Scary. Now typically, this would be the point of the review where I attempt to grab on to some interesting angle from the album that we're looking at during that particular day and reach obscure conclusions and connections to other things and go off on my beloved tangents before ascending (or descending) into the artist and music; but today I don't think that is necessary (even though, TECHNICALLY, I'm doing it right now). Nope. Instead we're going to take the more direct route to things because TODAY we have reached such a significant point in the history of this blog as one of my favourites -- and probably my absolute favourite Soca artist in recent times -- is now delivering a debut album that we have been anticipating, fruitlessly, for a VERY long ass time. I couldn't tell you, within even a relatively close window of time, when I began to listen to the AMAZING music of St. Vincent star, Skinny Fabulous. What I can tell you is that it was almost surely after I had become a fan of his musical 'brother' Problem Child (more on him later) ["THIS IS NOT A PARTY AND THIS IS NOT A FETE, THIS IS MAD-MAD-MADHOUSE!"] and it was years and years ago and, after refreshing for the sake of this review, I can go back nearly FIFTEEN YEARS now of ultra-familiar tunes and bona fide personal anthems that he has provided me. What I can say that struck me, especially, about his work is that, first of all, when it comes to POWER Soca music, he has very little in the way of peers. While Skinny may not pack the lyrical punch that someone like Bunji Garlin does (but.... no one does), he is very impressive with the spoken word, crafting CONCEPTS of songs which so fittingly match the genre. On top of that, you will NEVER find a powerful song that he has done which isn't impressive melodically. Even if you don't LOVE every single one of them, Skinny Fabulous makes a point of not only bashing his listeners over the head (and he will do that), but making them enjoy it at the same time by providing a fantastic tempo to go along with the bruising. Each and every season, along with others such as Garlin and Fay-Ann Lyons and Destra and a few others (Mr. Killa), I am MOST keen on hearing new work from Skinny and he has rarely disappointed over the years becoming, EASILY, one of Soca's most consistent of acts. I've also had the fortune of seeing him perform on quite a few occasions on some truly big stages and I can tell you there are very few people that I have seen with THAT level of personal energy. It is DEVASTATING! It is a quality possessed by very few individuals (off the top of my head, there's Machel Montano (more on him later as well)... Lyons and.... uhmmmm) that make a similar brand of music that they can give you that energy both in person and in just hearing their music. It is ENTIRELY transferable (Garlin is different. His energy does come through but you'll find yourself coming back over and over against attempting to hear every single word that man says) (Ilah Man from out of St. Lucia may be another good example of that) and he has provided so many powerful displays throughout the years which, again, have more than made a fan out of me.
Most recently there was Garn (not completely true anymore, but it's only been overtaken recently by a tune we're going to tell you about today), but I can seriously name you probably a couple of dozen FAVOURITES either off the top of my head or with just a little thought. Tracks such as 'Mental Home' (I have no idea why that one came up first) ["WE JUST ESCAPED FROM THE.....MENTAL HOOOOOOOME!"] (random ass ten year old tune), 'Fire Anthem', 'Pieces' ["THE FIRST PARTY WI TOUCH - IT AHGO MASH UP INNA PIECES!"], 'Soca Defenders', 'Swarm The Town', 'Act Normal', 'Famalay' with Garlin and Montano, 'BTW', 'Rock This Place', 'Head Bad', 'Going Off' [BEHAVING LIKE WE GOING OFF!"], 'Monster', 'General', 'The Cave' [" NO CELL! NO TOWER! NO BATH! NO SHOWER!"], 'GODZILLA', 'Ignorant', 'Mash Up International', 'John Wick', 'Bongokart', 'No Other Way' ["NO OTHER WAY! WI DON'T KNOW NO OTHER WAY!"], 'Duracell' (tune grew on me, I used to not like it very much), 'Brutal', 'Hurricane' and PROBABLY my favourite, 'Scary'["EVERYTHING MASH DOWN! EVERYTHING TEAR DOWN! EVERYTHING BRUK DOWN! WHEN YOU SI WI COMIN!!] .... and I left some out (like 'Reckless' w/Garlin) that I could also mention (and 'More Jab'). Each and every season he drops a new batch of tunes and that list grows, clearly making for one of the most decorated catalogues that I've ever come across in Soca music.
