'Who Are We' by Turbulence [Unemployment Records - 2025]
Gotta start off with something that's definitely put a a smile on my face over the last week or so and biggup Filomuzik and Unemployment Records from out of Italy for getting the best from one of Reggae's most enigmatic figures that I've heard recently. Turbulence MOST CERTAINLY has not been one of the most consistent of artists in Reggae music but I still maintain that he sits on a gold mine of talent which places him in very thin company. Alongside the aforementioned producer and label from Southern Italy, Turbulence turns up with 'Who Are We' which is, CLEARLY, the best song I have heard from him in 2025 and... probably the best in quite a few years (off the top of my head, I would probably say from since 2021 but it could very well be even longer than that).
"Who are we, who are we-
Without His Majesty?
Who am I, who am I-
Without The Most High?
Who are we, who are we-
Without His Majesty?
Who am I, who am I-
Without Rastafari?
I'm nothing but a drowning victim waiting to be saved
Jah hand me lifeguard inna this tidal wave
Lost and confused inna this deep, dark cave
Jah hand me lantern just to light my way HOME
Rastafari say: Who do I think I am to disobey?
According to your works, that is how you get your pay
Mi ask them this without delay"
'Who Are We' is a scorchingly clever praise, backed by a GORGEOUS riddim (and notice how it changes and electrifies as the song goes along) making it not only, as I said, Turbulence's best this year but likely one of the best from anyone. BOOM.
'The Days' by Busy Signal [Zion High Productions 2025]
I'm always looking forward to seeing just who one of my (if not my absolute) favourite production units, the vaunted Zion I Kings, will work with next and I have to say I was quite shocked when I saw that next in the offering was the ridiculously gifted Busy Signal and I was also damn excited. I'll temper my HOPES (You know what I want) and just deal with what's at hand. While the link maybe surprising, the results most certainly are not. The ZIK's record is what it is, they've been amongst the most consistently high quality outfits in all of Reggae music since their inception (INDIVIDUALLY AND TOGETHER) and, in case you haven't paid attention, Busy Signal is one of the most versatile stars the genre has ever produced. The man can literally rhyme about ANYTHING and shine whilst doing it. Their effort together, 'The Days', is a damn gem. It's a work of art... but you knew that already.
'Shout It Out' by Fikir Amlak [Saj Moor Dub - 2025]
Biggup our old friend, Saj Moor, who we told you about the last time we did one of these and is already back and this time, arguably, even stronger as the producer links up with the always active Fikir Amlak for 'Shout It Out'. I'll qualify this a bit: I haven't listened to Amlak's music a great deal over the years. Though I find myself crossing paths with his work every so often, I've never really focused much on him for one reason or another, but I have heard some of what he's done (he had a song a few years back that I REALLY liked called 'Royal Son'). So maybe you'll take that into consideration when I tell you that I'm quite confident in saying that 'Shout It Out' is the single best Fikir Amlak tune that I've heard thus far and maybe it becomes the impetus to get me to really tune him in (I'm pretty sure he has a new album now and even if he doesn't (or even if he does) the next one isn't too far away.... it NEVER is) Despite its title, 'Shout It Out' comes with this very cool and kind of building vibes to it (the riddim on this one is gold bar. Literally). It never fully ascends in terms of intensity but it remains with this gorgeous, almost mystical sound which Amlak puts to excellent usage in praise of The Almighty, while channeling the immortal Marcus Garvey.
The Tear Iron Riddim [Muscle Records - 2025]
Grrrr! Little late season madness courtesy of Muscle Records, check out the superb Tear Iron Riddim. I've been meaning to give this one its own mid-week feature post but it took me so damn long that it made more sense here. There're only five tracks on this riddim and I'm not crazy about all of them ('Jab Bull' by Island Prince is actually kind of annoying and I cannot remember the last time I called a song "annoying") but the absolute class of this thing is buried between a pair of tunes which are absolutely delicious. Greens blowtorch, Lavaman scorches everything everywhere with his 'Take Dat Down', while the queen reigns supreme as Fay-Ann Lyons provides the iron with its greatest threat, 'Show Me The Road'.
"A Piece Of The Blender: The Singles" by Everton Blender [Heartbeat Records - 1996]
I'm working on a review of an Everton Blender album so, of course, I'm going back and enjoying some of his older work so this EXCELLENT nearly thirty year old compilation is our blast from the past today, "A Piece Of The Blender". I've always appreciated how well this one was put together because it features songs such as 'World Corruption', 'Bob Marley' and 'Blend Dem' that would definitely get your attention and get your foot in the door; and when you settle in, also waiting for you were killers such as 'The Man', 'When You Wrong', 'Coming Harder' and others. I mention in the review how important I think it is for us to make sure that we pay the deserved respect to and CELEBRATE elders like the no seventy year old Blender while they're still around to be able to enjoy it. When you dig into much of his catalogue it isn't difficult because the man has given us some certified GEMS throughout his time.
Happy new year to all of our wonderful readers (all ye of hideous taste who so faithfully come around these parts)! I do promise to return you to your regularly scheduled Reggae programming very soon (also going to attempt to be more active this year), but permit me (or don't. I don't care. Do what you want) one more ridiculous detour - this one in the form of the brand new Real Stink Riddim from DJ Avalanche.
So far, we just have a pair of tunes from the first couple of Soca. The Silver Surfer lays the track to ruins with her very clever 'Nevermind' which is more typical 'stylish' Power Soca from Aza Sefu. Lyons, as always, is having a stellar season thus far and I'm expecting her to go higher at some point. It will be difficult, but she is FAR more than capable.
And then there's this shit. Lyons' mister, Bunji Garlin, picks up and rebuilds everything that he can after his wife destroyed it and then proceeds to absolutely eviscerate the Real Stink Riddim with '110 Overcharge'. This is carnage of a genius kind (biggup Gentleman). Following the missile that was 'Carnival Contract', the Garlin continues his reign of terror for Carnival 2024..... and none of us are safe.
