'Normalcy?': A review of Soca Gold 2021

Irregular. I don't want to spend too much time talking about that.... thing that happened last year and  pretty much locked everyone in the house for a long time and wiped a lot of us out, because I'm tired of hearing about it and that's not what we do around here. But there was definitely a resounding impact to be felt virtually everywhere in the world and, certainly, music was not one of the rare exemptions. When you really think about music, although it is appreciable in almost any situation, is actually quite visible and the further we go along in terms of time and technology, the more that becomes the case. It is also, as it has always been, a unifier. It brings people together in many different ways (literally and figuratively, especially considering the type of music we cover around here) and when, suddenly, actually coming together becomes a potentially fatal thing (that's just a fucked up thing to type out) you can, at least temporarily, WOUND music. Almost instantly there were things such as virtual performances, concerts (virtual clashes) and full-on virtual carnivals and, a year later, we're still seeing much of that now, with the total return (presumably and at least in most cases) set to come in 2022. And of course, there were also dozens (maybe even hundreds by now) of songs (a personal favourite of mine being the genius 'New Hail' by Zagga) and we'll probably still being seeing  those for at least a few more years. And that's fine;  likewise it's just another topic to sing about. But music will heal. It will restore itself and it will do so immediately. Obviously something like a concert will inherently lose a bit (just about all of it) of its appeal when you remove the crowd. It basically becomes just a television show and there just so happens to be a certain genre for which "a television show" will simply not suffice. Of course, I am talking about my beloved Soca which almost NEEDS a crowd to reach maximum effect and, should you remove that crowd, it  turns into almost some type of a social experiment (which, again, hopefully ends COMPLETELY in 2022). It also does not help that the genre is somewhat 'seasonal' so, unlike in Reggae, you kind of don't have that entire year to expect certain things (and I've likened it to movies. Generally speaking the longer movies tend to be dramas. I am willing to drive you crazy and play with your emotions for three hours, but I cannot possibly beat the shit out of you for the same amount of time, which is why you don't generally see action films of that length). HOWEVER, the business and the practice of Soca music did go on and will go on.

While the road remained clear this year, the vibes were not bare and you can even make the case that... certain occurrences have forced some artists to bring out a new part of their games as we're now beginning to hear songs which are talking about how much the miss the party and how much fun it will be when things get back to normal (EASILY the best of these type of songs is Skinny Fabulous' DAMAGING 'Pieces', but there're several others which are very good as well and I will tell you about a few more of them shortly). On the album side in particular, unfortunately, things haven't changed for the most part and the last couple of years, as the couple before that and the couple before that, haven't produced much out of the ordinary and unexpected. Save for the same two or three individuals, with the odd surprise here and there (which is also expected, actually), the business of Soca artists making albums has remained predictably slow. Still, regardless of who or what may've intervene, the genre's most recognizable release has not taken a year off.

Of course we're talking about "Soca Gold", the annual compilation from VP Records. The oft-scrutinized release has actually enjoyed a fairly good spell over the course of the past two years or so, at least in my opinion, with the most recent two (I was about to name them, as if you couldn't figure it out) (I dare not insult YOUR intelligence like that) (I'll insult mine all I want, thank you very much) being pretty good installments of the series. "SG2020", in fact, though it may've lacked the absolute biggest tunes (it did), did contain a handful of real winners, including what may've just been my single favourite from the year (a tune called 'The Struggle' from an artist who just happens to have the biggest tune on this year's edition as well) ["Get ya dictionary, learn about the esophagus"]. "SG2019" wasn't quite as strong, but it was another more than decent compilation which, as you would hope, featured some of the biggest names from the genre with a few stellar efforts. So because of that and the fact that I just always do, I was damn interested to seeing what would become of "Soca Gold 2021" which has now arrived. First of all, let's give it the credit of the eye that it deserves because they clearly put a lot of effort into it: There is that cover. While not very different from its most immediate predecessor (it isn't very different from any of them, actually - beautiful woman in some type of pose "Soca Gold" and a year written somewhere around her) (although "SG2019" gave you a double shot, which was a first for the series), it is outstanding. This model, whoever she may be, is gorgeous just like last year's (my personal favourite remains 2003's cover which featured Camille Marshall and all of her wonderful Camille Marshallness) and next year's most likely as well. And pretty faces are nice (and so are pretty bodies), but what about the music? A very casual glance at the names which fill the ranks of "SG2021" should make you quite happy. Some of Soca's biggest active names have supplied the ammunition for this year's project and you also have one or two pieces from names who may not know at all and should keep an eye on for the future. You also have one moment which, though wholly unexpected, is a most welcomed addition. Although with that being said, when you get down to scrutinizing it just a bit (which is the fun part!), you see something a bit unusual about it at the end (literally). Dig in!

