind Music for the others.... OF COURSE, Freemind Music is her own damn label (she had a big song called 'Free', which I am suddenly incapable of listening to these days. It utterly DESTROYS me and turns me into a puddle), she does her own albums now and I believe she's also signed artists of her own. So, it should come as no surprise that Etana, for the fourth year consecutively, has returned with a brand new set, the very colourful "Pamoja". The title of the album is Swahili for 'together' and, listening through it initially, it very snugly fits the vibes around it as well. I hesitate to use the phrase 'concept album' (because I remember seeing it often years ago and... not really enjoying it. Pretty much every album is a concept album), but it definitely seems as if one of the driving intents behind "Pamoja" was to take the music in a more specific African direction. It is an intensely colourful set and, though much of it will instantly find a very accepting audience amongst the more Reggae-faithful flocks, what you're going to hear throughout is far from 'normal' or the standard fare of the genre. Etana, in my opinion, has kind of reached a level that we don't see in Reggae very often. Capleton enjoyed it a couple of decades ago and maybe a few others here and there (I'm thinking of Buju Banton and one or two of the Marleys), but it isn't something that happens regularly, not even amongst all of our stars: Her albums are extremely big deals. They are given, deservedly, a great deal of attention and they do not disappoint. I had to listen to it for the sake of this review (and because I wanted to), but I didn't NEED to listen to "Pamoja" to feel confident in telling you that it was excellent. I knew that already. Let's talk about it.

The first that jumped out at me, perusing the tracklist of Etana's brand new album, "Pamoja", was the amount of guests featured on it. I could be wrong (I usually am), but to my knowledge (and a cursory glance backs me up slightly), Etana has never had a single guest vocal artist on one of her albums. She has done countless combinations over the years and "Dimensions" carried both Beenie Man and Pressure, but even if she has had one or two, I never thought I'd see what I saw on this release as eleven of its fourteen songs have vocalists accompanying Etana. And it isn't just how many artists that there are here, it is who they are and, perhaps even more specifically, where they come from - as the set imports names from across the globe. As I said, eleven tunes here feature guests vocalists, as do two others, technically, as both the intro and outro feature a delightful older gentleman essentially just discussing how much he adores Etana and her music. I do not, at all, know the circumstances surrounding these or even who the man is, but I would imagine that when Etana (or whoever) hear this she thought it a great idea to include it on the album --she was right-- because it comes off as very organic and just someone having a moment. The first actual song on "Pamoja" finds our settling down and linking up with Naiboi from out of Kenya on 'Legacy'. This SMOOTH kind of R&B licked piece is about building roots and establishing a... legacy. It has a fascinating sound to it as well because, although it is very modern, 'Legacy' has a certain simplicity to it and, given the ideology behind it, you would definitely want that. From Kenya, she heads just south and finds Nandy from Tanzania who spices up what is one of the crowning moments on "Pamoja", the all kinds of infectious pride-charged 'Melanin'.

"My Black is beautiful!

IT'S MY DUTY TO TELL YOU!

Strong and powerful

You can't duplicate - no"

Besides wishing you 'good luck' to get this one out of your head ["My mela-, mela-, mela-m melanin, my mela-, mela-..."], I also want to tell you to be sure not to get the strong message of this one lost in its most dazzling package because, surely, it is one of the pillaring ideas behind an album and a project like this one. And just in case you were too busy dancing and not fully paying attention on 'Melanin', Etana reiterates her point on the next track in, 'Not For Sale' and, in doing so, she also makes a stop in Zambia and scoops up Wezi. 'Not For Sale'  is the best song on the whole of "Pamoja" to my opinion, it is HUGE!

"Ain't built like a super model

No genie ain't inna bottle

And I wouldn't wish for anything I have to change-

No way

Cause I like, every kink inna mi hair 

It's one of a kind, so I make em stop and stare

And some say it's not good enough, but I don't care

I really, really don't care

Cause I'm made perfect in every way!

