'Signs of Growth': A review of "Second Souffle" by Saïk

A balance. In pretty much any walk of life and in any profession, when you hit that certain level of being at the top or at least as close to it as you can, presumably, go, there is this prevailing thought of 'what's next'? In music the course is generally already taken care of as we, as fans, will 'simply' continue to look to you and basically demand that you keep giving us big tunes, big performances and big albums and though absolutely nothing about that is actually "simple", the most talented stars find a way to consistently do it and the forthcoming most skilled artists find a way to organically begin the process as well. For the younger ones, who haven't necessarily had the benefit of time in terms of literally raising their audience (someone in their forties, for example, may very have fans in their twenties who have not experienced life NOT listening to their music and will be lifelong fans), what we've seen recently, specifically in the Dancehall (which is what we're doing today) are individuals capable of either perfecting what they do or expanding it. In terms of the latter, of course, the greatest example of expansion in the Dancehall in recent times is the most captivating case of Busy Signal. Originally gaining notoriety by being this monstrous and dark lyrical talent, no one could have predicted that just a few short years on, the same DJ who may've initially gotten your attention on the strength of heavyweight tunes such as 'Step Out', 'Full Clip', 'Think Dem Bad' and others - would someday keep that same attention, and intensify it in many cases, by singing Phil Collins songs [WHAT]! Although the case with which we deal today is nowhere near as drastic as Busy's (and I don't know if I could come up with one which is… at least not until Tommy Lee goes Gospel), I think it is definitely similar as it, too, represents a display of growth as an artist for someone who comes from such a SHARP background. Unnecessarily gifted Gwada DJ, Saïk is someone who comes in the form of a Busy Signal or an Aidonia or an old school Vybz Kartel (someone else who also experienced a transformation, although in his case it was much later in his career) or Assassin as someone from the very modern landscape of Dancehall music who just completely toys with the spoken word. His was a talent which was dominant even before most people who now know of him knew his name, and you can find full on terrifying demonstrations of it if you look hard enough. 

"Face A La Réalité" [2007]

Even if you don't feel like digging, actually, it isn't too difficult to find examples of Saïk's abilities. His very first album, 2007's MAMMOTH "Face A La Réalité" (on the cover of which, the DJ looks like a kid now) was one of the best Dancehall debut albums I've ever heard and it helped to usher to prominence someone with, again, a truly ridiculous skill. A protégé of sorts of the great Admiral T (more on him later), Saïk was always the standout. The Admiral had a group, referred to as the 'Gwada Boys' if I recall correctly, and Saïk was clearly the star of the lot and, to my knowledge, was the very first to reach with his very own album. He'd also been exceedingly active with mixtapes and performances and had such an overwhelming talent with words that his stardom seemed inevitable and it was. HOWEVER, Saïk's talent, though off the charts, was what it was. He was this hardcore Dancehall DJ who could do A LOT of work in a very short time and fully amazed fans with hits such as 'Oblije Nou Bun', 'On Sèl Doktrin' and others. He also would make a big fan out of me in the process and I was damn interested to see what this ultra modern wunderkind would come up with next. 

"M-10 Strict" [2009]

He would expand. Though it took a REALLY long time to arrive (in the interim, Admiral T, a bonafide superstar, would actually do TWO albums) (and, sitting here thinking, I actually think BOTH of Sam X's albums may've reached after Saïk's first), Saïk's actual next step, "Second Souffle", is now here. Between albums, the DJ managed to maintain a fairly high profile as, along with hyping his eventual sophomore set, Saïk would stay active in the studio and would even turn out an official street album from a few years back in "M-10 Strict" in 2009. But this is what we wanted. We wanted to see what he was up to and, as he's demonstrated in singles over the course of the past couple of years, Saïk has well diversified his game. As impressive as it was and though it was something I would have HAPPILY dealt with for the rest of his career, the artist hasn't abandoned his brand of high-tech authentic Dancehall music, but he has added to it. The aforementioned "M-10 Strict" set (which is available both digitally and physically, but I believe the digital piece isn't even a third of what the physical is) followed the debut album in terms of its style, but almost everything from that time has been a bit softer and more melodically inclined which, despite the wishes of someone like myself, is probably better for potential commercial successes of the new album. Fortunately, Saïk also managed to do it in a way which doesn't figure to alienate his older fans, which is very important. Since Saïk's arrival there have been a whole heap of advances on the FWI scene, most notably would be that of the burgeoning Kalash, who also released two albums between Saïk's two (although his most recent, "2 #Classic", is still virtually brand new) (and incidentally, Saïk, Kalash and Daly all release their latest albums in a span of just three or four weeks or so - and Admiral T is on all of them) (Mighty Ki La???) (Lady Sweety???!) (WHAT!) so perhaps there was a definite reason to 'evolve'. As I said, however, I was more than comfortable with him as he was, so the biggest question for me going into album #2 is whether or not the advances that Saïk has made recently make for an album which is still a sensational listening experience.

Previously, just about everything Saïk's name came attached to was done via the wonderful Don's Music and G-Zup Concept, the latter of which, I believe, may be his manager -- including the work on this album -- so I was relatively surprised to not see either officially doing the work here and, instead, "Second Souffle" comes via the same Aztec Musique who also did the new album from the aforementioned Daly ("Le Dalycious", in stores now). That was only the first surprise here. The second was the fact that the new album comes armed with a ridiculous and interlude-less TWENTY-THREE tracks and tops out at nearly EIGHTY MINUTES in length - which they clearly did because they know we mention every song and they just wanted to make it hard! Nevertheless, he does manage to keep the listener's attention throughout. The album begins with a selection which really just surprised me altogether the first time I heard it (and it was one released just ahead of the album). 'Surviv' is the type of song which you would have never heard from Saïk prior to the constructing of this album, nor would have expected it from the same person who turned in the material on "Face A La Réalité" and while it wasn't what I was anticipating, it does manage to impress on some level and I think that has something to do with even a song like this not being able to mask Saïk's most explosive of talents. Next is something which is also on a softer side but has a bit of a 'zip' to it (biggup my Wife), the also previously released 'Lan'nwit kon la jouné'. The beginning of this had me fully nervous when I first heart it, but by the time that things pick up, we do get a nice and colourful offering with a stellar chorus and, again, you can hear just the slightest of glimpses of what I actually was looking forward to on "Second Souffle". Things pick up even further on 'Laissé Yo Palé' and that brilliant piece of riddim behind that song. On the first (it just took me like three attempts to spell 'first' correctly) (make it four) album, a song like this would have been slower, but here, at least in the earliest stages, it's a nice expansion on the vibes of the album and a SWEET precursor to the madness which follows. That "madness" is the first sight of unqualified aggression on the album, 'What's Up'. One of the official singles from "Second Souffle" and its first of a quintet of combinations, 'Gimme Di Wine' is in next. This is, as you imagine, a party type of song and a decent one which links Saïk with Riddla and longtime associate and fellow Genesiz alum, Young Chang MC. This one doesn't rank amongst the album's best in my opinion, but it should serve its purpose with ease. 