If that world sized hanging cloud of... contagion were to have an effect on putting together a program such as this one, I would have thought last year would have been the time when we would have seen the biggest evidence of it, but it seems as if that cloud's lingering ass may have gotten into the batch in 2021. Until we arrive at that point, however, "Soca Gold 2021" is, honestly, quite fun. A nice sized chunk of those good times are had at the head of things in the most remarkable form of 'Jerusalema', a global hit from South African artist and producer Master KG and Nomcebo Zikode. This isn't the first time such a track has popped up on a Soca Gold, if you recall (you don't) wayyyyyyyyy back on "SG2010", there was 'Party Hard' from British artist, Donae'o (I don't know what became of Donae'o but he's not come up on my radars since then, but I'm going to assume that he has gone onto big successes, nevertheless), so VP has previously had an eye on securing more 'world music' hits to place on its projects. Does it have a place? To my ear, 'Party Hard' was not Soca music even slightly and probably would have found a more fitting place on Reggae Gold (although I'm not complaining about it being on the album, I had no problem with it), but 'Jerusalema' does have more Groovy Soca textures to it. If you took the exact same song and did it in English with a Soca artist, no one would say anything about it being on this album. As for the quality, you listen to a song like this and you do not wonder exactly how it grew to become what it was. It is all kinds of infectious and definitely one of the finest selections here, regardless of its genre. We leave the shores of beautiful South Africa and from there we head to more usual boundaries as we get 'Go Gal' from Bajan Soca Empress, the incomparable Alison Hinds. This piece of Soca royalty actually does a bit of genre twisting as well as 'Go Gal' is probably about as much (if not slightly more) of a Dancehall tune as it straight up Soca. Just like the tune ahead of it, however, you can feel free to call it whatever you like, but it is a lot of FUN. As far as I know, the tune is a new one and VP has gone all-in on it making it the first official single from "SG2021" and you're also likely to find a video for it somewhere in here (which means that there'll be a video both ahead and behind this paragraph) and with someone with a history and, clearly, a PRESENT like Hinds', it comes as no surprise (I'm also wondering if them focusing on her like this has more of a reason that just this one album.... hmmm). And also near the head of "SG2021" you'll find a song with which I have a problem (and another one with a video you may find somewhere in this review). 'Private Party' comes to us via Soca supernova, Machel Montano (who did give us an album this year, "The Wedding", in stores now) and it is excellent. Observing the current state of the world ["Times are changing, this is a different day. I nah waiting. Leh wi embrace the change"], Montano, in a very socially distanced manner, holds a private celebration and you're invited. You can shake ya ass and jump and wave in your own house and you don't even have to wear clothes if you want (just keep those curtains closed if you do). My problem with this song? 'Private Party' is featured on the same Origin Project which backs Skinny Fabulous' ridiculous 'Act Normal' -- one of my favourite Soca songs of the past half decade or so -- so everytime I hear any other song on that riddim, I immediately began singing 'Act Normal' in my head (including 'Selfish', Skinny's other song on it). That is to no fault of anyone's (I guess technically it is Skinny Fabulous we could blame) and Montano's tune is fantastic.

Machel Montano actually makes a second appearance on "SG2021", with the second shot coming in the form of the freezing cool 'Gud Gud', alongside Hey Choppi. I'm going to call it Groovy Reggae, but you can call the infectious, addictive offering whatever you like. It just has such a sweet sound to it and, out of all the songs they could have chosen for this album, they selected wisely in adding this one here as it now gets a healthy dosage of new ears and brains to dazzle. VP also did well to head back to Barbados and this time pick up Jus D, who supplies them with also excellent 'Single'.

"If you have one man, well I could make two

And if you deal wid gal, well I could deal with she too"

Again, you take this song and leave it where it is and it becomes shut off to a degree (I could be wrong, but I don't think I've ever heard it before), but you place it within this project and though it is buried in here around bigger names who will surely get more attention, A LOT of people will now hear it who would not have gotten the opportunity otherwise and I predict A LOT of those people will love it. Jonnelle and Trinidad Killa may also be making first impressions with their work on "SG2021" and if so, there will certainly be a whole heap of people walking away impressed by what they here in 'Watch Ova Wi'. One of the more lyrical efforts on the album, 'Watch Ova Wi', is actually somewhat of a spiritually charged social commentary, with an outstanding chorus. It is damn difficult to shake out of your head and you will not be complaining about it. I was really happy that they chose to include a song like this one because not only does it potentially bring in new fans to the artists, but it's just a strong display of talent and, for this release in particular, in registers in its very own unique way. And also, those he's already appeared on three or four Soca Gold albums to date, maybe you aren't too familiar with the work of Ricardo Drue from out of Antigua (and if you are such an unfamiliar individual, allow me to recommend that you check out 'Vagabond' and become acquainted) and 'South Man' may be one of your first experiences with his work. If that is the case then you'll be on the hunt for something else that he's done (have I told you about 'Vagabond'???) because, though it comes and goes very quickly (at just two minutes and fifteen seconds, it is the shortest song here by nineteen seconds) it's another one which has a captivating sound. Dev joins Drue and though I haven't been the biggest fan of Dev's over the years, maybe it's time I gave some of his work another listen.

The remaining four tunes on "SG2021" feature, along with Machel Montano, some of the  genre's biggest names and series staples and regulars. You may not actually get more "regular" Soca Gold than Edwin Yearwood who, in one way or another (be it solo or along with Krosfyah back in da day) has been on the majority of the Soca Gold releases. His track for 2021's edition, 'Resilience [Make It Work]' is another which is observational of the times and Yearwood is eager to rebuild and get back to the way things used to be. I have heard better work from Edwin Yearwood in the past (these days, for whatever reason, I find myself stuck on 'Chrissening') (all-time favourite may be 'Neighbour'), but it has definitely been awhile and you would really expect such a winner from such an esteemed artist as Yearwood. 'Resilience' is a PERFECT song to be on this one.