Natural beauty, no, it was not for sale

Saying that I'm made perfect in every way

Natural beauty, no it was not for sale

I know they're setting up  the standard so that we can follow

They say to change it up, I say maybe tomorrow

Cause they only see what is wrong, but in my eyes, it seems so right

Cause I love the tone of my skin and the arch of my back 

And the curve of my lips, I've got the colours to match 

Some say it's not good enough but I don't care, no way!"

The point being that I LOVE MYSELF! ALLLLLL OF ME! For her par, Wezi's voice is stunning! She sounds so powerful adorning the second half of 'Not For Sale'. And the tune actually gets a remix later on when Etana, this time joined by veteran Patrice, brings it back renamed as 'Natural Beauty' which is another outstanding effort. Between the two cuts, we get over seven and a half minutes of just a wonderful vibe which, again, reigns supreme on this album.

Despite coming armed with slew of names which're new to my eyes and are sure to be seen for the first time by many other Reggae fans as well, it is one of the most familiar which is also one of the most surprising, as are the results. The completely DELIGHTFUL 'Baby O' features the singer alongside the always interesting Vybz Kartel. There was a point, it would have been over a decade ago now when I probably wouldn't even have listened to a song like this, the combination would have been just too damn strange. And while it still seems quite odd, on paper, it actually doesn't fail musically and is sure to keep you bouncing throughout. Had you told me there was an Etana/Kartel combination it would have made me pause. Were you to tell me that there was one presenting her alongside Damian Marley - well I would have dropped everything I had to drop and rushed to hear it (which would have been stupid, why would I need to drop something in order to listen to something? You ever wake up and your brain just won't start up properly??? I think I'm having one of those days) and when I did, what I would have gotten would  be the golden 'Turn Up Di Sound'. They could do a few more of these and I wouldn't complain (they could do an album of these and I'd cheer). The direction of the sound is exactly what you think it is, but the 'sound' is even better than you're thinking as two bona fide Reggae superstars do exactly what you think they would when paired together. For his part, Marley destroys it! He may never get credit for it because he is Bob's son and that is the first (and second and probably third) thing people will think when they see his name, but do not mistake it: Damian Marley is one of the most lyrically capable individuals Reggae has EVER produced. The man TOYS with words and he absolutely ignites 'Turn Up Di Sound'. Curiously, just as was the case between 'Not For Sale' and 'Natural Beauty', 'Turn Up Di Sound' gets a second rinse, this one called 'Jamrock Vibez' and finding Etana alongside veteran Alborosie. This isn't the first time these two have linked with 'Blessings' being on her debut album. Obviously, this is a different type of vibes, but it does provide a nice bit of colour to what is an already BRIGHT piece.

'Proppa' is a song which grabbed quite a bit of attention prior to the full project release and it's easy to see (hear) why. This one has SINGLE written all over, it is very digestible and it places Etana with Stonebwoy from out of Ghana and he has a style which melds sublimely on a composition like this one. What strikes me most interestingly about 'Proppa' is its sound. It's Poppish, R&Bish and all of that wrapped up in a more traditional African vibes which well makes it one of the most captivating spins on "Pamoja". We're headed back to Kenya for 'The One', this time to link up with veteran, Wyre. This tune is about exactly what you think it is about (it's a romantic kind of duet between the two) (not in the 'ballad' sense, however), that is no surprise at all. But the real attraction here is, again, the way it is all presented. There's an electric guitar in there, but what is at its core is this nearly stunning R&B baked Reggae track underpinning it all. 'The One' is another selection from this set which is just a joy to listen to and one that fits perfectly into the prevailing vibes, altogether. Could I say the same thing (or similar things) about 'Fly'? Yes. I could. For this one Etana taps singer Fiji from out of.... well, he's from Fiji and she also taps a wonderful up and coming young artist by the name of Etana. 'Fly' probably features the finest display of her amazing voice and I say that because there are moments on this track where I found myself thinking, 'oh yeah, she can just do that whenever she wants'. You'll find spots here where she can literally overwhelm you with that voice and that is not a bad thing. And Fiji?! I'm thinking maybe Etana chose to do her portions 'Fly' because she saw who she was matched with. Fiji's vocals are EXTREMELY impressive and Etana, even at or near her downright shattering best, never threatens to wash his presence away (biggup Gramps Morgan) because he proves more than capable of holding his own (I FORGOT she could do this, I never even knew HE could). And for the album's final combination (which isn't a remix), check the very cool title track which co-stars Michael Bundi, also from Kenya, and the familiar, Yahsha. Prior to this, I've never even come across Bundi's name anywhere, I believe but Yahsha, on the other hand, is a favourite of Etana's and Freemind Music's having appeared on, at the very least, their recent Rollercoaster Riddim (with a tune called 'Seen It All', which is dripping in syrup and will give your ears cavities because it is so damn sweet) (an excellent song). The trio link up here on the golden 'Pamoja', easily one of the best songs on the album named after it and just one of the most inventive and creative tracks here as well. I love how it seems to sort of build in intensity throughout and it sticks to and progresses the themes of coming together and unity in this stunning package which is not to be missed.

