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".
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| 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.
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