"But wi shall live

Stay positive

Love, let and live

Practice to give

Each one help one

Help the next man

Cause that is the ultimate"

In terms of active right now, Skinny Fabulous is probably my favourite Soca artist (if we're talking all time, that's still Destra), but if it isn't the fire breathing St. Vincent native (but it is), then it may just be Patrice Roberts. During our hiatus she delivered one of the best Soca songs that I have ever heard, 'Judgment Stage' and that followed just an fantastic career altogether. Hers is an amazing talent and she's someone who I most look forward to hearing every year. Her addition to Soca Gold this year is another winner for her vault, 'Dai Mine'. Coming through across on the lovely Fem Fury Riddim from NMG Music the track finds Roberts marking her territory and declaring what is hers. The song, on the other hand, belongs to me, you and whoever else wants a piece of it. We all can share it. And then there is the BOOM[s] (there's two of them). Lastly is a pair of songs on the same riddim from a pair of reigning Soca royalty, as both Bunji Garlin and Fay-Ann Lyons come through with dynamite on the 8 Bit Riddim, courtesy of producer, Xplicit Mevon. For his part, Garlin thrills lyrically (DUH!) on 'All House Is Road' where he says that 'the road' can exist anywhere you are. You don't need to literally go there (you can probably sit your ass right where you are and keep doing whatever you're doing, listen to this song and go there in your head). It is funny at times and just another brilliant piece from Soca music's all time lyrics king (an even more glaring example of that would be his downright EXHAUSTIVE aforementioned 'The Struggle', which was the best song on "SG2020" in my opinion)

"Dem laughing at Trinidad saying Carnival, wi doh have dat

Wi go tek speaker box and load it up on a van back 

Put rum inna knapsack, THEN JUMP OUT INNA HAZMAT

Party in wi yard, yuh si di gate -

Wi not going pass that"

Lyons, on the other hand, is struggling. She's going all pass the gate and she has no idea how it happened on 'Sleepwalk'.

"Last night I had a dream, that's how I wake up outside

It was a scene, behaving like a landslide

All ova everything, to mi this was a fete-

Til someone shake and wake mi up, man look how I regret

WHY?!

Was the best part of di wine

And the best part of di grind

All on top of di stage, was di best part of di time

Only to realize, when I open up my eyes

Is sleepwalking, I sleepwalking

That's how they find mi outside"

You know you love you some carnival when, involuntarily, YOUR BODY GETS UP IN THE MIDDLE OF THE DAMN NIGHT AND GOES OUT. She cannot help herself and, though I know it must be hard on her, I'm glad that her condition has inspired work like this. Somewhere between 'All House Is Road' and 'Sleepwalk' is the best song on "SG2021". If I had to pick one I'd.... fuck that, I don't have to pick one.

Overall, though it's a bit on the short side, "Soca Gold 20...... WHAT! That isn't it?! WHAT! In a damn curious move, attached to the end of the release are six ultra-familiar and well traveled tunes. Why? I have no clue. None at all. It would seem that it was the easiest way to make the album just a bit more plump and that is what VP chose to do. As for the actual songs, briefly, they're all pretty good but you if you've read this far into a review, you almost surely know them all. There's Yearwood again with 'Everytime'. It's an excellent song. You listen to it and pretty much anything he's made and it's easy to see exactly why VP has loved Yearwood over the years. His style is very CLEAR and open and he makes easily appreciable predominantly Groovy Soca music. Rupee's megashot 'Blame It [On De Music]' may be two decades old ('Everytime' might be even older, actually) and I can say virtually everything I said about 'Everytime' about it as well. It all applies. The Soca remix of 'Hold Yuh' from Gyptian appeared on the same "SG2010" that carried Donae'o's 'Party Hard' and it's here as well. I actually enjoyed this one from a nostalgic point of view because it has been a REALLY long time since I've last heard this version. South South West gives the GOLDEN 'Thelma' which was also on Soca Gold from nineteen years ago. I love this song, I've heard it this year surely so it has no sentimental value for me, but I may be in the minority on that. 'We Maniac' was a highlight from Garlin's 2007 album, "Global" (which was just a SOLID release) from VP Records and I guess it's a highlight here as well for what it's worth. I would guess that it was included for just a bit of a mix as the first four of these additions are Groovy-ish (although 'Thelma' may be somewhere between Groovy and Power, it's a bit softer if you're calling it Power). And finally, for real this time, is another Power Soca song, this one from Iwer George, 'Gimmi Ah Bligh', which also featured on Soca Gold nineteen years ago. I don't love this one, all these years later, if I ever did, but it's here, it isn't bad at all and there you go. Also, if you are someone who will track down the physical release, it will feature a mix only for it done by DJ Puffy.