But there was something missing. Wasn't there? I'd looooooooooong given up hope on Skinny Fabulous making an album, though if you go back far enough on these pages, you'll find at least a couple of Most Wanted lists that we've done in wishing that he might release one in any given year. Its prospects had, literally, descended to the point of thinking it may be even less likely to come than that long rumoured next album from Lady Sweety (who has returned to us), but apparently time changes things. I read an interview with Skinny Fabulous where he said that he never saw the importance of releasing an album because he was performing constantly and making money, but that he gradually began to see its potential benefits as the digital medium became more and more popular and albums had become so much more accessible. By the end of the review he was advocating for his fellow peers to follow the same route (GOOD IDEA SKINNY!), as he sees it as only a positive and he even goes on to talk about things such as Grammy's in the future and the general development and PROMOTION of the genre. I'm biased as hell. I love albums. They're very convenient and identifiable and, when you go back through an artist's career, albums stand up as these pillar-like moments of various portions of their career. I also think it's an 'easy' (that's not the best word but it's what I'm going with) way to generate buzz. If someone pays for you to make an album, they're also going to at least make an attempt to promote it to the masses. Skinny Fabulous has mow wonderfully and OFFICIALLY exited the ranks of the album-less as his anciently awaited debut, "B.A.D [Beyond A Doubt]" comes to fruition via DSM Music and Monk Music (of the aforementioned Machel Montano) and, if I have yet to paint that picture as vividly as I possibly can: THIS IS A BIG FUCKING DEAL! Like I said, I'd given up hope and when I saw "B.A.D" in the offering, I didn't believe it, but I was extremely pleased as someone who has enough ammunition to build a few 'greatest hits' collections, gives us a proper debut. Soca albums can be tough because they typically go in only two or three directions: In very rare cases they're accounts of a particular season or two (and that's something probably only reserved for the likes of Montano, Destra and maybe you could include Nadia Batson - people who almost ROUTINELY release albums); they also, even more infrequently, could be bigger productions of labels such as VP Records and you'll see that with Garlin and Lyons most recently (I'm thinking I'm forgetting someone); and sometimes they'll come through as digital DUMPS as, presumably, someone responds to fans asking for such things (coincidentally this was recently done by fellow Vincy star, Fireman Hooper, a couple of years ago when he gave us FORTY tracks of "Fireman Hooper Classics"). Skinny seems to have chosen the first route as, despite being TWENTY-THREE tracks deep, "B.A.D" is built on fresh material and, as you would expect from such an expansive project, it covers a very large range of vibes and, by its end, serves as both a very powerful introduction to and SUPPORT for an artist destined to be (and ALREADY) one of the greatest Soca has ever produced. Let's take a listen!
2023 just might prove to be a very crucial year for Soca music, on the whole. There may not actually be a genre MORE dependent on the in-person experience than it is and having had it removed, on a large scale, has certainly been damaging. Things should be fully back to normal this year and we've already seen several pieces marking the occasion. Skinny Fabulous is also obviously doing his part in the festivities and a large chunk of it is to be found on his brand new debut album, "B.A.D", which gets up and going with its title track, following a very interesting Intro which features, amongst others, Bunji Garlin, Destra and Machel Montano (who mentions that the artist, born Gamal Doyle, has been a songwriter for him "for some time") speaking on behalf of Skinny who chimes in himself as well. "#BAD" is outstanding. It is a delightful demonstration of Skinny's devotion to Soca music.
"Well I hope you know we're unruly
Know in fact we're unruly
And when Soca music goes through me-
No one cannot talk to me
I can't help myself, I have no chill
When dem tell mi stop, it's just more still
Cause I'm a bad child
I'm a Soca bad child
If you open up di mad file
I'm a Soca bad child
Di crowd I moving mad wild
I'm a Soca bad child
Since I young I was a bad, BAD child"
Well said, coming from one of Soca's most PRODUCTIVE of offspring. The tune is such a nice, predominately Groovy, and easy listen and by album's end, it well remains a definitive highlight. Next up is a tune I'm well familiar with as it was a previous single from... maybe just three or four weeks ago now, 'Tek Jam', which features young Trini veteran vocalist, Nessa Preppy. This one probably lands somewhere between Dancehall and Hip Hop (although more on the Dancehall side to my ears) and, to be honest, it has grown on me just a bit. While I won't say that I LOVE 'Tek Jam', I do see a quality in it that I didn't the first few times that I heard it. Check the pretty old-school, innuendo-latent Soca vibe of 'Sauce', featured on the fittingly named Retro Fete Riddim, courtesy of Vybez Productionz and International Stephen (who also takes executive producer credit for the album). Here, Skinny gives a shout to some of his female peers ["Yes suh. Bring something like Nessa. I waan give she pressure. I still waiting on Destra"] and women, in general, with a damn infectious sound. In terms of singles, I wasn't at all surprised to see the treatment given to this one as it is terribly difficult to get out of your head (the video is probably in here somewhere. You can give it a shot yourself. If you were looking some a little early-album chaos, check 'Big In The Dance', which taps Trini artist and radio host Viking Ding Dong to join in on the fun and that is PRECISELY what 'Big In The Dance' is. It is a lot of fun. While we haven't pressed the pedal completely to the floor, it is close enough to get that intoxicatingly POWERFUL vibe which Skinny Fabulous is so damn special at and, for his part, VDD definitely holds his own, making for one of the baddest tunes on the whole of "B.A.D". Chasing 'Big In The Dance' and having a name like 'Buss Party', I definitely envisioned (or is it enaudioed????) another mash up/jump up affair and though that wasn't at all what it ended up being, I was very happy with the clever Wetty Beatz produced (Quick Riddim) drop. I'm going to use this one to illustrate just how potent Skinny can be lyrically because I doubt that anyone else will REALLY do so, but very early on in 'Buss Party', he lays things to ruins and not be ABSOLUTELY DESTROYING it in typically Skinny Fabulous fashion but, instead, by producing one of the album's SHARPEST instances.