'You & Me'

And then there's the boom! There're three songs on this album which, in my opinion, distinguish themselves from the other twenty (which just sounds odd in even typing) and the very first is the one which I think is the oldest here, the now more than two years old, but entirely MASSIVE unity tune, 'You & Me'. This was a song which released in the first half of 2011 and did a big damage. I would have imagined that the second half of that year would have brought what the early second of 2013 has ultimately, but through that time, it's only grew in stature. Though it, too, would not have been the type of song I would have expected from Saïk just a few years ago, 'You & Me' was absolutely brilliant and it's never been better than it is right now. BOOM! Charged with following that large tune is another captivating composition in 'Partir là-bas'. This song took me a minute to work with, but I would say that it is a good example of the 'mood' of much of the material on "Second Souffle". It kind of registers in the middle, in terms of sound, but it gives up bits and pieces of both a more softer and more fiery type of style. Despite its riddim, you can also say the same thing about the sensitive 'Mamamia' as well, which kind of got me a little excited as well. It's also something that I'm still working on, however. SWEET singing Frenchie (biggup Frenchie), Kenza Farah joins Saïk on the LOVELY 'Je mène ma vie'. These two make for a tune which I wouldn't at all be surprised to see actualize into a future single from this album. That thing figures to be exceptionally 'radio-friendly' and it's also kind of Zouk-ish, which may give it an even further reach. And that song also comes just ahead of another combination, 'Like a Winner', which features Hip-Hopper, Sadek. This dually upful and morose vibe kind of reminds you of something that you'd hear from Konshens (biggup Konshens) and although I wouldn't call this a favourite of mine, it does have something to it which is difficult to ignore and that's coming from someone who is no fan of Hip-Hop. And I'll also mention in rounding out the first half of "Second Souffle" (not really), the intense 'Handzup', which is a good song and an inspirational one (and a rather clever one), but more importantly it sets the stage for a later effort here which is the finest thing I hear on this album (more on that in a second).

'J't'emmène'

Speaking of clever, check the very focused 'Info ou Intox', which definitely is something along the lines of what I was anticipating from Saïk here. It is a very impressive lyrical display and has an arrangement which makes for a dazzling moment. 'All Night' has a nice vibes to it as well, but it leads us into something really nice as Saïk hits with an excellent lovers piece (which I haven't heard in a while), previous well-received single, 'J't'emmène'. This song came with a video (biggup Bredz if it's in here somewhere) with a VERY beautiful co-star to Saïk, which probably made it even more of  a standout in my eyes, but it has star-quality which was, presumably, why it was pushed so hard last year and why it did so well also. While I call three of the songs on this album superior to the rest (and 'You & Me' was the first of them), were I to expand on that at all, it would surely be in the direction of 'Fly Away'. The song which isn't the greatest exhibition of it on "Second Souffle" (we'll get there shortly), comes with all kinds of an edge, but it does it in a package which supports a chorus which you'll need much luck in ridding your head of after you hear it… which isn't really a problem though. Saïk later espouses on the virtues of the world's greatest body part on 'Poum Poum Poum' before reaching the pinnacle of this serving. 

The MAMMOTH 'S.A.Ï.K' is not only the single best song I hear on this album, but it also comes just before the second best and two songs which're the biggest combinations on the whole of "Second Souffle". As for this tune, it is precisely what I was looking forward to and is a continuation of the style which made me a fan of Saïk's. It is next level wordplay from one of the greatest to do it. And then there's 'Karibean Island'… TEARS! This thing is beautiful. Shockingly the composition links Saïk with walking divinity, Trinidad's incomparable Destra Garcia and together the two revel within the beauty and the PRIDE of the world's most wonderful place. Also, I like how the vibes of the song exist somewhere between Soca and Dancehall with just a enough of both so that both Destra and Saïk seem, appropriately right at home. Also, just how fantastic is it that I've been waiting on this album for so long and they do something like get DESTRA to voice a tune. Well done! Unsurprisingly, the aforementioned Admiral T also makes an appearance on "Second Souffle" on the very popular 'Dancehall Evolution'. These two can do virtually anything together musically and they have over the years and it's always a special moment when they link on a single song. This is no exception and it absolutely will not be the final time it happens either.

'Dancehall Evolution' featuring Admiral T

Rounding out the album is another four songs which may not (do not) have the appeal of the three just prior to them, but all have nice qualities. 'Viv Vi La' is basically a Zouk song and one which I would have LOVED to hear a singer join Saïk on (like Methi'S) (biggup Methi'S, new album, "On Dòt Solèy", in stores now). 'Mic An Mwen' is wild and a highlight, at least for me, from the album, while the poignant 'Unis' slows things down and the closer, the delightful 'Piblik an Mwen' keeps them relatively slow. Of these songs, the last is the biggest for me, with 'Mic An Mwen' also being impressive and placing a nice bow on the record.

My only substantial critique of "Second Souffle" is obvious - it's too long. Eighty minutes is a lot of album for any style and I'm also wondering how, if at all, it might change once it reaches a physical release (it doesn't, the CD has all twenty-three tracks). I think that, even with a lot to say and to accomplish, somewhere in the area of sixteen or even eighteen songs would have been better.

Saïk

Overall, however, I'm still a fan and I'm very impressed at the latest occurrence in Saïk's progress. What I really enjoy is how he continues to show that while these songs aren't what we're accustomed to hearing from him in the consistent sense, what we ARE used to is still in there. When he feels like it, Saïk is still capable of lyrically destroying any track he reaches and while I would have enjoyed to get a few more of those moments baked into this "Second Souffle", I am ultimately pleased with the final meal. And just as I mentioned earlier (that seems like a month ago that I wrote that!), I think that changing things up will eventually prove to be a sagacious decision in reference to his commercial success - and it probably already has. "Second Souffle" proves to be a very interesting successor to one of the better Dancehall albums in recent times and is a powerful statement to the ever evolving talent of someone in Saïk whose eventual skill level may have NO limit. 

Rated: 4.40/5

Aztec Musique

2013

CD + Digital 

Review #455

New Video: 'Si'w Pé' by Stevy Mahy

Stevy Mahy

'Si'w Pé' [Directed by Amic Bedel]

There were fourteen tracks on "The Beautiful Side of A Kreyol Folk Trip", the outstanding debut album from ultra amazing and just as fascinating Gwada songstress, Stevy Mahy, and if you recall that two of the fourteen were non-musical styled interludes, she's now pushed videos for exactly half of the songs on the album as its latest single, 'Si'w Pé', has now gone visual. The tune becomes the album's sixth single in far less than eighteen months and adds even more legs to a trip which, wonderfully, refuses to end. Literally. Things have changed a bit this time around with the biggest difference being the fact that 'Si'w Pé' was actually shot on location in the Ivory Coast and, once again, Stevy Mahy and co. have managed to put together a stunning visual display for the song.

Despite the change of locale, they also managed to stay 'on course' in regards to the way in which Mahy has gone about presenting her music. There is no LARGE shift in this video from its predecessors in the basic look of it (although it is slightly 'heavier' in colours, but I would think that was more a result to the weather at the time as opposed to any type of deliberate choice) and while it does stand out from the pack, it doesn't based on anything which is . . . ridiculous. Two things (actually three) really highlight the video for 'Si'w Pé' to my eyes and the first is the same thing that highlights the actual tune. The 'bridge' (I think that's what it's called in smart music people talk) on this song is spectacular - it just is - and it's observed in the visuals as you start to see more impacting images of the weather and people in it and later, when it returns, it happens again and that's just a case of definitely taking advantage of what you have. At the same thing, one of the other things which really grabs the attention is just how that aspect of the video interacts with the more PEACEFUL setting of it. THE lasting image here is of Mahy sitting on the bench with her two friends and what a coincidence that this most serene of shots is totally without rain or any urgency. It's total enjoyment and relaxation.