Overall (I guess), if you take off the final six songs (or leave them, whatever), I think what you have is an album which is damn fun. It's way too damn short inn that case, but the eleven new songs on "Soca Gold 2021" are fun. They are beautiful and varied and are done by a healthy mix of artists at various points in their respective careers. The name attached to the annual release is often put on a pedestal (there are quite a few passionate people when it comes to criticizing this album each and every year) but again, if you just take it for what is here (most of those critiques that I have heard over the years usually start with the phrase "where is....."), it's a pretty good release. There is another quite strong Soca compilation which has popped up recently by the name of "Soca Universe" from Monk Music, this year's edition of that album has THIRTY songs on it (and I think last year's did as well), so if you're missing something, it may be there. However, in a time which may just be (HOPEFULLY it is) unlike any other, in its own odd way, "Soca Gold 2021" ultimately does what it is supposed to do every year and provides a very fun and colourful experience.

Rated: 3.5/5

VP Records

2021

CD + Digital

New Alison Hinds Video!

Brand new video from her recent "Caribbean Queen" album for the tune 'Can't Let My Luv Go', featuring Shaggy. Very nice and funny video and yes, Ms. Hinds does look AMAZING (with all of that ass). Enjoy

"The Gift": A Review of Caribbean Queen by Alison Hinds

Out of all the wonderful things the Caribbean has to give to the world, the most brilliant would have to be our music as it stands, by far, as the greatest testament of Caribbean culture. Furthermore, it should be to no surprise at all that, despite the very ‘scattered’ and diverse nature of the region, which almost inherently brings forth music of very different styles, the music which comes up ALWAYS has found a home and audiences across the world. Truly, I don’t know if such a study does exist, but in terms of the amount of music produced when compared to populous, the Caribbean would have to be declared the most musical and (and also the most magical and bestest) place on Earth. So, with that being said, I think it would be nice if we could maybe think of someone (a single person), who might be so accurately and wonderfully able to represent Caribbean music as a sort of ambassador to the rest of the world. Of course this person would have to be very well known and command quite a bit of attention. Moreover, it would most certainly help if such person was fairly sans controversy as possible, it wouldn’t look so nice if it came out that they had . . . Oh I don’t know, been a barber or chicken jerk vendor in the past. They would also have to be a very CLASSY individual and it most certainly couldn’t hurt if they were easy on the eyes. My female readership may be thinking of someone like a Sean Paul, however, the ridiculous ‘Dutty Rock Incident’ most certainly disqualifies him from contention, so I’m going nominate an individual who so wonderfully encompasses what it means to be a Caribbean music artist, the incomparable Ms. Alison Hinds. One could very well make the case that, particularly regionally, Hinds’ name carries about as much weight as anyone’s in most circles from Soca and her output is generally not only very well received, but very well covered also. In terms of Bajan artists (which is a HUGE deal because, outside of Trinidad, they probably have the most popular artists), she may just be the single most popular alongside Edwin Yearwood and Krosfyah. And while I’m sure, based on simply being around for quite a long time, that Hinds has accumulated her fair share of controversies, guess what - I can’t think of any (and if you name some, I’m going to place my hands over my ears and yell “la la la la la”, as loud as I possibly can). And of course, she carries herself like Caribbean royalty, she represents where she’s from as much as she possibly can and don’t even get me started on being easy on the eyes. So Alison Hinds is my nomination as an Ambassador of Caribbean Music. All who agree say I and let all who disagree . . . Go and find something else to do.

And maybe I’ll do the same. However, what I’m going to focus on is the fact that said Ambassador Hinds has a brand new album out on shelves now, her second solo efforts (after 2007’s very strong Soca Queen, which had, quite possibly, the greatest album cover I have ever seen in my entire life) following a stay as the face of the venerable Square One which coincided with her rise to prominence, the aptly titled Caribbean Queen. First of all, as you might’ve suspected, I was VERY excited to see this one come up and as a matter of fact, I even predicted it would come late last year as it just seemed like the time to do such a thing and over the course of the last couple of years or so, Alison Hinds has REALLY been pushing her music and her popularity to the proverbial next level, making this album more than just a big deal to Soca heads and fans of Caribbean music in general, I’m sure (my Wife was even interested and she hates pretty much everything). However, when compared to its predecessor, it may not seem to be the case as this album, which checks in at a very healthy twenty tracks (five more than Soca Queen) is much more Soca centered. The album is largely full of Hinds’ singles from the past few years or so, most (if not all) of which were hits on some levels and even though there’re just a few of these tunes that I’m not familiar with, even those lesser known tunes are fairly Soca heavy. There are also a couple of songs which seemingly will never find themselves absent from anything with Alison Hinds’ name on it, but those tunes, of course, have become favourites the world over and it would just be damn pointless to release an album like this without them. It should also be mentioned, as I alluded to (or at least I think I did), that the last few years have seen a pretty major push on the part of Hinds and her ‘people’ to make her even more popular and this movement hasn’t gone alone. Her music, itself, has arguably gotten better as well. While she may forever be seen, amongst the very heavy Soca faithful, as the lead singer of Square One, Hinds is one a very few artists with her stature who, at least in my opinion, ALWAYS seems to be a work in progress. As opposed to some of her longstanding peers such as Machel Montano, the aforementioned Edwin Yearwood & Krosfyah and DEFINITELY the most wonderfulest person in the world, Destra (more on her in a bit), all of whom seemingly are what they are in terms of their music, Hinds still seems to be working some things out in terms of her direction and when you hear that from someone who CLEARLY knows what they are doing, it is absolutely fascinating. Beyond that Caribbean Queen serves, as most Soca albums do, as simply a collection of her songs. Many of these tunes are quite difficult, if not impossible to find, even for the shrewdest and keenest of fans, so having them in a single spot (or even just having them to pick through on the digital side) is a another pretty big deal. Oh yeah, and the fact that Alison Hinds’ Caribbean Queen is probably the best Soca album of 2010 so far, is yet another big deal.