In case you haven't noticed (you poor, poor soul), it is late in the year and that MAGICAL time where Soca music begins to bubble and blossom as some of the genre's biggest stars begin unloading their arsenals for the forthcoming Carnival season. What happens, in good years is, despite the fact that most artists will wait a few weeks or so to release their absolute biggest tracks, we still get some very good early shots and this year, things are looking bright! I thought I'd take a minute and tell you about a few of my personal early favourites from Carnival 2024 which, if what we've heard thus far is any indication, is looking GOLDEN. Let's go.
'Anxiety' by Patrice Roberts
First up is a tune that I've told you about previously but, in a MOST UNFORTUNATE way, it's taken on an entire new life and also it does remain the single most beautiful piece of work that I've heard thus far. 'Anxiety' is the latest gem from Soca supernova, Patrice Roberts. WONDERFULLY it deals with subjects such as mental health and the overall strength of Soca music and what it does for the masses. If you do not recall or have not heard, last week we lost Ricardo Drue, who transitioned unexpectedly. Drue and Roberts were engaged and, because of that, and just due to the fact that it is absolutely fantastic, 'Anxiety' has become even more powerful and such a noteworthy song not only for Roberts and Drue, but for the entire genre going into 2024. Obviously you don't want to have such circumstances 'fueling' any release of any kind, but even prior to this, 'Anxiety' had the wheels to carry such a heavy weight. It is absolutely fantastic.
'Devotion' by Destra
I'll name you others (including almost everyone in this same post), but make no mistake about it: My favourite Soca artist is and has always been the divine Destra and she has come out for Carnival 2024 blazing on the power of the typically brilliantly chaotic 'Devotion'. This tune is downright exhausting! IT WILL WEAR YO ASS OUT! This action movie of a song easily ranks amongst Destra's finest from any season in recent memory and I cannot wait to see what else she has in store for the season (check another nice set she had not too long ago by the name of 'Rosie'. Very nice song).
'Big Stage' by Skinny Fabulous & Olatunji
No post such as this one could be incomplete without the inclusion of Vincy blowtorch, Skinny Fabulous who has three or four new tunes about already and the best of them, to my opinion is 'Big Stage' which finds 'Godzilla' linking with Olatunji in a big way. This one actually took a bit of time to grow on me. There's sort of a unique progression to 'Big Stage', if you allow yourself to get into it. They're talking about being kids and experiencing the vibes and being bitten by that bug and how, as not only adults but adults who actually make the music, that experience has changed. The tangible result of that in terms of sound is a BEAUTIFULLY moody selection which ramps up and down in intensity throughout making for, perhaps subtly, one of the most distinctive tracks I've heard in a minute.
'TGIM' by Lil Natty & Thunda
Speaking of distinctive tracks, take a listen to 'TGIM' by surging Grenadian duo Lil Natty & Thunda. The pair have given me a number of personal favourites in recent times such as 'Top Striker', 'Get In Your Section' and 'The Ambush' just last year (or this year, technically) and they're adding to the lot in 2024 with this offering. You've heard of people celebrating Friday as it ushers in the weekend where, presumably, you might not have to work and can go out and enjoy yourself. Natty & Thunda, on the other hand, are lifting it up for Monday, because who cares!
"THANK GOD IT'S MONDAY!
AND IT'S CARNIVAL SOMEWHERE!"
Remember everyone: Be thankful for every moment you have because IT IS CARNIVAL SOMEWHERE!
'Richter Scale' by Fay-Ann Lyons
You knew she was coming. Aza Sefu's early efforts have been outstanding as you would expect (because they always are) and my favourite by the slimmest of margins (with respect to 'Miss Bitch') is PROBABLY 'Richter Scale'. Despite its ridiculous energy, 'Richter Scale' is fairly straight forward in its... absolute madness and it also has a more visual quality to it. You get a picture of Lyons performing 'Richter Scale' in your head and the lack of common sense it will inspire.
"When wi pull up - well everything start break"
Everything will break and it will be fun!
'Miss Bitch' by Fay-Ann Lyons
Okay, so I kept listening to it and.... maybe 'Richter Scale' isn't better of the two. So, in order to offer you your own opportunity to make a decision, here's FAL's other great tune from the season thus far, 'Miss Bitch'. Unlike 'Richter Scale', this drop is a bit more spiraling and it goes in several different directions. What stand out, however, is the overall sound and lyrics. Backed by the golden Do You Riddim courtesy of DJ Avalanche, Lyons is sure to remind all to THINK BEFORE YOU SPEAK to her.
"I doh care how you feel about
I doh care what you think about
Just doh let it come out yuh mouth"
'Carnival Day' by Voice & Patrice Roberts
I wasn't going to mention this one but, to be fair, by all registerable levels and qualities that I use to measure how good a song is, 'Carnival Day' has it to spare. EASILY one of the finest tracks that I've heard thus far, Voice and the aforementioned Roberts come together to produce what HAS to be considered an early favourite for Road March.
'Carnival Contract' by Bunji Garlin
And then there's the boom.
"MI AND CARNIVAL HAVE A CONTRACT: EVERY YEAR WI GO HARD LIKE NAIL
I ON DE ROAD WID TRUCK BIGGER THAN HUMPBACK WHALE"
I do want to say that while I do expect something madder from reigning TnT Road March king, Bunji Garlin (and you could well say that THE tune that will receive the biggest push might be 'Forward', but I think he goes even further than that), I am just as confident in saying that whatever it turns out to be will lack the overall RIDICULOUSLY EFFORTLESS LYRICAL ASSAULT that comes in the form of 'Carnival Contract'.
"I tell my wife, I love your vibe and you should come along
She send invites to all wi likes, now wi bout forty strong"
Also, produced by one (two, actually) Banx & Ranx, there is something about the beginning bounce of 'Carnival Contract' which every so faintly reminds me of a tune called 'Get On' by Garlin's wife, the aforementioned Sefu; literally one of the greatest songs of all time. In a class like that, it has to be top notch as Bunji Garlin, once again, SCORCHES.