"Hold on dey, wait mi seh look
Anytime I step in, di whole place shook
I bring all mi money from mi bankbook
Watch gal just ah bubble up dem body like soup
Yes, I jump like a fish I hook
I teefing a whine tonight, I'm a crook
IF YOU CAAN FIND WORDS TO DESCRIBE THIS SCENE YA-
I GO LEND YOU MY FETTING BOOK
Cause is a move wi feeling tonight
Enjoy wiself widout fight
So tell dem how just do it
Cuz wi just do it like Nike
Wi does mash up place and leave it flat
Every girl is wi type
So if you just hate to show yuh behaviour
Well wi just do it on site"
This one has a somewhat unusual pacing to it (I'm almost tempted to call it R&Bish) whoch does really compliment it well, but the star is DEFINITELY what is being said, so pay a level of attention which you may not have anticipated having to on a Soca album from someone besides Bunji Garlin (I told you, the man is a razor).
Speaking of lyrics: 'Big Millions' is a slightly older tune (from last summer about) that I most certainly did not expect to see on a Skinny Fabulous album. Chimney Records supplies their Upstairs Riddim for the track as things take a decidedly Dancehall turn on "B.A.D" (which I just start referring to as the far more easily typed "BAD") (DUHHHHHHHH!). As a complete song, I don't particularly favour 'Big Millions'. You know exactly what this one is about - it' Skinny enjoying the fruits of his considerable labour, but he says some things here, occasionally, which well keep you on your proverbial toes so while you'll surely size it up (correctly) as something you've heard dozens of times, be careful to not dismiss it fully. Jamaican Charly Black comes through for the colourful 'Please Don't Call Me'. This is track looking at the final embers of a failed relationship burning away. It certainly isn't amongst the biggest winners here, but 'Please Don't Call Me' has a fun vibes to it and, again, I wasn't surprised to see it featured as a pre-album release single as well. There is a skit here, called 'Bounty Is Legend', which features SF talking about one of his greatest musical influences and idols, Bounty Killer, and from just how far back he's been a fan and the ultra-high esteem he has always held him in. The skit makes way for a tune, 'Up Dey', which features the Killer and the 'Killa' as, joining Skinny and Bounty, is none other than incomparable Greenz torch Mr. Killa. The trio does what you knew they would do (on... just a dirty song) and produce a piece of work which proves to be incredibly difficult to shake out of your head. Just look at though, Bounty Killer, Skinny Fabulous and Mr. Killa on the same track! That's almost overkill on a tune which is, I THINK, is a rematch of an original solo effort from the Killa across Tall King Productions' appetizing Gyal Up Riddim. I'm also going to mention both 'Double Bubble' and 'Perfect Touch' here (because I just wrote it with them in the next paragraph and it didn't work quite right) (little behind the scenes action there for you). The former, Skinny's cut of the pounding Big Cup Riddim from International Stephen and DJ Avalanche serves absolutely no purpose whatsoever, none at all..... besides making SOMETHING on your body move for the whole of its nearly three and a half minute duration. If it does not do exactly that - seek help my friend. 'Perfect Touch', on the other hand, impresses in an unusual way. 'Perfect Touch' sounds like something you'd hear from Vybz Kartel. It's dirty, it's highly lyrical in bursts ["Girl bend over like when you see something drop"] and it has this kind of.... STUTTER to it (Kartel, at his best (in my opinion), always sounds like he was doing three or four things at the same time. He was doing the tune, but he was looking for something and maybe cooking or WHATEVER, so instead of rolling straight through it, the vibes came in smaller groups, which I also hear on this one) (probably did a SHIT job of explaining that, but I don't care. Let's see if it survives editing) (it did!).