As I said, I think this album is one more aimed at the Soca fans in specific and it comes through in the way the album is presented as well. Despite the very SPECTACULAR looking cover (again, don’t get me started about Alison Hinds being attractive, even I don’t have that much time) (with all that ass), the music is either so definitely aimed at Soca heads, or aimed at pushing Soca to casual fans even more most likely a bit of both. Casual fans certainly are going to take a special interest in the opener for Alison Hinds’ brand new album Caribbean Queen from Black Coral, ‘Call On Me’, which of course, features Jamaican powerhouse Jah Cure. The tune is a remix (via famed Trini producer Shawn ‘Da Mastamind‘ Noel) of the Cure’s tune and it was a really big hit and continues to do damage on some levels. I’ve also warmed up to it quite a bit and for me, it’s one of the biggest tunes here and a special attraction as well. So, there’s a big start. Another big attraction, for the heaviest of Soca fans, might come in at number two on the album, ‘Lock It [bka ‘Wine To Deh Back’]’ over the famed Patti Cake Riddim. This one is another piece which took quite awhile for me to warm up to and I still wouldn’t say that it’s one of my favourites, but it is a big song and stirred up a lot of vibes for a lot of fans who’ll definitely be happy to see it here, myself included to a lesser degree. That changes on the next tune when Alison Hinds releases entirely too much ‘Boom Boom Tonic’ on the masses and absolutely drenches the listeners’ ears in it . . . And I’m not complaining at all because I love this tune! It’s nice and involved and that is a quality which isn’t very easy to convey on form, but given her experience, it isn’t at all a problem for Hinds. And if that doesn’t get your attention for a start, then again - Go and find something else to do.

There’re quite a few tunes on Caribbean Queen which are sure to grab attentions based purely on how they look ‘on paper’ - They’re just very attention-grabbing type of songs. Besides the opener, there’s the second (of three) combination featuring a big Jamaican artist, ‘King & Queen’, alongside Richie Spice. This is another one which I’ve began to like a bit more than I had in the past. Certainly the fact that it has one of the best videos you’ll ever see in your life could’ve helped it. But this one is just a nice vibes, a Reggae song, about the upliftment and the OBSERVANCE of a strong relationship and it also did a major damage as well. And superstar Shaggy also joins the fun with the FUN ’Can’t Let My Love Go’. This one is one of my favourites on the album and while I don’t recall it having much of a damage, it did so for me personally and I love that song (HEAVY riddim on that one). Speaking of damaging combinations - There’s also ’Obsessive Winers’ a very large tune from TnT Carnival 2009 which features both Saucy Wow and the aforementioned magnificentness of Destra. The tune also featured on Ms. Garcia’s 2009 album, Hott where it was a major attraction and is sure to be the same here, as the three legendary artists engage in a ‘wine off’of EPIC proportions where ‘there can be only one’. There’s (the almost obligatory at this point) ‘Faluma’ which I shouldn’t have to tell you about at this point (so I’m not), and a remix of ‘Roll It Gal’ featuring Juggy D from out of the UK, which is very good and also features on the Soca Queen album as well. Speaking of that album, fans should also recognize both the poppish ‘Island Girl’ and the SPECTACULAR sounding ‘Togetherness’ which also appeared back in 2007 (‘Togetherness’ is very strong).

It is, however, the balance of Caribbean Queen, which I found to be most interesting. Two tunes in particular, because they’re two of my own favourites from Hinds, stick out. Check the very strong ‘Again’ which I had to hear all of about a dozen times or so before I REALLY started to pay attention to it. This one is EXCELLENT. It’s a song which is a pure celebration of the music itself and it’s VERY colourful and such tunes are almost always strong ,with this one being a near definition and certainly not an exception. Oh and did I mention that it’s MAD? Madness with a message, gotta love it. The only tune which rises above ‘Again’ to my ears is a tune from . . . 2008 (I THINK), ‘Soca In Meh Body’, which is outstanding and one of my personal favourites from Hinds’ ENTIRE catalogue. The woman clearly has been infected with the ridiculously infectious and contagious disease known as Soca! Should you ever become infected, seek help immediately (or don’t) and have a great time like Alison Hinds does with this midtempo piece of BRILLIANCE, the best song I hear on the album. Following that topping tune is ‘Chocolate & Vanilla’ (which might’ve also been from 2008), which is another real winner on the album and a hard to find one so, definitely enjoy it here. The tune is just COOL and was a nice sized hit for Hinds as well. She turns the heat wayyyyyyyy up on another favourite of mine, ‘Wukking Crazy’. This one, unlike a few of the others, didn’t have to grow on me at all, I loved it from the very first time I heard it and even though it has bit more ‘pounding’ on it, I think it could do a big deal on international radio as well with its highly addictive vibes. Going back, Trini artist Lyrikal also makes an appearance the big tune ‘All Over De Gyal’. I’ve never really been a big fan of Lyrikal’s and it was somewhat surprising that he got Alison Hinds for this tune (it’s a remix of his earlier tune, which was WICKED), but I have to give credit where it is due and Lyrikal is big on the big song which will STAY with you for quite some time, surely its intent.