Okay so, we gave you a brief taste last time, in saying Happy New Year, with what HAS to be my current favourite tune this season, 'Come Home' by Nailah Blackman & Skinny Fabulous, but there're a few other early tracks sinking their teeth into me at the moment. I'll likely come back later and do a big wrap up (maybe a top ten, don't think I've ever done that) but, for right now, here're.... let's say FIVE Soca songs getting Carinval Season 2023 off to a GORGEOUS start.
'A.C.T.A [Across The Stage Again]' by Bunji Garlin [Smiddy Smith Music]
I've never actually seen the very popular show "Stranger Things", but when I saw that there was a riddim, made by Smiddy Smith, clearly based on it I was very curious as to just how derivative it was and, now listening to it (for the very first time right now), Smith actually did a very good job in my opinion in Soca-fying the sound. The best usage of the Stranger Things Riddim, unsurprisingly, comes via Bunji Garlin who puts it through its paces with 'Across The Stage Again' with what is sure to be a familiar them this season with things returning to a more 'in-person' forum after a few virtual years. Mrs. Bunji Garlin also does quite well with her tune, 'Stage Is Yuh Name', but we'll hear from her a little later with something even stronger.
'Party Time' by Fay-Ann Lyons [Bad Beagle]
Why not do it right now?? Garlin also does an excellent job on the Dramatic Riddim from Slip Into Greenz with his 'Lift', but I think his wife actually outdoes him in this case because her track, 'Party Time' is RIDICULOUS! She's had her eye on you since you walked in the place and she's not liking what she's seeing out of you
"I put the F back inside di Fete and like you doh want to party
I bring di energy fi yuh sweat and like you doh want to party
Yuh energy just make mi upset and like you doh want to party
Is best you didn't come in this fete cuz like you doh want to party
It seems so incredible, never could understand
How you could bear to come in di fete and stand up like is a fan
YUH HEAD ONLY MOVING SIDE-TO-SIDE LIKE IT'S SCANNING DI BAND
SO NOW THAT YOU KNOW YOUR HEAD IS WORKING, WHAT HAPPENED TO YUH HAND?
Artist come after artist and they giving mad energy
10,000 PEOPLE INSIDE THIS FETE, TELL ME WHY I SEEING THREE
Hands in di air, alone, somebody tell me man could it be
THE 9,997 WAITING ON ME?!"
She isn't crying or whining. She is DEMANDING your participation.... and you will give it to her.... NOW!
'Pieces' by Patrice Roberts, Problem Child & Super Blue [Problematic Music]
As is her norm, already shining early this season is Patrice Roberts who is doing it, particularly, via combinations. Tunes alongside Alison Hinds and Kes have demonstrated an almost early-Patrice/Machel level of accuracy and she's also done well on the solo side. MAYBE her finest effort thus far, 'Pieces', comes alongside Vincy vet, Problem Child, and the legendary Super Blue (who is the father-in-law of her cousin - so what does that make them?). This one breaks [EVERYTHING] no new ground at all, but what it does is to amplify the fact that sometimes you just need to BREAK SOMETHING and sometimes, when you do it, it can have a very nice melody. Check this one for a great example (and notice everything going on in the background on this song. It is SO detailed).
'Welcome Home' by Machel Montano, Voice, Agent Sasco & Travis World [Monk Music]
Come on now.... You know I was CONTRACTUALLY OBLIGATED to include this tune. You knew it! Stop it.
'Mood' by Shaggy & Kes [VP Records]
And lastly (I think this is a pretty good way to end, even though i have two more to write... and I'm not sure what one of them will be right now), is a HUGE combination as Reggae star, Shaggy, links with one of Soca's most consistent lights, Kes. This tune is just COOL! It is COOL as hell and, with the names on board, you could probably have arrived at that conclusion on your own. I didn't have to tell you that. It's also damn infectious and I am currently listening to my Daughter singing along with it (her father's joining in too). You play this video and you'll come in as well. Apparently (though unsurprisingly), VP Records have taken an interest in this one (after a year with neither Soca Gold or Reggae Gold) and will OFFICIALLY release it on the 13th of January, but you need not wait until then to enjoy what is certain to be a highlight of this season - it already is.
Also check: 'Remedy' by Destra, 'Long Live Soca' by Voice, 'Pump' by Skinny Fabulous and 'Drones' by Miss Alysha
Okay so, Last Time we told you about some of the more interesting Reggae and Reggae-ish projects that were released during our long time away and, as I said then, we'll probably get around to telling you about a few more that we missed at some point in the future as well. Today, however, we're going to take a look and a listen to some of my favourite and more interesting Soca songs that jumped and waved during that same time, while we were taking a nap. So, here're about fifteen songs which have , for one reason or another, impressed the hell out of me over the past five years or so.
{Note: Songs appear in no particular order and were not written in the order they appear}
{Note 2: Will probably do this again at some point also}
{Note 3: Post #1500 on this blog}
'Run Wid It' by Mr. Killa [2019]
Step 1: Grab something
Step 2: Pick it up
Step 3: Run with it
Mr. Killa did not care what it was that you picked up, nor was it at all important to him where you ran to after you picked it up. You could pick up an empty can. You and your friends could get together and pick up a car. While on your way to pick up that car with your friends, you could stop and pick up one of them. You could go to one of his shows and, as I've seen before, you could get on the stage..... and pick HIM up. It was not important. Just pick up something [anything] and run with it. Do it now. Thank you
{Note: This song was fucking dangerous!}
'Judgement Stage' by Patrice Roberts [2019]
From ever since her days spent as sidekick to Machel Montano, featuring alongside the superstar on such tunes as 'Band Of De Year', 'Tempa Wine', and the MASSIVE 'Rollin', what I have most wanted to hear from Patrice Roberts has been that single moment where she LOSES HER ENTIRE MIND! She's come close a few times, most notably with 2018's 'Sweet Fuh Days', but back in 2019, Patsy got in right with 'Judgement Stage'. I love her music. I love her more aggressive songs and her beautiful Groovy ones alike, but 'Judgement Stage' may've become the best one that I've heard from Roberts altogether. It was melodic. It was kind of angry. It was rough around the edges and it was gorgeous from beginning to end. I have literally spent hours at a time listening to NOTHING but this one. One of my favourite Soca songs ever.