Of course, I have to mention that later on in the video she looks amazing walking down the street singing the song and also, earlier on, we see Stevy Mahy (who is, reportedly, making her debut performance in Haiti later this week) . . . resting in bed, listening to the radio while, presumably, writing a song to a riddim. I've said it dozens of times before and I'll say it several dozens more: Stevy Mahy is a VERY sexy human being and she generally looks even more so without trying to AT ALL.

So, while completely unsurprising, Stevy Mahy puts together yet another stirring visual display of her very visual music. It retains prevailing qualities such as its overall beauty and peaceful nature, while adding the large twist of being shot on Afrikan soil and showing just how global this amazing vibe can be.

Rewind!: "The Beautiful Side of A Kreyol Folk Trip" by Stevy Mahy

"The Beautiful Side of A Kreyol Folk Trip" by Stevy Mahy [BCaribbean]

Today we take a look and a listen back to an album which is simply one of the best non-Reggae albums that I've ever heard and one of my favourites, regardless of genre, in quite some time. Simultaneously, we also take a look 'back' (not really, we've been looking at her for about eighteen months now) (damn, it's always nice to look at that woman) at that album's most interesting and vivid star, who has become a household name around here. Now, more than a year later, the album has only increased and is DEFINITELY a 'modern classic' release and just . . . one of the most fascinating projects we've ever had the privilege of covering. "The Beautiful Side of A Kreyol Folk Trip" by Stevy Mahy.

1. 'Something About You'

This tune was the second single from the album if I recall correctly and while, for some reason, I just hadn't played it in some time but now - all is well. This thing is GORGEOUS and it even offers one of the more stirring moments on the entire album when it seems to EXPLODE in its latter stages, taking an already sparkling song and raising it to somewhere in the cosmos.

2. 'Yenki Pou Vou'

'Yenki Pou Vou' hasn't gone anywhere, on the other hand. It was musical divinity the first time I heard and has remained so ever since. If anything, I probably like it even more these days (which surely has something to do with that video). A smile is still BRUTALLY forced out of my face when I hear this song (especially that ever so slight still pan on the chorus) and I don't think it'll EVER change!

3. 'Divine Magic Joy'

Why not? Just name a song 'Divine Magic Joy' and see what happens. What happened was . . . well, divine magic joy.

4. 'San Vou'

Another song which I probably have an even greater appreciation of (if that's possible) after watching a visual version of it. 'San Vou' kind of hits me these days as a 'dance song' (which is why I'm currently dancing in my chair listening to it). The vibe on the track is just so LUSH and it builds throughout so that, by song's end, you have so much going on in the riddim and are just lost in the midst of this absolutely stunning musical experience.

5. 'Beautiful'

You

Came into my life

I thought that I was dreaming because YOU

Showed me a new dance of life

A new way to breathe

Call it 'Kreyol', call it 'Zouk', whichever is really fine to me. 'Beautiful' is probably the best of either genre that I have EVER heard, particularly for a much slower song and it's also, quite possibly, the most deservedly named song that I have ever heard also. A MODERN CLASSIC of a tune and for the ages.

6. 'Fame Is Gone'

These days I'm hearing m ore and more Jazz in 'Fame Is Gone'. With a backdrop almost as 'wonderfully agitated' as that of 'San Vou', you really take this tune in on so many different levels. When it blows up, I heard Fela Kuti, I hear chanting, I hear dancing (how can you HEAR dancing) (Achis, what the hell???), I hear a sterling vibe.

7. 'Most High'

This song is compelling on the first level because of its intention. From the title, people like you and me are automatically thinking one thing, obviously, and with words like "testimony" being thrown about, we're even more secure in that. However, somewhere in the back of my most ridiculous mind, I'm thinking that it may just be a bit more simpler and 'terrestrial' than I'm thinking. In any case it's a beautiful song and thinking passed that, once you do allow yourself to grab this one on a superficial level, it becomes downright exotic and more and more sonically addictive than I initially gave it credit for.

8. '4:37 PM Harlem [N.Y.C.]' (Interlude)

Going to New York.

9. 'Falling In Love Again' featuring AB

I now consider the old-schooled Jazzified 'Falling In Love' to be the changeup on this "Trip" and I think that's pretty much what the intention was on this one. A year on and I'm very curious what the reaction might be to this tune if it ever got turned over to more traditional R&B circles. I'm inclined to think that it would do VERY well.

10. 'What's Going On?'

Stevy Mahy follows the R&B set with another which, in terms of its subject, is of a similar type, but whose vibes are all kind of exotic. 'What's Going On?' sounds SO GOOD that even now, I don't know that I've really given it the type of actual attention that it's due, but . . . DAMN it just sounds so good.

11. 'Shine On Me'

Speaking of sounding good. The MASSIVE 'Shine On Me' remains one of my pwrsonal favourite tunes on the whole of the album and I've grown and grown in my love of this song. It makes an immediate impact on my senses these days and one which, probably even more so than the 'main event' on the album, just LIGHTS me up ('Beautiful' takes a second or two to get going, but when it does, it never ever stops). A twisting and turning tune which is downright CRACK for the ears.

12. 'Si'w Pé'

Yeah. It's taken me entirely too long to see it, but 'Si'w Pé' is ABSOLUTELY SPECTACULAR! This song is HUGE! It has a vibes surrounding it that is just so SPRAWLING and accessible, that I'm almost a bit embarrassed that it's taken me this long to realize it (while I definitely knew it was damn good, I didn't know it was that good). But now that I'm there - I think it's your turn, pay special attention to this one.

13. 'Mon Cœur Mon Ange'

The bright ending of our trip is another track which has grown on me considerably over the year and it grows even right now still. The chorus on this thing is hypnotic and somewhere, while listening to this song and only this song, on repeat, I'm pretty sure I lost about an hour of time that I'll never be able to get back. I'm not complaining about it either. LOVELY.

14. '3:55 PM Les Abymes [Guadeloupe]' (Épilogue)

Trip wrapped up - time to go home and relax.

I think it's also time to REALLY have a listen to this album. We can hear individual songs and make assessments of them and the album stands well in that respect, but as a complete and functioning unit, I just haven't heard many non-Reggae albums which were this good (and not a TON of Reggae albums either actually). Take that and combine it with the inherent and organic ORIGINALITY and UNIQUENESS of the artist in question and you have an album which looses non of that kind of new glow that even a good new album has, this one was great and it still feels like it released yesterday. Also, the rarity of Stevy Mahy well bleeds into "The Beautiful Side of A Kreyol Folk Trip", giving it its own very different and ultimately compelling feel and making it a trip which will not soon be forgotten (SEQUEL!).

Angel?

If anyone could somehow pull some strings to ensure that this is the first image I see when it's 'my time' - I'd be most appreciative!

"The Beautiful Side of A Kreyol Folk Trip" by Stevy Mahy, in stores now

New Video: 'Yenki Pou Vou' by Stevy Mahy

'Yenki Pou Vou' by Stevy Mahy [Directed by Ivan Herrera]

Continuing to shine a completely unnecessarily bright light from her outstanding debut 2010 release, "The Beautiful Side of Kreyol Folk Trip", is Achis Reggae and planet Earth favourite, the divine Ms. Stevy Mahy. This time she checks in with the video for the FIFTH single from that wonderful project, for the sublime 'Yenki Pou Vou'. Following big previous efforts for tunes 'Beautiful', 'Something About You', 'Fame Is Gone' and most recently, 'San Vou', this clip definitely had a great deal to live up to in the way of standard of quality, but as expected, Mahy manages to turn out yet another unforgettable and stunning visual treat.