"Acoustic" isn't a term often associated with Soca music at all. Just thinking about it, the only musically-streamlined brand of the genre that comes to my mind is work done by Kes, here and there. Skinny Fabulous takes his shot with an acoustic version of previous release 'Apology'. The original drop came via Big Z and Vybez for their Big Mood Riddim and was Zoukish to my ears which definitely makes for a seamless transition into this medium and, likely because of that, I can't actually tell you which version of 'Apology' I prefer. The original surely is more familiar, but this set is well growing on me (and it also helps that it features the lovely backing singing from the first). 'Apology' kicks off the second portion of "BAD" which is carries its both of its heaviest hitters. Before that, however, there're more than a couple of other very solid selections rounding out the latter stages of "BAD". For example, definitely do take a spin of all kinds of interesting 'Bang' with Walshy Fire & DJ Crown Prince. Maybe I should call 'Bang' "Soca Dub", because that is basically what it is. You hear from SF in bits and pieces, but his presence is there only to help highlight the riddim and the vibes which're the biggest star here. I was very happy that they chose to include this on the album; not only could I probably listen to it happily for a couple of hours or so, 'Bang' is a very welcomed changeup which, on an album with twenty-three tracks, is a GREAT thing. Also catching my attention was the "Bonus Track" (which comes after the hilarious Outro where an interviewer wishes Skinny all the best and then Skinny also wishes Skinny all the best), 'Stupidness Rocks'. This is a Rocked out remix of the original (just called 'Stupidness' on Marvelus' GOT Riddim of about a year ago). Again.... why do this?? I have no idea but I'm glad that they did! Ultra gifted sweet singing French sider Oswald adds some shine to the gleaming 'Girls That Like Girls 2'. If this one gets a shot at getting a run in the spotlight -- especially in terms of promoting this album -- I'd be shocked if it didn't do quite well. Coming through with that intoxicating Kompas SWING, 'Girls That Like Girls 2' would find its way to GLUE itself to minds of listeners everywhere (yes, I did just use GLUE as a verb). Team Foxx' delicious Baila Riddim underpins one of the album's COOLEST moments, 'Naked'. I'm going to go into this more right before closing, but 'Naked' is such a WELL DONE SONG! It's just so finely crafted and put together by everyone involved and the result is, like the track just behind it ('Girls Like Girls 2').... and most of the rest of "BAD", an excellent vibe and one which should draw fans to this project. 'New Gyal' comes armed with the Buddy Pass Riddim (which, MOST FRUSTRATINGLY, reminds me of something that I cannot quite recall - which is driving me absolutely crazy at the moment) and I am SERIOUSLY thinking about placing it in the next group of songs which're represent the strongest on "BAD" because it is that good. 'New Gyal' is funny, it's petty and, again, it is damn strong!
"You think I vex cause you inside di party-
Flex wid your new man
But hey, I have a new gyal and guess what!
She pretty than you
Prettier than you
Sexier than you gyal!"
Now! I just told you about all of those songs; All of them are at least "GOOD". I'm about to tell you about four more that range even higher. The worst of these is something better than GOOD, in my opinion. 'No Relationship' has found Skinny dejected (not really) and giving up on relationships for more 'temporary' encounters ["No relationship! I want to beat and dip"].
"Yow, they gone say I tripping
They gone say I wicked
I CAN'T HANDLE DI HEAT, SO I BURNED DOWN DI KITCHEN
I ripping out di stitching
Everything I hitting
I not even choosey
It's anything I picking
Now this year, I changing up di slogan
Different, yes, I flipping up di program
I not committing to none of dem, no man
I seh I will neva wife another gal!"