'Mad City' by MX Prime [2021]
I had forgotten all about this one and had to go back to the list and alter it (bumping out Iwer George and Kes in the process), because for the vast majority of last year, MX Prime's 'Mad City' was running right over me! The artist previously known as Maximus Dan linked with The Ultimate Rejects and produced this angry ass unforgettable moment which, though it may have lost some steam for me these days, once was a song I spent virtually every waking hour singing in my head in one way or another.
'Famalay' by Machel Montano, Bunji Garlin & Skinny Fabulous [2019]
I feel contractually obligated to mention 'Famalay' because, at least on paper, it may be THE single biggest song in the entire genre over the past decade or so. It's definitely in that discussion. The tune brought together Soca supernovas, Machel Montano, Bunji Garlin and Skinny Fabulous on the same damn tune. Previously Montano had worked with both artists and Skinny and Garlin would go onto do the maddening 'Reckless' afterwards, but 'Famalay', as its title would suggest, brought together three of the biggest names in the genre and they did not put a foot wrong. I've always thought that it was Garlin's star who shined the brightest here ["Well let me tell you one time: Family is family and that's different from bloodline"] amongst the three, but he alone did make it a winner as all three would show up properly in delivering the biggest tune of that year and almost any other year as well.
'Not A Drill' by Muddy [2017]
In terms of people who weren't really on my radar at the start of our hiatus, Grenada's Muddy may actually be the best 'newcomer' over the last few years for me. He's had several really big songs that I've enjoyed over the last half-decade or so such as 'D.S.A.', Raging Bull', 'Madada' [MAD] and others, but my choice for his inclusion on this list (because he had to be here) was this TRULY ridiculous piece from five years ago, 'Not A Drill'.
"If you find I ignorant then you hit the nail on the head!"
If you and I meet and you come way thinking that I am a damn fool - RIGHT ON! You are correct sir/ma'am! I completely agree with you! We reward thoughts like that around here and, each and every year, I'm certain to keep an eye and an ear on what Muddy is up to.
'Brain Tun Off' by Lavaman [2017]
Leave it to the wholly one of a kind Lavaman to turn his brain completely off and find a way to be rewarded for it. Lavaman is one of those types who we may overlook in terms of his actual level of TALENT because his hype can be so overwhelming, but his 2017 cut of Wetty Beatz' Punch Bag Riddim, 'Brain Tun Off', demonstrated precisely what the Grenadian is capable of in the midst of some of the most infectious chaos consistently churned out in the genre (I'd also recommend 'I En Done' from 2017 as well).
'Soca Saved My Life' by Destra [2019]
You know I had to include Destra in here somewhere. If you asked me my favourite Soca artist at this moment, I would probably say Skinny Fabulous (and that has probably been the case for.... maybe five or six years now really), but if you asked my favourite of all time - that distinction belongs to the diminutive fireball from out of Laventille, Trinidad, whose melodically masterful choas enhancers helped me in initially becoming a fan of a genre that has given me and my family SO much joy throughout the years (I grew up listening to Soca, but didn't really gain a taste for it until right when I entered adulthood basically). She's made a three or four songs that I have liked more than 'Soca Saved My Life' in recent times, but I choose to mention it over those (like 'Stage Party') (and 'NOW' with Nadia Batson) for its impact. While it didn't quite "save" my life, I would not want to imagine being without what is, by far, my favourite musical drug of choice... damn living, breathing adrenaline rush.
'Geh Meh Mad' by Fay-Ann Lyons [2018]
Because she simply had to be here, for Fay-Ann Lyons' representative, I chose this MOODY, pulsing track from 2018, 'Geh Meh Mad', which was produced by veteran Keskeys. I don't know if would go as far as to call it one of the best songs she's ever done (that is saying a TON if you know what this woman has been up to for the last couple of decades or so), but what I will say is that from the very first time I heard it in late 2017 roughly, 'Geh Meh Mad' put me in a damn trance or something. It has this amazing hypnotic quality to it. Sit there and listen to it two or three times and you will find yourself kind of robotically singing along on the chorus
"..... geh meh mad
..... geh meh mad
..... geh meh mad
..... geh meh mad"
Maybe that was the intention or just what happened with it, but 'Geh Meh Mad' was fucking dangerous! Do not listen to while operating machinery or holding a small child.
'Lunacy' by Gabrielle [2018]
I didn't know much about Gabrielle Palandy when she dropped the seriously underrated 'Lunacy', a few years back... and I still don't know too much about Gabrielle, having heard very little from her (maybe just one song since this one, actually, and that was from just last year. 'Congo Gal', nice song). 'Lunacy' was just SO DAMN COOL with Gabrielle fully embracing and CELEBRATING the ridiculous side that is, at least hopefully, alive and thriving in us all. It definitely brought her to my attention and chances are you probably didn't hear it - now is a good time to become acquainted.
'John Wick' by Skinny Fabulous [2021]
GRRR!
A big credit definitely goes in the direction of Kay Frass Production and the larger than life Lavaman (who should be in here, somewhere, with a tune of his own), who is responsible for the blazing Legends Riddim which carried the latest in the line of equally GIANT, powerful tunes from my current favourite Soca star today, St. Vincent flamer, Skinny Fabulous, 'John Wick', which follows such unforgettably energized pieces as 'Head Bad', 'Duracell', 'Cave', 'Monster', 'Beast Leh Go', 'Di General', 'Mash Up International', 'Fyah Anthem', 'Godzilla', 'Scary' (which is my favourite), 'Ignorant', and others (DAMN!). If you love power Soca, Skinny Fabulous has probably done more for you than anyone besides.... well, I was about to say Montano, but I think he's topped even the monk in recent times. 'John Wick' in particular was MADNESS! It was a beautiful piece of carnage just like the movies it was named after (they keep making the same movie over and over again, basically, but I thoroughly enjoy them).