In terms of pure aesthetic appeal, 'Yenki Pou Vou' may very well be Mahy's best effort since 'Beautiful'. This thing is simply GORGEOUS! The viewer doesn't get ten seconds into the clip without seeing the first glimpse of what is certainly the video's most powerful lasting piece of imagery - Stevy Mahy just . . . On this swing. There's sooooo much on my mind about this swing (not the least of which is the fact that it’s very very lucky to be where it is). What I really like about it is its kind of randomness. You never see another person in the shot when you see the swing besides Stevy and it really accentuates so many things - the beautiful woman, the beautiful scenery and restating the only for you idea of the tune.

Stevy Mahy and swing

When Stevy Mahy does reach other people, she also uses a very interesting method. There's this bicycle which is highlighted and really made a pretty big deal of in the clip for some reason (which I'm still working on thinking my way through). She also goes amongst other people when it becomes a matter of celebrating this dazzling music and 'performing' it and even then there is prevailing cool and calm which is the nature of the tune itself.

Finally, if the swing isn't the lasting image from the video (and it is), 'Yenki Pou Vou' leaves us with a very solo Stevy Mahy napping in her hammock, seemingly already vibing an idea for her next video (which, hopefully, will be for 'Shine On Me'). Yes, you very much wish that you were in it with her, but you’re also enjoying the view.

Stevy Mahy and sexy

This is another excellent video from Stevy Mahy an check out her album, "The Beautiful Side of A Kreyol Folk Trip", in stores now.

Zanmi Kreyol

So! In about a week, the first half of 2011 will be over. You’ll be six months older than you were at the beginning of the year (I'll be about 7 weeks away from thirty) and hopefully, six months smarter. In Reggae, coming up in the second half of the year, you're undoubtedly (and hopefully), looking forward to big and brand new albums from the likes of Jah Cure, Perfect, Sizzla Kalonji, Elijah Prophet and others (like Bambú Station???). Yeah! And all of that is great, but you know I like to dig a little deeper and in doing so, I have my own eyes and ears pointed firmly in the direction of and tuning into the area of Reggae and Dancehall from out of Guadeloupe, Martinique and Guyane - These areas pushing BIG talents in Kreyol and French.

This year, we’ve already seen BIG releases come through from the likes of Tiwony ["Cité Soleil"], Paille ["Inflammable"], X-Man ["Atypique"], Sista Majesty ["Ouvrir Les Portes"], Colonel Reyel ["Au Rapport"], Guy Al MC ["Sé Love Sélman"], Little Guerrier ["I & I"] and I’m sure a few others as well. This has all followed a 2010 which saw albums from Admiral T, Lieutenant, Kalash, Krys, Sam-X, Damaniak, E.Sy Kennenga, Young Chang MC, Blenda and Yeahman'C. Of course there is the top of the top notch (and I’m about to tell you about one of those), but ALL of these, in some respects, are big names and would be the equivalent to . . . A seriously STACKED line of Jamaican artists (predominately Dancehall) releasing albums in about eighteen months - Something which probably has not happened (specifically in regards to Dancehall) in nearly a decade.

'Turn Around' featuring Lady Sweety & Natty Bwoy by Sista Majesty

And there's more! The final half of 2011 tentatively is scheduled to offer up three more big release from a trio of big named and very talented performers. One of which is someone who has suddenly become much improved in my eyes, another is a DJ specializes in FURY and the other is someone who is . . . Wildly talented beyond his time and is almost GUARANTEED to have the best Dancehall album of 2011 and maybe even THE best album altogether. Let's take a look.

"Dalycious" by Daly [Hit Maker Mizik]

'Rèspèkté-w'

I haven't exactly been shy in expressing the fact that I am, by no means, the biggest fan of Gwada Dancehall veteran, Daly, but I think it says something that I know enough even to formulate an opinion - I have been paying an attention (not a great amount, but attention still). SO! Because of that, I wasn't at all apprehensive to check what he was up to as of late and it has subsequently turned out to be probably my favourite piece of work from the DJ to date. Not too long ago, Daly returned with the first single for his forthcoming album, "Dalycious" (his third, by my count, and his first from 2007's "Mista Dal"), the VERY strong 'Rèspèkté-w'. Either I just wasn't giving Daly the credit he was due previously or the tune is a significant step-up from a great deal of his previous work. And I should add that it wasn’t that said "previous work" was bad ('Konstriksyon' is a HUGE tune and always will be) (alongside Admiral T), it just never grabbed in this way. "Dalycious" will likely be his best album to date, and I'm WELL looking forward to hearing the entire thing.

“K-Rakter” by Mighty Ki La

'Régine'

How do I describe what Mighty Ki La does??? At his absolute best, MKL has a skill of blending an undeniable talent with such a strange level of intensity that you kind of wonder which, exactly, is his base. Did someone happen to stumble upon a crazy guy who learned how to rhyme from Martinique? If not, was he just a REALLY skilled lyricist who just . . . I don’t know, bumped his head one day and LOST it! In either case, he’s really become one of my favourites over the years (I "lost it" a long time ago) (I'm not even entirely sure that I ever had "it") and it would seem that 2011 would be a very good year for him to return. "K-Rakter" [see note again] is set to be his third album to date and his first from 2008 and if you know what to expect from MKL (and I just told you), then you know that there is almost NO WAY that this project could even be remotely close to substandard work.

Saïk [Don’s Music]

'You & Me'

I don’t even know what to say about this one. A few years back we learned about a youth from Guadeloupe by the name of Saïk, on the strength of his debut album (and material from), "Face à la Réalité". That album showed young Saïk to be, already at that point, amongst the very best lyricists that the Dancehall had to offer, potentially surpassing, ALREADY, his good friend, the very respected Admiral T. Saïk was basically off the registers and the album proved to be one of the greatest Dancehall albums since the turn of the century in my opinion. I've been a fan from then and now is the greatest time to jump up because Saïk, now older and more mature is set to bring his sophomore release later this year. To get things rolling he pushed what is likely the second best video I've seen at all this year (biggup Tarrus Riley) for the album's increasingly excellent first single, 'You & Me'. There is no way that this album isn’t going to be GREAT! And the only thing that keeps me from pronouncing it the best Dancehall album of 2011 (besides the fact that I haven't heard it yet) is that Assassin also figures to be in play later in the year. But make no mistake: this will be a MAMMOTH album.

Oh! And I suppose that there maybe an outside chance that we might FINALLY get the next album from Achis Reggae and Earth favourite, Lady Sweety - But I'm not holding my breath on it.

{Note: As always, check out Antilles-Mizik and the SSBStore for FWI releases}

{Note 2: Releases, titles and pretty much any other thing I may've said in here which proves to be completely wrong and/or DUMB are, of course, tentatively scheduled}

The Visual Side of A Kreyol Folk Trip

Stevy Mahy

Okay so, when I started writing this I was doing it as “Video Drop #21.5”, in order to feature the latest video from Stevy Mahy, for the tune ‘San Vou’, but as usual with my posts, it began to take on a very different and grander idea and here we have a brief look at all of the singer’s videos - All of which I’ve covered in some regard, but all of which are still LOVELY to watch again.

‘San Vou’ by Stevy Mahy [Directed by Ivan Herrera]

Obviously on a mission to do a video for EVERY song on her outstanding release, ”The Beautiful Side of A Kreyol Folk Trip”, Achis Reggae favourite, Stevy Mahy, has returned with the fourth video from that great album (and, from my research, I can see that #5 is loaded and ready to go), ‘San Vou’. When I first heard this tune I thought that it was a big song but, I kind of thought that it was the type which would ultimately go unnoticed in the face of some of the bigger sounding and more ‘complexly’ vibed efforts on the album - But I thought that, from a purely sonic point of view, it ranked favourably to almost any of them and while I was sure surprised to see it come as one of the videos, I was well happy. And the video has now given me an even greater appreciation for this wonderful record.