Shaggy himself made an earlier guest stop on Caribbean Queen and his riddim, the cool madness that was the Street Bullies Riddim, also chimes in later on, backing Alison Hinds on the ‘Rags [Give It To Dem]’. Certainly with the name, you’d expect some type of ‘jump and wave’ madness, but that isn’t what you get. Instead, the tune finds Hinds turning STRAIGHT DANCEHALL DJ and deejaying on the Street Bullies heavy. Again, you’d expect her to be able to do such a thing given her vast experience, but it makes it no less impressive because of it (and tell me I’m not the only one who’d like to dump about a hundred Dancehall riddims at Hinds’ front door just to see what she could do with them!). She changes it up again when she joins Moses Charles on the Chutney-fied ‘Indrani’. These songs generally aren’t my favourites, but I find myself becoming more and more in tune with the vibes because this song is just BIG. It almost seems kind of too simple at times with the very standard back and forth style, but that works here almost perfectly. Wining things down, the last great tune I have to mention is the somewhat hilarious ‘Hooked', which finds our plotting and scheming heroine trying to capture the VERY TEMPORARY attention of a guy she has her eye on. All she wants is the wine, she doesn’t want to know your name, she doesn’t want to give you her number and she most certainly doesn’t want to go home with you after the party done (she doesn’t even want to talk to you!), but she’ll do whatever she needs to do to get what she wants. The tune isn’t gimmicky either as it probably has one of the, if not THE, strongest choruses on the whole of the album and it is one of my favourites and will be one of yours as well. Lastly is a double-shot of the catchy ‘Believe In Love’. The song, in both forms (and I THINK I hear differences between the two available versions, but they’re minimal to my ears), isn’t something I’m very impressed by, but it’s almost certainly aimed at that kind of techno heavy/electric dance crowd. If you’re a part of that, you’ll absolutely love it, otherwise, it’s still (like everything else on the album) catchy as hell and ultimately pretty harmless and with a nice message.

Overall, I have absolutely no problem recommending Alison Hinds’ Caribbean Queen to MUSIC FANS IN GENERAL (and I don’t know if I’ve EVER said that before). Unless you listen to straight Opera, Heavy Metal, Gospel or the hardest of Hip-Hop, you’re probably going to find SOMETHING hear that appeals to you and I’d be willing to say that you’d probably find more than one pieces of something actually. And she does it so, again, without really alienating the hardcore Soca fans in the process. If you are that crazy and ridiculous Soca all day and night type of fan, you’re going to get your fill with Caribbean Queen (and it‘s actually a better album than Soca Queen, in my opinion). There is certainly enough material here that you’re going to be familiar with (and in a good way), and largely unable to find through other ways, which will keep you happy and I think that goes back to the earlier point that I was making that, despite her very advanced career, we still see Alison Hinds as a developing artist and one who, in still finding her voice, can please a variety of fans almost instinctively. There’s a lot to be pleased with on this album which stands as the finest Soca album I’ve heard thus far in 2010 and also stands as a testament to the talents of Caribbean Music Ambassador, Ms. Alison Hinds: Our gift to you. Very well done.

Rated 4.65/5

Black Coral

2010

CD & Digital

Alison Hinds

HAPPY 40th EARTHDAY MS. ALISON HINDS!

Completely Random Cutie: Tejay

Yow! I was going to save this until tomorrow, but I have stuff to do! Enjoy the nice view of the lovely Tejay from out of Barbados. She had an album out 2-3 years ago, Summer Kisses, I'm sure you can still find it because it went digital. It was kind of poppish-Soca (Rihanna, Shontelle, that Livvi chick, you know how they do), but if that's your thing, and it might be, then go and check her out. I don't know if she's doing anything for Crop Over 2k10, but if she is, I'm sure we'll find out soon yeah. But yeah. . . very nice! Here's a video (if we can find one!)

So there you go! Some eye candy on a Sunday. Go back to bed.

{biggup Remmy for telling me, "you need to take a look at this", like the woman was a car or something}
{this will be my last post for today, I promise}