"IF YOU DON'T WANT TO MOVE THEN YOU WILL GET TRAMPLED!
DO NOT FOLLOW US CAUSE WI IS BAD EXAMPLE!"
'Pieces' by Skinny Fabulous [2021]
If you've suffering from some type of cabin fever or pandemic blues over the past few years, you were most certainly not alone and Soca music, in full, was there for you - making several big tunes in observation of the moment. The biggest? It was probably Skinny Fabulous who swore to every one who could hear him that after "so long we've been waiting":
"THE FIRST PARTY WE TOUCH, IT AHGO MASH UP INNA PIECES!"
Not the most aggressive track on this list, but with Hunta Flow's fittingly middle of the road vibed Say When Riddim, 'Pieces' was as forecastingly DESTRUCTIVE as one could have hoped and I'm sure the man kept his word.
'Into You' by Patrice Roberts [2020]
After Skinny Fabulous Patrice Roberts may just be my second favourite Soca artist going today (Fay-Ann would also have something to say about that as well) and she has come to that point largely based on a wonderful consistent ability to churn out SWEET Groovy masterpieces. While we were away she continued right along, business as usual, serving up DIAMONDS such as this wonderful track from 2019, 'Into You'. Precision Productions lent their delicious part old school Dancehall, part Soca riddim, the 10x Over to the songstress and, in turn, she gave them a BEAUTIFUL song which, at least in my opinion, is one of her finest ever! That's saying a lot when you consider her catalogue, but 'Into You' was THAT good.
'The Struggle' by Bunji Garlin [2020]
Lest you ever forget just how lyrical Soca music can be and how it isn't just about jumping, waving and misbehaving, there will always be Bunji Garlin and he will always have performances like the Jus Now helmed 'The Struggle' from just a couple of years back (well, maybe not exactly like it. This one was special). 'The Struggle' was a mammoth chunk of GENIUS! It was so damn smart and, ultimately, has gone on to become one of my favourite Garlin songs from the last decade or so and maybe even ever. The tune was not only very lyrical, featuring downright immaculate wordplay, but it was pure, authentic Soca music. It wasn't Dancehall-ish or -esque or any of that shit. It featured Garlin with his incomparable wordy arsenal in full display in a way we have rarely, if ever, heard on a song before (I'm sure we have, the man has had some GEMS).
'Savannah Grass' by Kes [2019]
While it was definitely difficult not to get lost in the buzz created by the mammoth 'Famalay' in 2019, one of the tunes which not only faired very well for itself but THRIVED during the time was this, in my opinion even stronger, effort from Kes, the downright STUNNING 'Savannah Grass'. The tune has topped the still mighty 'Wotless' from a few seasons back to become Kes' biggest hit to date (at least as far as I can tell) and with great reason: It was absolutely phenomenal. I know people (two in particular) who think 'Savannah Grass' is the greatest piece of Soca ever created -- by anyone, ever -- and while I couldn't quite go that far, such compliments are not totally outlandish for this instant classic.
'Hookin Meh' by Farmer Nappy [2019]
Woman. You are looking entirely too damn good and this food you just cooked tastes entirely too damn good for me us to break up. I'm sorry. I will do my best to improve as a man and make some changes... but, nope. We are not breaking up right now.
That is the sentiment behind this WONDERFUL track from underrated Trini star and one of Soca' most consistent acts, Farmer Nappy, 'Hookin Meh'. Riding the infectious Purple Heart Riddim courtesy of De Red Boyz and Country Life Music, 'Hookin Meh' became a definite winner from the Farmer in a career that, whether you realize it or not, is absolutely BRIMMING with hits of varying degrees. This was one for the vaults and a mighty task you'll undertake in trying to forget it (trust me, I just failed at forgetting it).
Her turn now. If I live long enough, I'm going to be damn interested to see exactly what history begins to do with a lot of the music that we cover. I'm curious to see if the stars from our current era become supremely revered in a similar way to those of older eras and I'm just as curious (maybe even more so) to see what I'm listening to these days which will some day grow into becoming that kind of a hidden/forgotten classic that we see so respected these days. When it comes to Reggae, perhaps slightly, the pattern may've already been set. Maybe if only for the fact that I pay so much attention to it, we've already seen an entire line of superstars enter a state of 'elder-ship', especially in the Dancehall arena, and we are already in the process of seeing it happening again. Previously, we had rulers such as Shabba Ranks, King Yellowman (who, I believe, is on tour as of the time of me writing this) and Super Cat who were names who not only found more terrestrial success in the Dancehall, but would go on to find an unprecedented level of global attraction as well which was previously unattained by the genre. Similarly (not really though, nothing is similar to this case), of course, there's the kind of mountain-figure in Roots Reggae that exists somewhere wayyyyyyyyyy out there whom we will refer to today as 'MARLEY'. Marley's particular case is extremely fascinating because we're also now beginning to see his direct offspring begin to age and on the way up is yet another generation of the first family of Reggae music. Back to the Dancehall, the next line of names which would follow Shabba and co., namely the 'three B's', Buju, Beenie and Bounty, have already entered into stages where we are beginning to look at what they have accomplished in terms of their legacy and not just their active careers. Of them, Bounty Killer is probably most interesting as he has inspired a line of up and comers, some of whom (like Vybz Kartel), themselves, have gone onto inspire and revolutionize as well. That will definitely be as big of a part of how history remembers him as any tune he has done. On the Roots end, in terms of the modern era, perhaps we also have slight indications how the likes of Capleton (especially Capleton), Sizzla, Luciano and Anthony will be looked upon by fans decades from now (twenty-five years isn't a terribly long time in actual time, but it is long enough to take a young lyrical genius from out of August Town and turn him into, arguably, one of the most influential artists the genre has ever seen). But history is like all time (future, present and even the past if you're willing to dig deep enough): It is unpredictable, ultimately.