As for the video, I think that the most immediately striking characteristic of it is Stevy Mahy’s hair. I wasn’t sure what was going on (certainly I’ve seen enough recent pictures of her which would make it impossible for her to have grown that much hair), but eventually it does play out and explain itself quite well as she begins to shed (literally) and let go of the past. You’ll also pay a special attention to the paintings, which is part of the story, and I don’t know if Mahy paints (I do know that another Achis Reggae favourite, Lady Sweety, does paint), but I thought the entire story around that - From going to the shop and buying brushes from the old man (who seems like a very nice person) and then the one shot of her sitting on the floor just kind of brainstorming with paint - It was all just awesome and it reasons out near the end.

And I simply must comment about her sitting on the stairs . . . I mean . . . Yeah I’d . . . climb those stairs and do what must be done in the name of all things even remotely natural!

And finally, I just like the feel of the video, in general. Her first video for the album, ‘Beautiful’, had such a nice and organic vibes to it and while this one predominately takes place not only indoors, but is almost completely an indoors project, I still get that feel here - It’s very natural and relatable. Also, while Mahy typically is either smiling or has this coolest look of ‘curious indifference’ on her face (it’s almost like she seems to be saying ‘I wonder what’s going on over there . . . But not really’) I think this is one of her more emotional videos and by its end, it is GORGEOUS.

'Fame Is Gone' [Directed by Pasquale Pagano]


'Something About You' [Directed by Ivan Herrera]

'Beautiful' [Directed by Pasquale Pagano]

In looking through all of Stevy Mahy’s videos, definitely the one descriptor which seems to be prevailingly applicable and present is by calling them ORGANIC, which is also a great way to describe her music. One can say that her entire genre of Traditional Kreyol music or Zouk or whatever you’d like to call it, is naturally occurring and just kind of ‘free’ sounding and you could make that point very strongly, however, I’d say that it’s even more the case with her. She makes this brand of music which seems almost inherently visual to some degree to the point where, when you look at the clip of ‘Fame Is Gone’ and it has certain visual effects applied to it, you STILL see Mahy doing things like sitting on the steps of her building and going to a barber to get her hair cut and going to a strip club and just doing kind of these very basic and very everyday type of things, under the scope of being a music video. And that piece, in particular, is that way despite the fact that she spends the entire show traveling from place to place.

"The Beautiful Side of A Kreyol Folk Trip"

And because I must go there (and you know it because you’ve also gone there in your collective heads), Stevy Mahy, seriously, is . . . positively breath taking. She isn’t what you might call “BEAUTIFUL” in the more traditional sense (not what YOU might call it, I WOULD, on the other hand), but her very interesting look and POWERFUL sex-appeal comes blaring through at points in all of her videos. I’ve already mentioned the stair scene in ‘San Vou’, but can also look at her laying around with the blind guitar player in ‘Something About You’ (CLEARLY he must’ve been blind because had he not been visually impaired, he would’ve put down that fucking guitar and played with she, who was curled up right next to him at the time) In ‘Fame Is Gone’ there’s this shot with her on the stairs and she looks great there also, but what sticks out is this shot of her leaning against in rail in New York (I THINK) with this very inorganic white dress and it is obviously meant to be sexy and it is - It’s very sexy.

And then there’s ‘Beautiful’. I cannot think of a more aptly titled song/video, at all, in recent memory. The entire thing is beautiful and it goes from waking up next to a probably completely naked Stevy Mahy to just relaxing and spending the day with her. It’s one of the best videos you’ll ever see and this song, a year later, is still very healthy on my players an I’m not the only one.

In closing, undoubtedly Mahy and Joel Jaccoulet and company who has handles for this album and this project have directly and intentionally taken this very active visual course to promote the album and, in keeping with theme (and the title) of this ‘trip’, it just works so well! And it’s because of that, and the fact that the album, itself, was such a wonderful piece of work, that I’m saying, in terms of overall arrangement and production, you may not find, anywhere, a better presented project than ”The Beautiful Side of A Kreyol Folk Trip” by the angelic and enchanting Ms. Stevy Mahy.

Stevy Mahy @ Twitter
Stevy Mahy @ Facebook
Album Review

'The Shadow': A Review of "Inflammable" by Paille

Hang around here long enough and you’ll soon discover that I’m someone who likes to often focus on some of the ‘heavier’ aspects of music such as the artists themselves, the message behind their music and definitely their lyrics. I think I have pretty good reason to also. You just won’t find Reggae music discussed in such a way many other places and I really think when you can actually see words to songs in your face (particularly in Reggae, where the dominant language isn’t widely comprehended across the world). However, with that being said and supported, I also think that it’s important to not lose sight of the fact that Reggae, Dancehall, Soca, Zouk and all music, in general, is also a form of theatre and pure entertainment to an extent and one of the ways in which this is most evident is looking at the list of CHARACTERS you’ll encounter in the music. Now, with that being said, I think that I can rather confidently state that we don’t have very many outrageous or amazing personalities currently in Reggae, but there’re a few. At the top of the heap, obviously, is the ultra/constantly controversial Vybz Kartel. Almost to a painful degree, his actions are seemingly THE actions of an entire genre and I think even Kartel, himself, would agree that he is too closely followed (and I’m probably guilty of adding to that as well, but in my own defense (as if I care), I do, unlike just about everyone else, focus on his music). We also have the inimitable Elephant Man who, from a purely visual standpoint, may just be THE most interesting figure ever cast in the Dancehall (which is saying a TON). Ele is the main comparison point here (more on that in a minute), because he’s been that way for such a very long time that, much in the same way Bounty Killer’s name will come up ANYTIME there is a young artist excelling at gun lyrics, anytime someone comes about who seems just a bit out of the ordinary, Ele’s name will almost certainly be the one most brought up. There’ve also been the likes of Beenie Man, surely Lady Saw, recently Protoje who’s proving to be one the genre’s most curious finds in quite some time and Ninja Man (and even the Killer to some degree) who, by other musical means than strictly what they’re capable of doing in the studio, have reinforced how crucial it is to be entertaining. Still, almost without exception if you put all of them in silhouette, they’re likely not to be as recognizable as one of the lesser known EXPLOSIVES in Dancehall music, Paille.