"The Uprising": A Review of Nhakente by Buggy

For most people around the world, certainly Barbados’ current greatest musical offering comes in the form of international Pop superstar, Rihanna and given all she's achieved, rightly so. Rihanna has definitely put the island on the global map in terms of being a location capable of producing talents immediately strong enough for successes on any musical level, but for those of us fortunate enough to have been paying attention for awhile (including, I’m sure, Rihanna herself) her successes have done little more than to reiterate a point that, despite that they can’t play football worth a damn, Bajans are as musically potent as virtually anyone in the entire world. Personally, the first thing to come to my mind in terms of Bajan music is probably the fact that CLEARLY the nation is the ‘home away from home’ when it comes to consistently OUTSTANDING Soca. With bonafide and undeniable superstars in the genre such as Edwin Yearwood & Krosfyah, as well as Alison Hinds & Square One and Rupee (and tons of others also), when it comes to big names in the still fairly young art form, if you’re looking for any outside of Soca’s ‘holy ground’, Trinidad, you’ll be looking a mighty long ass time if you skip over Barbados. Even more than that, if you look at that next level of big names and potential stars, in terms of name value and popularity (as well as actual talent and skill, in most cases), I’d put the likes of Biggie Irie, Peter Ram and Lil’ Rick up against most the most well known names from places like St. Vincy, Grenada and St. Lucia, the other heavily populated Soca (and GREAT) Soca locales. Still, like those islands and unlike Trinidad, Barbados has yet to make any significant progress on the Reggae front which would seem like the next logical step after having ‘conquered’ Soca and Pop (biggup Shontelle also). Off the top of my head, I would probably say (unless I’m missing someone obvious) (and I may be) that Barbados’ most well known Reggae artist would be the somewhat ‘mysterious’, but very popular (if a person can be both) (biggup Bjork) (and Prince) David Kirton who tends to make a brand of music which is extremely VARIED and Reggae (sometimes) is the foundation of it. There’re also young veteran Hotta Flames (who apparently has a very nice album out) as well a potentially wonderful artist I began listening to from awhile back, by the name of Ras Ali (who is already WICKED). Still, the one which, at least for now, has grown on me most is definitely the nearly sensational and wonderfully visible Mr. Buggy.

Besides having a name which is so familiar that you feel like you know him already, Buggy has ‘traveled’ in circles which I know quite well. I first ‘bumped’ into his music, SHOCKINGLY, on a couple of Soca compilations from probably the finest Soca producers in Barbados and some of the finest in the world, De Red Boyz. He had two songs (if I recall correctly) (I’m entirely too lazy to look that up at this time of night) on two of the Boyz’ releases, but DEFINITELY the one which caught my attentions and I still listen to now was the hyper-addictive ‘Hypocrites’. If you listen to enough Soca and even of the groovy variety (which is what DRB specialize in generally), you notice that actually making some big point isn’t always the case, but ‘Hypocrites’ was definitely one of the few on that release which had a point to make and Buggy definitely had a very ear-catching style to him also (more on that in a minute). Well, fast forward a couple of years or so and we’re dealing with what is to my knowledge Buggy’s debut solo album, the very colourful Nhakente. The album comes via Hot Island which is ran by a gentleman by the name of KB Sharp, which Buggy helped start (and it was also, apparently, released at virtually the same time as label mate (and CUTIE) Ayana John’s self-titled debut LP as well) who apparently handles the majority of the production as well. Now, when before you actually get into the album, there’re a few things very ‘different’ about Buggy that you probably may want to deal with beforehand. The first is that he apparently has too many names. Nhakente is not only the name of his album, but as you might be able to deduce from looking at the cover, it’s also part of his name (and it’s beautiful). And he’s also called ‘Fully Loaded’ which is also the name of his band, billed as one of the finest in all of Barbados (which may or may not contain the one name Garsha Blacks who apparently plays on the album). Secondly, and far more importantly, there’s the case of Buggy’s style. He seems to actually be ‘stuck’ (in the best possible sense of the word) between styles. When I listened to him on ‘Hypocrites’, again, he definitely had a very prominent Reggae edge to his style and yet while listening through Nhakente, I couldn’t help but find myself thinking that his actual style of delivery (which is very strange) was something birthed in Soca. Buggy doesn’t really SOUND like anyone that I can think of offhand (or even sitting down and trying to think about it like I am now). Normally I can take a very unusual sounding artist and put them in context on one scale or another, be it pacing, if not voice or voice, if not pacing (I.e. - Jah Cure sounds absolutely NOTHING like Luciano, but he sings on a similar pace), but I am at a complete loss of where to put Buggy in, in that scenario. He kind of sounds like he’s chanting (and at times singing, which he does quite well and should probably do more of) through a megaphone! He has a very LOUD effect to his voice, even when he isn’t trying to be loud. And on top of that, Buggy has been garnering quite a bit of attention definitely in and even outside of Barbados and it’s definitely just by my opinion. The man is WICKED! He writes very vast and ‘healthy’ songs. So when you take into account all of that very interesting material, just going in . . . and never mind the fact that he taps the greatest artist of all time on a quarter of his twelve track release and in the criteria of attracting my eye - He’s met that and then some. Let’s examine!