So, I have to admit that my curiosity is piqued when you combine something as erratic as time with something which virtually prides itself on its wonderful instability. When history links with Soca, what will happen? The artform, Dancehall's attention demanding (she doesn't really care if you pay her any mind at all... because she knows you will), amazing [slightly] younger sister, does not have the roots as its older sibling in terms of being at the highest level. You will surely find names who helped established the genre for what it is today, but if you know who people such as Lord Shorty, a Roy Cape and maybe even Superblue to some extent, you know them in a far more regional capacity than someone like Shabba Ranks. Instead, I think looking at Soca within the context of a historical point of view is MOST interesting when you consider it an ACTIVE process. If you are a fan right now, there's a chance you may've come up listening to Machel Montano and Alison Hinds and others (might throw Rupee in that group as well) and we are currently building a historical perspective in their cases, especially Montano's who we've 'known' from childhood, but it's difficult to say where it eventually goes as he's made his life's work something which, as far as itself, we do not know how history will look back on (and can you even begin to imagine what something like technology will do to Soca?!). And I look at and wonder about some of my personal favourites. If someday the genre becomes this highly lyrical art, Bunji Garlin definitely becomes something of a pioneer. If we begin to get an influx of these big, Gospel-like voices, we look at a Claudette Peters and say she was one of the first. I wonder what we'll think of Destra, Patrice Roberts, Skinny Fabulous, Problem Child, Mr. Killa, Tallpree. Are they genuine Soca legends thirty-something years from now?? And that's just them. I'm also wondering mightily how we'll look back on and attempt to qualify who and exactly what the hell the incomparable Fay-Ann Lyons was.
2014
Maybe people in the future won't have any idea either. In a genre which tends to offer some of the most spectacular moments that anyone has ever seen, there is definitely something to said for the select few who can manage to maintain some level of consistency. The argument could very well be made that, at its absolute highest level, Soca music has rarely seen anyone as dependable as Lyons. Previously, I would have said that the Trinidad native may've gone overlooked to some degree, especially earlier in her career, after she'd already demonstrated herself to be supremely gifted (she's forty now, she won Road March way back in 2003, when she would have been only 22) [DUH!], but these days she carries as heavy a hammer as virtually anyone in the genre. And, on top of that, while there do exist one or two bigger names, the fact that she has spent the last decade and a half or so making as strong of Soca music as anyone cannot be denied. Daughter of the aforementioned mighty Superblue and Lady Gypsy (another esteemed Calypsonian/Soca artist), niece of Calypso, Gypsy, sister of Terri Lyons (very underrated Soca artist) and wife of the aforementioned Bunji Garlin, a very large portion of Fay-Ann's life has seemingly occurred around the music (it's the family business) and it is my opinion, that when all is said and done, we'll look back on her as being the greatest of her clan ["Tell them I am not my father. I'm bad like him, but the truth be told - LIKE ME, THERE WILL BE NO OTHER!"]. She has made some of the greatest songs the genre has ever seen and also put on some of its greatest displays as well - with my personal favourite being 'Get On', which should have taken the crown at Soca Monarch 2009 (actually robbed by her husband) (THANKS!) (well, technically the judges robber her) and year-in and year-out is amongst the largest of attractions in Soca music, ANYWHERE. Still, after that lineage and that career -- which would go on to net three Road March titles and a double Soca Monarch crown in 2009 (whilst very pregnant) -- maybe there was something missing from Fay-Ann's catalogue. If there was, back in 2014, she and VP Records attempted to do something about it, when they entered into an agreement to produce what would eventually be the very first album on an amazing resume (Lyons may have actually had an album before it, if I recall correctly, but good luck finding it). For the most part, even less so than Dancehall actually (which is amazing), historically speaking, Soca isn't a genre which has produced a great deal of studio albums from even many of its biggest names. Off the top of my head, despite making music for well over thirty years, Alison Hinds only has two to her credit. And you will see others such... well damn near everyone who either have NEVER had an album (like Skinny Fabulous, which is fucked up) or may have had one or two throughout the years which may be virtually impossible to find (like Denise Belfon (I THINK), Patrice Roberts and Mr. Killa) and have never reached the digital side (Roberts' first album, "Blossoming", did. However, that second one, "Looking Hot", is long gone) (which is too bad because it was fantastic). Of course, on the opposite end of that would be Montano who, nearing fifty years old now, has released an album virtually every year since he was a child. Looking at Garlin is also very interesting as his case may have led us to what would subsequently become "Break The World".
Like Destra (still my absolute favourite), Nadia Batson recently and maybe one or two of their peers (or, then again, maybe not) (although the digital avenue has changed things just a bit, as it has for everyone) Garlin has had a few albums in his career. He doesn't reach Montano-like levels, but it was back in 2007 when the Viking released "Global". That album was not his debut ("The Chronicles" was, and I actually own it on CD) (biggup Me!) (WHAT!), but it was the very first of what is now three to date to come via VP (the most recent of which, "Turn Up", would come six months after "Break The World"). At that point, the label had apparently (correctly) decided that enough of its more Reggae & Dancehall charged audience had become familiar with the flaming wordsmith from Trinidad. Lyons, herself, has also been a staple on VP Records' releases, Soca Gold primarily, with the aforementioned conquering 'Display' appearing on the 2003 edition of the series. So, although it may have (IT DID) take longer than we wanted it to, Fay-Ann's would officially break the world in 2017. There was also "Raze", a four track EP from VP which solidified the artist/label relationship back in 2015 (making for an agonizingly long two year wait for the full album's release) (biggup Spice).