Why this song sounds like this is an absolutely mystery. It need not be THIS aggressive at all! It's frenetic and DARK and GLOOMY (it sounds like that grimy shit (and I mean that in a good way) you hear from out of Grenada sometimes) (biggup Lednek and Muddy and Dash and all of those guys) (Dash is an EXTREMELY gifted artist who you should check out if you do enjoy Skinny Fabulous' music) and not at all the type of atmosphere you would expect behind such a subject, but I think that's a major part of the attraction, for me, here. Get upset as hell [!]... when you don't really need to. That approach is more appropriate on the recent 'Behaviour Nothin', SF's contribution to the Spirit Of Carnival Project (that entire thing is excellent; featuring Montano, Garlin and Kes as well). This thing is CLEAN. It's of a more 'presentable' ilk of Power Soca and lack of morals ["She can see. Even the Prime Minister, he can see; Mi and my crew have no decency. Wi on a different frequency"] and I'm fully expecting 'Behaviour Nothin' (and everything else on that riddim) to do a considerable amount of damage this season. If it is DAMAGE and absolute carnage that you seek, then "BAD" delivers your biggest prize at track #15, with 'Danger', alongside the aforementioned Problem Child. PROBLEMS! Despite what you might think, with them clearly being such good friends and having spent so much time around one another throughout the years, you are not going to find MANY combinations between SF and PC (I'm almost certain I know of at least one other, but I cannot sing that song in my head. I'm thinking it is very old at this point) (subsequent research dates it back to 2009, 'Drinks Reach') (I REMEMBER THIS TUNE!) (BOOM!) and 'Danger' INSTEANTLY becomes the best tune that they've done together and not only because of a lack of competition. This thing is FILTHY! It needs to take a shower, dry off and then get back in the shower.
Carried by the Jab Head Riddim via Jah Head Music (Garlin also did great on that one with 'Place Open' ["Jouvert is di vacine and I ready for di strong dose. !!! di social distancing woman and dem to come close"]), which has this GIANT feel to it (when it drops in, it sounds like an emergency is happening. Like someone needs help!) 'Danger' is also THE moment on "BAD" that is THE emotional release. It is the heaviest and MOST POWERFUL experience present here; that one moment where, if you had any energy left in your body, it's time to empty that shit. It is EXHAUSTING and I love it! Did you notice that out of all the exaltation and praise that I gave to 'Danger', one very large word was missing? "BEST"??? Despite it's disgusting genius, ridiculously I cannot say that 'Danger' is THE single best song on this album because "BAD" also features what just may be one of the best ten or so tunes that I have EVER heard from Skinny Fabulous; or maybe I'm juust being a prisoner of the moment because I ABSOLUTELY FUCKING LOVE 'Come Home'! Along with Soca's granddaughter, Nailah Blackman, SF pens an apology letter to Carnival for having taken Her for granted (which we all did) and it wasn't until she left us for awhile that we realized that we had all fucked up royally (well, everyone besides Shurwayne Winchester, who told us all years ago how much he revered Her on the IMMACULATE 'Carinval Please Stay') (always look for a reason to bring that tune up). 'Come Home' is of the type as many tunes you will hear this year, paying some level of homage to Carnival and how much she's been missed, but I will be SHOCKED if anyone does as fine a job as these two.
TEARS! BUCKETS AND BUCKETS OF TEARS! ["I'm sorry! And I need you back in my life!"]
I wanted to make a brief point about lyrics on this album and in Skinny Fabulous' music, in general. I used the word "concepts" in regards to the way in which he displays his music and, at least for me, that's different than just what he says. Skinny Fabulous can make a dozen jump up and wave/mash up Power Soca songs and each can have a similar base sound (it wouldn't happen like that, I'm just making a hypothetical situation) but you'd have twelve wholly unique EXPERIENCES. They'd all be different. That's what he's been able to do SO well in his career thus far. He's been able to remain unique and REFRESHING in a way which does not interrupt the intentional 'overboardness' of his sound. It's ridiculous. It's supposed to be; but at work is a level of orchestration only displayed by the genuine greats of Soca music and not ALL of them.
Overall, "BAD" shines! Given its girth, I had no doubt in my mind that it would, but what I worried about was just how much fluff and filler it may contain and though yes, it is probably too damn long, I don't give a shit. I was thoroughly entertained by Skinny's debut album just as I have been by his long line of singles over the past decade and a half or so and I would expect to be for the foreseeable future as well. I do have to say just how damn pleased I was that this set did materialize and did so not as a 'greatest hits' (although I'd take that as well. Some of those older tunes are hard to find at a good quality. Were someone to remaster a bunch of them at a good quality, that would be very helpful) but as a single and current unit. I also love the cover with its kind of Matrix-like appeal, presenting Skinny as a superhero (or super villian) (he'd be fine with either, I'm sure) and doing so on the digital single covers as well. For me it all helps to put it in some 'official' capacity that Skinny Fabulous, ALREADY, sits as one of the biggest champions of Soca music, "Beyond A Doubt".
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