Buggy’s style of writing is also very nice, as I alluded to. I am very curious why, despite the fact that he writes in such a deep way, they (whoever “they” are, presumably Buggy & Sharp) decided to max the album out at just twelve tunes (including an intro) because I’m sure he could rather easily fill up one of the twenty track releases that I find myself listening to constantly these days. I could’ve rather happily dealt with that type of substance here, but as for what is here: Getting things started on Buggy’s SPARKLING solo release Nhakente is the aforementioned Intro. It’s pretty much a ‘mission statement’ of sorts. Despite its brevity and it’s kind of matter-of-fact kind of way, it’s very good and it definitely serves its purpose and makes you want to hear more. “More”, in the immediate sense, just so happens to be what is my choice as the album’s greatest creation, ‘Peace Pipe’. Despite obvious reasons to be attracted to other tunes, it’s DEFINITELY the beautiful simplicity of ‘Peace Pipe’ which reigns supreme on Nhakente. The tune is essentially an anti-violence one which offers a very unique, but very simple alternative to picking up the gun - the peace pipe! The tune, at times, borders on lyrical perfection to my ears, (“Mi know how it feels to hold a gun, but Jah Jah gimme the solution. HIM tell mi just, draw fi yuh peace pipe”) (“Some man a warring to get di biggest title. Di biggest title Jah claim already”) and is just a powerful statement by Buggy. HUGE tune. I’ll skip the next tune and head directly into the very nice ‘The Way It Is’. This tune is the obligatory acoustic track (apparently Buggy and Co. didn’t get the message that you’re supposed to END the album with such a tune in Reggae) and it is WONDERFUL. The tune has a kind of a ‘comfort’ to it, despite offering somewhat vivid and colourful images of despair at times, as Buggy tries his best to offer some type of ‘light at the end of the tunnel’, proverbially, by telling the masses to keep our heads up and to take the next step and try to make the BEST of whatever situation you may find yourself in, because that’s just the way it is (“somebody’s going to cry tonight, somebody’s going to make love”). I’ll skip that next tune, again, and stop at another winner on the album, the obligatory Mama tune, ‘Footsteps’. This one is very well written and it’s yet another example of how Buggy takes the most unconventional of routes, at least in my opinion. I’ve heard probably thousands of ‘mama songs’ in my days and I don’t know one of them which takes this direction in giving thanks to Mama for her resourcefulness and, by extension, her decision making in guiding the ‘footsteps’. Very well done.

Buggy takes that ‘love’ for Mama on ‘Footsteps’ and pushes it in a different direction - to the special lady in his life on ‘Love Of My Heart’. Yes. The title is very sappy and it the tune does have those types of elements at times, but ultimately it’s pretty good (and it progressing gets stronger as it goes along). The tune ‘High’ is the only tune on Nhakente which I just don’t enjoy. It’s another lover’s type of a song (although very strangely done), but I will say that I have now more appreciation of it than I did after the first few times I listened through it (its power, however much it has, is DEFINITELY in its lyrics, because the tune itself is very strange sounding). Buggy certainly takes the necessary steps and ‘rights the ship’ as the album winds down. Check ‘I See Dem’, which was apparently quite a big hit for the artist in Barbados and you can easily see why. On the tune he essentially warns all to be wary of all who we deal with and again, he borders on absolute perfection lyrically at times, particularly in the early stages of the tune when he says, “It’s like I have the eyesight of an eagle, the heart of a lion, the spirit of a quarter-million people. The blood of my King runs into my veins. That cures my pain!” BEAUTIFUL! The downright destructive ‘Taking Advantage’ reaches to the heights of Nhakente and is a HUGE tune. It also keeps the vibes of ‘I See Dem’ going in terms of the message of seeing a person’s true intent despite the image they present of themselves. It also builds on that in speaking of GREEDY ass people and people who can never take no (or HELL NO) for an answer. And the album comes to its conclusion with another stellar effort, ‘We Nuh Need Dat’. As if directly paying close attention to the two previous tunes, as well as a few earlier on, Buggy neatly and nearly PERFECTLY ties things together by casting away all negativity by saying “we nah need dat”, and truly we don’t. “Put down the war ting cause we nah need dat. Looks like we have a hunger for blood and waan feed dat. Just open up your heart to Rasta love, receive dat. Showers of blessings, can’t you see that?” In the latter stages of the album Buggy REALLY turns up the lyrical levels on the album and from the way it comes across, I’d argue that he can still do even better!

OH! Okay, there is an issue of the other three tunes on Nhakente, ‘The Family’, ‘The Children’ and ‘So In Love’, which ridiculously happen to feature my most favouritest artist of all time, Sizzla Kalonji. Apparently the two became quite good friends and vibed very nicely and it’s to that end we have three HAILE unexpected combinations. The absolutely MOVING ‘The Children’ is the best of the bunch to my ears and one of the best on the album full on. I also really like ‘The Family’, which has this SENSATIONAL and EPIC opening and ultimately descends into this ‘cool’ sound which my wife pointed out as a tone from an old Dr. Dre tune (’Footsteps’ also seems to use a version of that riddim as well)! And lastly is, ’So In Love’, which took a moment to grow on me (and it comes immediately after ‘High’, which didn’t help), but it’s an effective kind of lover’s/dance tune and there’s always room for something like that. Adding Sizzla on so many tracks of course in my eyes is a wonderful thing and furthermore it clearly lends some star power and credence to the album and Buggy himself as - If Kalonji approves, who the hell am I to say No!

Overall, I’m absolutely recommending you pick up Buggy’s Nhakente. The only prevailing critique I have (besides ‘High’ and I may grow to like that song someday) is that Buggy is potentially SO interesting that limiting him to ultimately eleven vocal tracks just doesn’t seem very fair! I could think of a few different types of songs I’d like to hear him do, not the least of which is a Soca tune and there isn’t one on the album. So, to that end I’m already looking forward to the next release. Whenever or even if ever we get it (and I’m sure we will), Reggae fans worldwide will be wise to take a look into the vibes of a Mr. Buggy Nhakente: Fully Loaded Ryan Chase. As, if Nhakente is any indication, and it most certainly is, Bajan Reggae is truly something to keep an eye on and in Buggy, they may just have a potential superstar.

Rated 4.25/5

Hot Island/CRS Music

2009

Buggy @ Myspace

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