I imagine that constructed a project would be quite difficult. Lyons surely has even casual fans who were capable of putting together a 'greatest hits' compilation for her in 2017. They would ultimately settle on the route of filling the album's ranks with more contemporary material. Personally, as a nerd, I would have put more of that classic material in but she has flames from every year and, besides, the fuck do I know about making albums??? I just write about them. And today we're looking the 2017 debut from Aza-Sefu, The Silver Surfer, The ViQueen, The HyBrd, Fay-Ann Lyons, "Break The World", which got up and going with one its real highlights, 'Hold On Something'.
"Run"
The Stadic and Wetty Beatz produced opener was chaos at its absolute finest as Fay-Ann dazzles straight from the studio to the road. The song borders on exhaustive, despite being just shy of three minutes long, but if it does wear your ass out, you will not complain. From a direct point of view, Lyons has this kind of raspy delivery, which shines here somewhere between faster vocals and nearly singing at times. 'Hold On Something' is one of her best songs of the past decade in my opinion. Stadic also helmed 'More Than Dem' as their mighty Marli Wood Riddim backs a still scalding Lyons. It probably doesn't matter very much, but it is interesting that, especially considering what follows, that these two similarly paced selections head "Break The World" and they do so not just in style, but quality as well. Now you take 'More Than Them' and 'Hold On Something' and contrast them with 'Girls', and it almost appears as if Fay-Ann and VP decided to give us all a small break. If your feet are tired from jumping and your hands have waved just too much in the opening five and a half minutes of "Break The World", then 'Girls' is your gift as a slower paced tune. It's not a problem for her either. 'Girls' actually grew on me a great deal. I never disliked it, but it does have some type of quality to it (especially when the chorus really opens up) which gives a very nice GLOW to the vibes. I'm more of a power-ish fan when it comes to Lyons' music but, as she has shown many times, she is no one trick pony. The album's first of a trio of combinations, 'Buff', is next. Most fittingly featuring veteran Buffy alongside Lyons (no matter what she does, every time I see her Buffy's name, I immediately start singing 'Anything' in my head ["A man wit a Heineken, he wine on a mannequin"] and it turns the intensity back up from 'Girls', but this time in a different way. Buffy has always been someone who has incorporated more than a little Dancehall in her music and, the combination with Fay-Ann is interesting because something like that isn't outside of Lyons' bag either. So what you end up with is this entirely colourful and infectious track, underpinned by another Stadic and Wetty production, the Egyptolic Riddim.
'High Heels' was a most interesting single selection for "Break The World". Accompanied by Jus Now's Get On Riddim, the song is basically a Dancehall song (which may explain why they chose it) and, while certainly not a favourite of mine on this album, it isn't actually bad. I would have been really curious in the results had VP dialed up some classic Dancehall riddim and given Lyons a spin on it. I think it would have been amazing, but 'High Heels' wasn't bad either. 'Everybody Joli' is the second combination, this one featuring Garlin, who I may have mentioned once or twice already, as well as Joli Rouge Sound from out of Martinique. On the surface, 'Everybody Joli' is a pretty straight forward BIG sounding kind of medium paced Soca song. It does build in intensity, wonderfully, in spots and it just has a very nice vibes to it. However, what stands out to me is that it is very cleverly written at times and, in the midst of the jumping and waving you have the occasional burst of brilliance.
"When you si mi, si wi cause everybody, everybody joli, JOLI!
When wi party, wi party, like nobody
Everybody joli, JOLI!
WATCH YOUR BODY MOVING LIKE IF IT WAS A SYNERGY
AND DI SWEAT UPON YUH FACE EVIDENCE OF ENERGY
IF WI GO ANY HARDER
AND WI GET ON ANY BADDER
THEN THEY MIGHT CALL THE POLICEMAN FI WI TO STOP!"
You don't pay attention to it on such tunes and she probably knows it when she writes them, but Fay-Ann has done very clever things like this throughout her career (she has a tune called 'The Letter F' which is lyrical genius from beginning to end). The suddenly inescapable Stonebwoy (also appearing on Etana's "Pamoja" and Cali P's "Vizion" which we also recently reviewed) joined on the final link from "Break The World", the infectious and KNOCKING 'Block The Road'. This tune was a bit more 'fashionable' than I thought it would be from the title (a few dozen Soca songs you see with the word 'road' in the title and none of them sound like this one) (biggup Bunji, had an EXCELLENT one called 'Clear Di Road') and I might even call it more of a Dancehall tune than Soca. The song got a very nice push and was another official single from the album (which means you should find a video in here somewhere) (biggup Bredz!) and, again, when you take even an easy listen to it, you don't have to wonder too hard why that was. Speaking of getting a big push, there was also 'Raze', the title track from the pre-album EP which I told you about. This one was just DIFFERENT! It featured Lyons showing off those beautiful and versatile raspy vocals to supreme effect and it also kind of crossed some genre bridges as well. Lyrically, 'Raze' was Soca. It talked about things in a way which is inherent to the genre but the way it was displayed was (probably smaller) part Soca and Electronic and maybe even some other stuff I don't know the name of. Whatever you wanted to call it, for what it was, when I look back on Lyons' entire career right now, it's a standout and for more reasons than just being one of the most high profile songs she's done to date.
"Wake up everyone who's sleeping
Meet me on the road"
If it is possible to have a similar sound to 'Raze' -- and I don't know that it is -- then perhaps 'Catch Me' accomplished that. This one is even less Soca and drifts further into Electric waters and that isn't a bad thing in this case. You listen to 'Catch Me', SOMETHING about it will grab you. You will find yourself nodding your head or tapping something, I guarantee you. And I will also pull in the title track here which also has a very unique sound to it. This one doesn't rank amongst my favourites on the album named after it (although I know why they chose it as the title, because it is a fantastic title) but, like 'Everybody Joli', 'Break The World' actually does excel lyrically and if you follow it out a little more (like I always do) (can't help it), it has a theme of inspiring people to do things and spark a change in the world. That being said, however, the middle portion of this album does serve up my absolute favourite from its tracklist, the truly MADDENING 'Air Supply'. This one was two (or three) tunes in one. There is a wonderful moment about a minute and a quarter into it when 'Air Supply' kind of SPLITS IN HALF for the first time and becomes this super intense and completely STUNNING.... something else. It's almost overwhelming. And while it doesn't have that kind of stereotypical Soca sound which I do love so much (the rest of the album takes care of that), its attractive intensity is of an incredibly rare breed even within an artform which mastered that type of energy on the day that it was born.