"N'Oublie Pas"

Where do I start with Paille . . .? Okay, ‘paille’ or ’pay’ is French/Creole for ‘straw’. When I first heard of the DJ from out of Madinina his full name was Le Homme Paille [The Straw Man]. So we have a Beenie Man and a Ninja Man and a Straw Man. What is likely to make the outline of Paille so interesting is the fact that, as his name would suggest, he is almost never seen without his . . . Trusty (?) straw hat on his head - A trait which is undoubtedly his own in Dancehall. Now, much like Elephant Man (thankfully), what you’ll notice after looking at Paille and then listening to him is that he OBVIOUSLY has talents and his talent has raised him to the point where he is arguably one of the most popular names on the Dancehall heavy FWI scene. Back in 2008, Paille caught the attention of the region’s dominant Reggae/Dancehall label, Don’s Music, who would serve up ”Mots Pour Maux”, the debut album from the DJ and that album, along with his various singles (before and since) would help to solidify not only his talent, as a whole, lining up with his other impressive young peers such as Krys and Saïk, but also someone who injected quite a bit of colour into the genre. Although VERY lyrically proficient, Paille seems to do his absolute best when the ‘limits’ on what he can and cannot do are taken away - The crazier the tune is, the better he can be. And now apparently he’s gotten mad again because he’s back with his sophomore release, the fittingly and appropriately titled, ”Inflammable”, also for Don’s Music. Last year, which happened to be one of the best for the label in recent times (and maybe even the best one ever, actually), their releases included a two track EP/preview for the forthcoming album, ”N’oubile Pas” [pictured], which had the title track, of course, and what became the album’s first single, the ’off’ ‘Fé Yo Mal’. Apparently not only did the release do a nice bit of damage for Paille (I was pretty surprised when I noticed that it had also been released on CD (as well as digitally), which is just very strange for an EP these days), but the single, in particular did as well and although this album somewhat crawled out to the masses (I found it had been released and was pretty fucking surprised), the anticipation for this release has become quite high. I cannot say that Paille registers on levels such as Admiral T or Tiwony or Krys as THE top and most popular names that Kreyol Dancehall has to offer, but he exists more on the kind of level which is above the ’underground’ and with projects like these, at least presumably, his popularity will rise. I should also mention that Paille, in one way, is emblematic of Reggae and Dancehall from out of Martinique. Guadeloupe, with names like the aforementioned Admiral T, Tiwony, Krys and Saïk has a reputation in music which is refined and detailed. Madinina, by contrast, with artists such as Mighty Ki La, Kalash and DEFINITELY Paille (maybe I could also include Straika, but he is the potential exception to that rule), has much more of a free-flowing type of vibes and they simply do not get any freer than Paille. SO, when new fans come looking at ”Inflammable”, what they’ll find is a very talented DJ who, as I said, gets only better as things become more and more chaotic. They’ll also find a pretty good album (with a very cool cover), which we should discuss now!

'Réd Son'

Thankfully, although thriving more and more the closer and closer he gets to chaos, much like Ele, Paille is just very talented in general. I hold talents such as those possessed by the likes of Admiral T, Lady Sweety and Saïk to be TRULY at the top of the game in Kreyol Dancehall, but honestly Paille isn’t very far from those names and I’d say he’s more naturally gifted with the spoken word than others such as Mighty Ki La, Kalash, Lieutenant, SamX (although damn strange on his own) and really most of the names on the scene these days (and some of them are my favourites as well). All of that definitely helps going into his the new album from Paille, ”Inflammable” which gets started in a fairly expected manner with the HUGE sounding ’Spartiate’. I think that it’s changed these days, but when I first got into listening to this music and REALLY began to pay attention to it vibes from out of the FWI, the Dancehall tune that was almost overwhelmingly LARGE sounding was very very common. Like I said, it’s not the case these days (thankfully. I do enjoy them mixed in, but it’s almost like Dancehall Heavy Metal when overdone), but this tune, which is, essentially a very long intro, is very good as Paille gets things started as flamingly expected on the album. With the introductions handled, it’s time to have some fun and that’s EXACTLY what we get on the second track, my favourite on the entire album, ‘Réd Son’. This tune is downright intoxicating with its old school Dancehall vibes backing Paille who attacks the riddim on what may be the album‘s next single as it can currently be heard mashing up radio stations in certain parts of the Caribbean. The song is also a roaring example of just how destructive Paille can be at the height of his formidable powers and these just may be my favourite tune that he’s EVER done to date - It’s HUGE! The tune charged with keeping that intensity up actually slows things wayyyyyyy down - the haunting ‘Elle Me Hante’ [‘Haunting Me’]. This very unpredictable track just adds to the attraction of the album, as a whole. You can’t guess what Paille is going to do next and although I don’t rate this one as one of the album’s standouts for me, personally, it very much is easily one of the greatest sonic experiences to be found here (particularly later on in the song when things really pick up).

‘Fé Yo Mal’

On the ”Mots Pour Maux” album Paille was joined by a number of his big named peers such as Straïka D, Kalash, Mali, Pleen and even Anthony B, and while not as many join him here, he definitely has a nice contribution from just a few names. The biggest of them all, Jamaican star Konshens, turns in an expectedly excellent performance on the social commentary, ‘Assez’. I can’t actually say that either big artist outshines one another (because neither does), but both set forth a lyrically explosive track which is definitely not to be missed. Somewhere in the middle of his verse Paille hits a perfect stride and never looks back and even if he did, Konshens wouldn’t have been very hard behind with his offering. On the album’s second combination, ‘Inmin Mwen Anko’, Paille links with the most reclusive songstress, Lea Galva. You’ll still find quite a few people who’ll swear that Galva is simply the most talented Zouk singer EVER and whatever you think of her, you’re sure to come to the conclusion that she makes a very nice pair with Paille on the nice lover’s track (and hopefully this is just a signal Galva being just a bit more active). And later, the young MC Kim Angel joins Paille on the biggest single to emerge from ”Inflammable” before it dropped, the aforementioned ‘Fé Yo Mal’. This DAMAGING tune is madness from it first reaches and for me, it’s every bit as fun as anything you’ll find on Ele’s latest release. This is the type of song which distinguishes Paille, because not only can he do it (and many of his peers can), he’s managed to perfect and although I still favour ‘Réd Son’, this tune basically blows over the listener and forces them to take notice of just how big it is.

'N'Oublie Pas'

Certainly the DJ isn’t going to suffer left on his own, not with this type of talent, and he actually excels as a matter of fact. A song like the gal tune ‘Fanm Lan’ is a good example of why because it is outstanding. If you want extremely fun Dancehall, this is another big tune for you and on an album which isn’t starving for such moments, ‘Fanm Lan’ is still one of the most fun. There’s also the aforementioned tune ‘N’Oublie Pas’ which comes through on a most refreshing and fulfilling one-drop and is gorgeous. And the actual album closer is another big tune, ‘Assé’ which took a minute to grow on me (because I didn’t actually listen to the entire thing the first few times through (even though I’m pretty sure I’ve heard this one somewhere before), but when it did, it really flourished into this incredible vibes and another big sounding Dancehall tune (although not as big as the opener) (but a better song). And the album also features two interludes which are actually pretty funny, the rather clever ‘Paillardise’ and 'Le Retour De La Vengeance De L’éclate’ (yes that’s the title). Both are pretty nice, but especially the latter.

There’re two tunes on ”Inflammable” which I don’t like very much, ‘Révé’ and ‘Dr. House’. The former is a Zouk song. Paille sings it and it’s very straight forward (and lovely sounding too), but you know I can’t listen to men sing Zouk and the song (at least to my most uneducated of ears) is in dire need of a female vocalist to play along (one named Goldee, specifically). The latter is a Hip-Hop song and doesn’t reach far enough, in my opinion, to take advantage of Paille’s talents - But I should say that this one is currently growing on me.