And just in case you forgot, while she welcomes it here, Etana does not NEED help to deliver winners and the three slices of "Pamoja" which find her going solo, do a mighty job of demonstrating that. The one tune garnering the most attention that I've noticed is 'Malaika' and, it deserves. A remake of a classic popularized by the legendary Miriam Makeba and sang in Swahili, 'Malaika' will do things to you as a listener! It is SO BEAUTIFUL! And when combined with Etana's downright otherworldly vocals - it's almost kind of sad that Makeba, herself, isn't around to enjoy it but, wherever she may be, I am CERTAIN she approves. BOOM! Check the relationship ending 'Walking Away'. There's a very interesting thing about this one because, theoretically, you've heard a few hundred songs in many different genres just like this one, 'I'm tired of you. You're mistreating me. Leave me alone'. HOWEVER, if you make the mistake of just skipping past it and... walking away, what you'll be leaving behind is one of the most clever and well written tracks on the album ["For some reason, yes I know, you thought you were my idol. And when you left, you woulda left mi suicidal. But I am not depending on you for survival and if you look, you'll find that you have many rivals"] [DAMN! Damn Etana]. Songs like this generally don't garner much appreciation, lyrically speaking and they rarely, if ever at all, deserve it. They don't exist for that. They're more emotional/relatable offerings and there is absolutely nothing wrong with that. That's fine. So when you do fine one that either is saying something entirely new or saying something in a different way, you should take a greater interest. Doing that in this case will be very rewarding as Etana dazzles on 'Walking Away' And finally (not really though), is the curious case of 'Clap'. As I said a loooooooooong time ago, Etana has a certain amount of "class" that she has demonstrated throughout her career and in the way she has carried and presented herself over the years and, actually, 'Clap' may be one of the classiest moments on "Pamoja". It's a song, basically, about sex. It's a sex song. But never at any point does it threaten to fall off a cliff and become dirty or demeaning in any way. It also sounds very good with a kind of a spiraling Afrikan vibes behind it, Etana shows that you can talk about the matter in a very respectful and COOL way. And lastly (I mean it this time), our friend from the intro returns for the outro, once again and, ultimately concludes about Etana, "yuh wicked, yuh bad.... Etana forever". And I could not agree more, sir.

Overall, Etana makes fantastic albums. She just does. She always has and there's a pretty good chance that she always will. If there is ever a deviation from that, it most certainly is NOT "Pamoja". This one, in particular, has a course laid out for it. It has a prevailing theme that people like me have already spent hours and hours attempting to outline and detail (and with good reason, you appreciate and respect what they have attempted to do), but you end up at the same point, ultimately: "Pamoja" is excellent. The uniqueness of the vibes only go to even further highlight a talent which, all these years later and despite the fact that her success was highly predictable, may have actually gone above what we all thought was coming. Etana, once again, misses not a step on what is sure to be one of the year's finest.

2021

Freemind Music

CD + Digital