The final lot of songs on "Break The World" were songs from a couple of years or so prior to the its release. They were all produced by either Stadic or Stadic along with Wetty Beatz and what they all shared besides producer and artist were that they were Soca. They're BEAUTIFUL pieces and modern Soca music and, for me at least, they all rate amongst the very best material on this release. My favourite here was probably 'Done The Party'. The tune may've been the biggest hit on the Oil Stain Riddim which was excellent (Skinny Fabulous' 'The General', which would net him the 2013 St. Vincy Soca Monarch crown and the truly RIDICULOUS 'Wrenk', by Lavaman also featured on the riddim ["MY BEHAVIOUR STINKS!"]) and is amongst Lyons' very best work of the past decade in my opinion.
"Lehwi end the party right now, before somebody gets hurt
Before some get mad and want to take off their shirt
Lehwi stop di party right now, before this really get dread
See that crew over there look like they want to wine on their head
Lehwi done di party right now, tings could really get tense
See the crowd getting antsy and they start to tear up di fence
Lehwi stop di party right now-
Cause a man running through the crowd-
And it looking like he fi shouting like, he fi saying like he waan-
MASH UP SOMETHING!"
"Lehwi end di party right now
Put everything on a cease
Cause the artist up there right now, have di people swarming like bees
Lehwi done di party right now
This could get outta hand
Cause the dem woman start to act crazy and waan wine on somebody man
Lehwi done di party right now and try to pick up di peace
Cause somebody might get all frightened and go and call di police
Lehwi done di party right now-
Cause I see a man in di crowd and he running through and he pushing through and he looking like he waan -
MASH UP SOMETHING!"
Vintage Fay-Ann Lyons, 'Mash Up Something' did something wonderful in showing off her personality and sense of humour which you will see in abundance when you see her live, but is difficult to capture on a record. She has this way of kind of criticizing or regulating intensity, sarcastically of course (CLASSIC example is 'True Lies') and 'Done The Party' is a mighty illustration of it. She's essentially saying that while she's performing, it is getting too crazy and out of hand, that before someone gets injured or worse, we need to stop this shit and go home. You can go. I'm staying. The frenetic Wreck It Riddim (biggup Ralph) (first movie... not the second one) carried 'Doh Hold Meh', another significant piece in its day (best song on that riddim was Skinny's 'Mental Home') (MADNESS!). This one is Fay-Ann making a declaration that she will not be held back or down by anyone or anything. It's another very clever one but in a subtle way (I'm probably the only person ever who has used the word 'subtle' in describing 'Doh Hold Meh'). LISTEN TO IT! Don't listen to it as something which is going to change your way of thinking (unless you were attempting to hold her back), but listen to its details. It's a gem of a song. The Bitter Riddim is one of the heaviest Soca compositions that you'll find from any era and Fay-Ann puts it through its proverbial paces with her 'Drift' (Bunji also grinded it with brilliant bare 'Do It' ["When I do it. I do it mad."]. This song didn't break any new ground and it didn't 'take it to another level' (whatever that means and stuff), but it was thunderous for what it was and, really, just a fine display (all-around) of what Lyons is capable of. All these years later, 'Drift' was probably considerably underrated (and I'm pretty sure that I hear Tallpree in there somewhere). Anytime I hear the riddim for 'H.I.T.A. [Hands In The Air]' it just makes me SMILE. Why? Two reasons. The first was the fact that Fay-Ann Lyons made this song you may've heard of, it's called.... 'H.I.T.A. [Hands In The Air]' (I think it was on her last album, actually). It was DIVINE! Somewhere in that sweet, SWEET pandemonium exists a stunner of a track. It might just be the nicest listen on the whole of "Break The World" and is just one might display of melodic control: You could be REALLY hearing-impaired and still find a vibe in 'HITA'. The other reason it makes me smile, briefly, is because the same riddim backed 'Done' by Icon which is one of the greatest Soca songs I've ever heard. And finally, was the wicked tempters anthem, 'Keep Some' from Stadic's ViBeat Riddim. Probably one of her bigger hits from its time, 'Keep Some', again, found Lyons in a sterling form and really represents a period where history might look back and realize that she enjoyed a wholly SHATTERING streak of output and because of it, we all did.
Those last few songs, although a bit older and less attention-grabbing on paper, perhaps, really helped to 'flesh out' this project. Not just in terms of making it bigger, but adding some significant structure and QUALITY. The remedy for the question of how you build a debut set for such an already established name, at least in the eyes of VP and Fay-Ann, herself, was to go back and maybe not find 'greatest hits' types (like 'Display', 'Meet Superblue', 'Get On' and such), but to add proven more recent work and while I would've loved some of those older ones to be on board, by its end, I think they made the right decision.
Overall, although already four years old now and with some of its material nearing a decade old, the thought that is in my mind foremost about "Break The World" at the moment is regarding just how FRESH it sounds. There is nothing dated here and, though I have heard some of these songs dozens of times over the years (if not more in a few instances), there's nothing stale on this set. On top of that, maybe it's Fay-Ann's style and her attributes help to 'preserve' her music, but even if that is the case, you still have songs on the album which seem very current and if you listen to her music now, you'll find grand similarities (big tune now called 'Something Special') to what she was doing. That stretch of quality that spurred the idea to have "Break The World" kind of never ended. I don't know when, exactly, it began, but it never stopped. So, if you are HISTORY; if it's thirty years from now and you've stumbled upon this review in doing research on Fay-Ann Lyons I'll tell you something: When it comes to Soca, she had virtually no equal in her era. She was one of a kind and, while you're reading this, she still is. Probably the best Soca album VP has ever done.
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.