'Pleurer' [Studio version featuring Cindy Faustin. Not on album]

And finally surviving from the first album onto ”Inflammable” is a stretch of live songs (this album has three, the first had four and also on ”Mots Pour Maux” - They later released a collector’s edition which (you should still be able to find) featured a full DVD with interviews and performances - A tactic which Don’s Music, HOPEFULLY, repeats here) (and they also did it with an old album from Saël) (I digress) which really takes you into the vibes of Paille even more. Again, just like Ele, he has a reputation of being one of the Dancehall’s greatest performers and some of the album’s most exciting moments comes in this trio of tunes (especially the second one). I should also mention that I don’t know for sure if they’re actually LIVE or just made to sound like so, but I don’t care that much either. Getting us started is ‘Dexter’ (yes, Dexter) which is, initially, too electric for my tastes, but in its time, well over six minutes, it eventually rights its own ship. Then we get the fucking flaming ‘Pa Sa Palé Bay’ which also takes a little while to get going (not a problem when you’re six and a half minutes long), but when it does it’s clearly one of the best moments here and if it is an actual show (and I’m convinced that it is), I wasn’t there and I’m jealous as hell. The tune also changes in its latter stages to a SWEET Soca tune which is very nice as well. And lastly is ‘Pleurer’, one of Paille’s big hits, which the crowd (real or computerized) really responds to. The song slows things down (which isn’t hard to do following what it follows) and Paille hands singing duties off to his crowd who do so well as do the backup singers. Just like the tune which precedes it, ’Pleurer’ also appears (in studio form) on the ”Mots Pour Maux” alongside the delectable Cindy Faustin who doesn’t join Paille here (at least I don’t think she does), but is well accounted for by the fans.

Overall, yeah - This one is very nice. I should say that, at least in theory, for all of Paille’s flair, he holds something in common with most of his ‘terrestrial’ peers: His is a talent which is very immediately appreciable. I often reach these points where, and just as I’ll say of songs (and as I’ve said about songs on this album as well), I’ll say that the artist, in general, is one whose vibes take awhile to REALLY grasp and that is not the case with Paille. His talent, in my opinion is likely to resonate with most fans of Dancehall. ”Inflammable” isn’t leaps and bounds better than its predecessor, but it is slightly and it’s also another rousing display of the abilities of one of the most interesting characters in the music - Paille: The Scarecrow of the Dancehall.

Rated: 4.25/5
Don's Music
2011
CD + Digital
Paille @ Myspace
Paille @ Facebook

'Beautiful, Beautiful!': A Review of "The Beautiful Side of A Kreyol Folk Trip" by Stevy Mahy

Okay I know that I’m supposed to be this sort of two-brained vacuum like human being who literally sucks in new music and decides whether to regurgitate it to you beautiful people or to place it in my internal and ridiculously hard to remove, bag for disposal, but I have to admit - I’ve been slacking on the job. The Carnival season is good and gone and with it, it’s taken most of Soca for the next few months, I’ve pretty much had tunnel vision on Reggae and Dancehall, to the neglect, of course, of the subtle genius and crystal clearly beautiful genre of Zouk. Last year, two of my personal favourites, Kénédy [“Entre Toi Et Moi”] and Goldee [“Le Moi De May”], dropped albums and that should’ve been a pretty good sign that 2010 would be a ‘down’ year for me when it came to Zouk releases because, obviously, two of my favourite artists wouldn’t be doing albums. There’s also Thayna, who had an album in 2008, “Nouveau Départ”, which she’s still promoting apparently and artists like Fanny J, and Jessye Belleval and Lindsey Lin’s, all of whom, I believe, were slated to make releases this year, but as none of them have materialized as of yet, so my interest hasn’t been very high in waiting (although if you wanted to give me that Fanny J album, like yesterday, I wouldn’t mind none at all). It wasn’t until quite recently, over the past couple of months or so, that we REALLY began to take a listen and a look at Zouk 2010 and it was largely due to the fact that a well known Reggae label (it would be, wouldn’t it?) had chosen to make an entry (or a reentry) into the sweet genre as Don’s Music shot out with a release from the delectable Methi’S, “Mon Nid D’îles”. It’s been just about two months since that album dropped and having finally been through it, it’s just now starting to warm up to my tastes. Also, Don’s Music began working with a next (cutie) artist by the name of Ludy, who I’m also liking currently and that is, of course, right up my alley because at the same time, the label has been dealing with the likes of Admiral T, Paille and the Lieutenant, which makes coming into contact with their Zouk work a matter of ‘being in the right place at the right time’. Still, if I’m being really forthcoming, the final flare that caught my attention for Zouk music this year, technically wasn’t even a Zouk artist. No. Instead it was the hypnotic and downright SPACIOUS vibes of one Ms. Stevy Mahy.

Initially, it was the whirlwind created by the EPIC tune that was ‘Beautiful’ which jumped the Guadeloupe songstress on the radars of most, I’m sure, yours truly included, but when we got to know her better, what we learned was that Stevy Mahy was just full of interesting material - She has almost as much of it as potential. While hers is a story which is still largely a mystery to me, what we do know about Mahy is that she seems to have a bit of a globetrotting dynamic with her life. She’s obviously spent more than a little time in New York (more on that later) and Paris which has become not only a matter of fact in her life, but it’s made the fact that she seems to almost go out of her way to represent for Gwada so much more interesting. In doing so, as I alluded to, her style is clearly something much more influenced by ‘traditional’ Creole folk music, with Zouk and even a little R&B (and JAZZ) thrown in (but I make the point that in traditional Creole music, Jazz is, inherently, very present and represented), rather than being a straight up Zouk artist (although there’s certainly nothing wrong with that). Want more? Simply take a good look at Stevy Mahy. She is gorgeous and she is gorgeous in a very non-traditional way (although with those CURVES . . . Stop Achis) and her look and, by extension, her image of this very strong and womanly Creole person is something which you don’t usually see with the way in which Zouk singers are usually ‘dolled up’ to look like pixies (sexy pixies, mind you, but pixies still) in many cases (although I’d like to think that image is slowly, but surely changing in general). Back to her music - As I said, it was the early tune, ’Beautiful’, earlier this year which brought her to prominence and I have to say that I besides loving the song itself, I just love how it just seemed to pop up and then run its course through the usual channels, eventually progressing all the way to jumping up on the radars of my research via becoming a digital single. Stevy Mahy would also drop a second single (which I’ll tell you about in a minute) and did so just ahead of her brand new, debut album the delightfully titled ”The Beautiful Side of A Kreyol Folk Trip”. It is DEFINITELY the word “trip” which you’re best off focusing on as a listener, because the album takes us on a very nice and, of course interesting, trip through the mind and life of Stevy Mahy. By wonderful coincidence, this “trip” comes via the same B Caribbean that brought to the world the aforementioned golden Goldee and that also means that you can expect a ton of probably my favourite Zouk producer (not that I know so many of them, I’m still a Zouk rookie) (a Zoukie?), the professional, Mr. Joël Jaccoulet. The label, as far as I know, is based in Martinique and has been at the forefront of so many big projects within Zouk, which includes, of course, steering Goldee into stardom and ensuring that the mammoth shot of a tune that Stevy Mahy laid out would go on to SWEEP through the world as it did. That’s definitely no coincidence at this point: Obviously B Caribbean knows what they’re doing. That’s BEAUTIFUL because had this song and had this artist just kind of came up and jumped ‘in line’ with so many other artists, it would’ve been a damn shame. Mahy does so well at sticking out and drawing attention to herself by simply being herself and because of that (oh, and the fact that she just happens to make excellent music), it proves to draw this “trip” as one you’ll surely want to buy a ticket for.

The first thing you’ll hopefully notice about our journey is that our lovely captain, Stevy Mahy, is functionally trilingual throughout. The songstress, without warning, weaves her way between her native Creole, French and English and while I’m almost sure there is some sort of method to her linguistic madness, the fact that I have no idea what it is certainly doesn’t hurt much here. Our first stop on Stevy Mahy’s ”The Beautiful Side of A Kreyol Folk Trip” (I really don’t like long titles, but that is wonderful) is at the aforementioned second single for the album, ‘Something About You’. HOW SWEET IS THIS SONG? This is the tune you play when you want to stay in bed a couple of extra hours and open the window or just lay on the floor and PLAY (and I mean that literally) with your special someone and although I find better tunes on the album, this one is just a CRYSTAL of a song and a GLORIOUS way to get us started on this journey. Next, we hit ‘Yenki Pou Vou’ and . . . Yep. I mean . . . I’m certainly going to get tired of using ‘beautiful’ as an adjective, especially considering the album’s title and specifically what happens on track #5, but this tune is BEAUTIFUL! The smallest fragment of beauty certainly isn’t that ever so SLIGHT steel pan I hear at the end of the tune’s chorus, nor is it Stevy Mahy’s almost perfect vocals and her twisting linguistics (which just switch at mid-verse for absolutely no reason) (and I love it). And, were that not enough beauty, already, for ”The Beautiful Side of A Kreyol Folk Trip”, simply the TITLE of the next song, ‘DIVINE MAGIC JOY’, should make you smile as it did for me and my Wife, who hates everything. It’s going to sound lame, but I’m going to say it anyway - This song is like a BREEZE and if you haven’t already fallen in love with Mahy’s vibes, that should be wrapping up right about now (and even if it isn’t she still has something for you in just a bit) because this ghost of a tune is barely even here, but wherever it is, I’m with it and you will be too. HUGE start.

I was going to take this one in a most spellbinding twist before ultimately arriving at the pinnacle of our trip, but I think I’ll lay it out nice and early. Of course, I’m talking about the most beautiful moment along ”The Beautiful Side of A Kreyol Folk Trip”, ‘Beautiful’.

"You
Came into my life
I thought that I was dreaming because you -
Showed me a new dance of life
A new way to breath"

TEARS! This fucking song is the most perfectly titled creation of 2010 that I’ve heard, because it is just so nice, so airy, so angelic that it taps into nooks and crannies of emotions that just don’t get up and worked on too much (at least not for me), when listening to Zouk, for the most part (although I do love it still). It took over things fro Stevy Mahy and, thankfully, it has been the beautiful vehicle which has brought her and her music to us and will continue to going ahead, hopefully. AMAZING!

And I didn’t just sign up and join this trip for the opportunity to visit ‘Beautiful’ (although it was certainly worth the price of admissions on its own), I wanted the full joy of the experience and thankfully, Ms. Mahy makes our trip so much of a FULFILLING experience, besides relying on the attraction of that most captivating and capable of tunes. The two stops immediately following ‘Beautiful’, ‘Fame Is Gone’ and ‘Most High’, definitely caught my attention based on name value alone and the subsequent tunes that I heard just as definitely didn’t disappoint. The former speaks of this kind of future of former stars who just can’t seem to adapt to ‘regular’ and ‘everyday’ life. It’s one of the most lyrically impressive efforts on the whole of the album (and a lot of English, but it switches without warning) - “Fame by any means, but fame means enemies” - and the way the tune kind of EXPLODES down its stretch is very impressive and lovely as well. For its part, ‘Most High’ is a song where you must forgive me because I’m a Reggae head, so you KNOW what I thought this song was about and I was kind of correct in my assumption because it does at least appear to find Mahy reaching and calling upon a Higher Power, but it has a bit of flexibility in it and she may very well be speaking of ‘falling in love’ in the general sense. I would imagine, however, that she might make the case that both are one in the same and if she would, then good on her! And to place a nice bow on the first half of ”The Beautiful Side of A Kreyol Folk Trip”, we look at another very strong effort, ‘San Vou’. The attraction here is ‘simply’ the sonic appeal of this song first and foremost, and later we deal with the fact that it’s also inspirational and just well done. While this one may not have a whole heap of flare and may not attract much initial attention, truth be told - It’s probably one of the strongest efforts here.

The first actual song during the second half of our trip, ‘Falling In Love Again’, was one I was prepared to say that I didn’t like too much up until a couple of paragraphs ago when it finally clicked with me for some reason. The song features singer AB and it kind of has an R&B type of appeal, but it sounds like old school minimalist R&B and Stevy Mahy sounds like an enthused version of Alicia Keys or Jill Scott to AB’s smokiest of D’Angelo. Ultimately, I feel it works because of the ‘mood’ of the song which never seems to step beyond its boundaries in terms of being COMPLETELY unaware of what other music is on the album and the type of artist that we’re dealing with, who is very talented. So well done. Next in is the less ‘traveling’ and extremely RELAXED vibes of ‘What’s Going On’. The song is actually about Mahy questioning her own motives and actions which have obviously lead to a spoiled relationship, but I’m sorry Stevy, I feel your pain, I’ve been there (BELIEVE ME, I’ve been there) (SHIT, I’ve LIVED there for YEARS at a time in the past), but this song sounds so good that I’m having a really hard time moving passed that fact to find out what’s really going on. That being said, it doesn’t sound as good as what may just be my second favourite tune along ”The Beautiful Side of A Kreyol Folk Trip”, ‘Shine On Me’. The word I’m thinking of is BEAUTIFUL. Yet another beautiful tune for this album, highlighted by the fact that I nearly jumped out of my chair (scaring the hell out of the cat) when, with approximately twenty second remaining in the song, Stevy Mahy goes all Luciano on the people:

“No night in Zion, there is no night there
No night in Zion, there is no night there”

And it works and it’s appropriate for the song and - Just wow. Huge huge piece. Next up we relax things back just a bit on ‘Si’w Pé’, maybe one of the most ‘traditional’ Creole tracks on the album and, simultaneously, one of the most infectious. The tune starts off so nice and easy, but its intensity seems to rise and rise and by its end we clearly have one of the most colourful and ‘visually’ attractive selections on the trip. And for our final stop, ‘Mon Cœur Mon Ange’, Captain Mahy goes French for the most and in doing so creates an excellent ending. Really like the chorus on this one and the while it still certainly doesn’t sound quite ‘flashy’ enough to be considered Zouk (not even by my not so intelligent ears), it’s still lovely and has the same effect, I’m sure. Also, I should mention the presence of two skits. One ‘4:37 PM Harlem [NYC]’ appears to feature Mahy bumping into an old friend in New York and, lo and behold, the tune which follows it is the aforementioned R&B-ish ‘Falling In Love Again’ (the interlude actually features a woman asking Mahy “so why are you here in New York” in a crowded space and then the tune starts, seemingly to answer the question - She came to get the vibes). And the other piece is essentially an outro, ‘3:55 PM Les Abymes [Guadeloupe]’ and it finds Stevy Mahy, her beautiful trip completed, relaxing and enjoying the lovely day.

Overall, I don’t know if you could tell from the review, but I absolutely love this album. As I said, I was looking for something to kind of reignite my passion and taste for Zouk music and despite not really being a Zouk album (even though I’m going to label it as such), ”The Beautiful Side of A Kreyol Folk Trip” from Stevy Mahy has, essentially, done just that. More importantly, it’s also given to me and the entire world a potentially DOMINANT talent in French Caribbean music (and you can certainly take that in the all-encompassing sense, in terms of genres) because I would suggest that, because of her VERY relaxed style, Mahy might find very responsive audiences in genres like traditional R&B and Jazz and maybe even Pop to some degree. But, because such successes may require more effort than Mahy is willing to give or offer more than she simply wants (from what I’ve read about the singer she REALLY seems to be focused on making her mark on music in Guadeloupe in particular and representing it), we may have her ALL to ourselves. I’m not going to be the one to complain because when next Stevy Mahy packs up and takes another trip like this one, I’ll definitely be on board, no matter where she's headed. EXCELLENT!

Rated: 5/5 [4th Five Star of the year]
BCaribbean
2010
Digital

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