Most Wanted 2014

With big names such as Sizzla Kalonji, Etana, Luciano, Machel Montano, Mr. Vegas and many other showing up with albums for 2013, we begin to take a look at just who might be in the offering for the year ahead. Be it even more big names, amazingly gifted up and comers or someone who figures to return from long absences, this list, as it annually does, pulls together ten whom we would REALLY like to hear from, in album form, in 2014. Here are ten artists who could really do excellent work in the new year and we hope they do: Most Wanted 2014

{See last year's list}

{Note: Artist's appearing on last year's list were intentionally excluded}

#10. Prince Theo

Free again. Along with many other wonderful things, one of the most interesting occurrences which 2013 brought for me was definitely the full return of one of Reggae's most remarkably underrated and overlooked vocalists, Prince Theo. The veteran singer will almost certainly never receive the amount of attention that his tremendous abilities would seemingly warrant and I cannot even begin to think of something which would change that. What might help, however, would be a followup to his first and what, unfortunately, remains his only album to date, the wonderful "Set The Captives Free" which will soon be a decade old. Though you'll not find his name on any other list like this from anyone else, the Prince makes my list because I'm beginning to see a foundation built for a new set. He's done almost all of his recent material for Jah Mikes and Reggae Vibes Productions who recently did a new release for another veteran, Courtney Melody. I do not know what is in their plans, but if you're doing albums, why not mix in a brand new one which will have been a loooooooong time coming from someone who is guaranteed to make the most of it. 

#9. Kénédy

Pretty pictures. It took far too long, in the consistent sense, but I have begun to get back into the wonderful world of Zouk music and really pay a steady amount of attention to it as well. But hopefully 2014 will bring something which will make it even easier and I have two things in mind. One of which would be a possible all Zouk album from Achis Reggae favourite, the delightful Jalena, whose next album may be just that (and the only reason that you won't find her name on this list is because she has had THREE albums from the last time this artist had one) (which was only her second) and the other would be the album return of still my favourite Zouk singer, the amazing Kénédy. Last out way back in 2009 with "Entre Toi Et Moi", the Gwada songstress has managed to stay in the light with big tunes (most recently teaming up with Lylah for 'Femmes Fatales 3') and she's also managed to keep things interesting outside of the studio. Between her first album and the second, Kénédy already very attractive… got… attractive… er. She came back and was STUNNING and if you look at her these days, you immediately notice her growing addiction to tattoos. Will that translate into a more edgy sound for her next album? Maybe or maybe not, but I'd love to find out in 2014 with a brand new album from one of Zouk's finest.  

#8. Jahdan Blakkamoore

Release the Kings. Just as I'm waiting here to see what ten artists, in particular, have in store for fans in 2014, I'm also curious as to what some producers may be up to and one of those who have my interests very high are the Zion I Kings. We do know that they'll work the already scheduled "Beauty For Ashes" set from Midnite and we're also quite sure that they'll link up for an album for #5 on this list (or #7 if I changed it), besides that, however, it remains to be seen. Something I'd DEFINITELY like to see are the ZIK come back for is a brand new album for one of Reggae music's most adroit wordsmiths, Jahdan Blakkamoore. Though it has now been three full years from his last set, the very well-received "Babylon Nightmare", Jahdan did have a big year this year on the strength of appearing on one of the most talked about releases of 2013, Snoop Lion's "Reincarnated". A return to album in 2014 would be a welcomed one and, at least presumably, he may officially bring the "Kings" of the ZIK back with him as a return of another kind from Lustre Kings Productions (who didn't do an album this year, I believe). But I'd be happy with just about anyone, but a 2014 album from Jahdan Blakkamoore and the Zion I Kings would be a really, really nice thing to do and a certain master class of a record.  

#7. NiyoRah

A different era. In retrospect, out of all of the people who we've gotten to watch develop as artists in recent years, one of the most captivating and, ultimately, one of the most gifted has easily been NiyoRah. I can still pull his debut album, "A Different Age" and really hear a foundation of talent for someone who, in the then not too distant future, would grow to become a GIANT of a talent. These days, as evidenced by his last two albums, "Purification Session" (one of the best albums I've ever heard) and "Feel Your Presence", Niyo is amongst the very few artists today who is truly capable of ANYTHING. Whatever he does and whoever he does it for, I expect greatness and hopefully I can expect it in 2014. It's been nearly four years from the "Feel Your Presence" set and now would be a wonderful time for Niyo's fourth album which would be another set released at the height of his monstrous powers. 

#6. Alaine

… Alaine. One of a couple of females that you'll find on this list (it would have been a trio, but I thought it too soon to start asking for a new Reemah album), Alaine has quietly turned in a sterling year of music for 2013, which will have to be considered amongst her very best and, hopefully, she'll culminate her winning ways with a winning album next year. Alaine's situation when it comes to albums is very interesting because, like most of her musical things, it changed from a few years ago when she split with ace producer Don Corleon who had not only helmed many of Alaine's biggest hits, but was also behind all of her two or three albums (I think it's officially three, but one of them was released twice). But that is ancient history as far as music goes (though the two would produce bonafide classics together which will never die) and it is full time that album shelves get a lot more class and romance by virtue of a new album full of songs by one of Reggae's greatest conductors of both in 2014.

#5. Pressure

Coming back. It has SHOCKINGLY been more than four years now from the last time we received an album from VI Reggae superstar, Pressure Busspipe and, obviously, that is just entirely too damn long. Fortunately, not only is Pressure one of a couple of names appearing on this list that is relatively secure to have a new set in 2014, he's also going to have it for the aforementioned Zion I Kings. Pressure would have made this list regardless of his circumstances going into the new year because, much like his fellow Star Lion Family alum, NiyoRah, the chanter is at a point in his development at which only greatness is appropriate material coming from him and for such a person, going half a decade without is just wrong (biggup #3). He's been there previously with one of the finest debuts of the modern era, "The Pressure Is On", and on two subsequent albums he maintained those levels. Since then Pressure has remained one of the genre's most dependably impressive stars and he's also branched out - recording with some of the most revered maestros Reggae music has to offer. On his next album, he'll bring things back to center for I Grade Records and the Zion I Kings, which is a link that could not come at a better time.

 #4. Mad Cobra

The baddest. It would be so unfortunate if one of the genre's biggest stars ever was to go through such an upward turn in their career and do so without ever having a full release to mark the occasion. However, when the genre in question is the album-anemic Dancehall music, then that will probably be the precise situation heading into 2015. Dancehall albums from the biggest names, these days, occur at a rate of only two or three annually. But if one of them in 2014 could somehow, someway manage to be from the re-enthused Mad Cobra, the world will be a much better place. Over the past year, Cobra has given Dancehall a much need bloody nose by serving up some of the craziest and most vicious tunes heard in what has been a fantastic career brimming with such pieces. And, though he didn't take such a long hiatus away, it just seems as if this version of the DJ has found him in the same devastating form that was heard on his two most recent albums "Helta Skelta" and "Snypa Way" and maybe even a little better actually. I think it to highly unlikely that 2014 will bring us a new album from Mad Cobra, but if it does, I'll guarantee you RIGHT NOW one of the best Dancehall albums in a very long time.

#3. Queen Omega

Most royal. As each and every of the past five (soon to be six) years pass, Reggae album shelves are significantly lacking in one very major area. QUEEN OMEGA! THE MOST TALENTED WOMAN MAKING REGGAE MUSIC TODAY (and probably over the last decade) has not had an album since 2008's "Servant Of Jah Army" and it would have been even before then -- nearing a decade -- from the last time that she would release a set which was widely celebrated - 2005's "Destiny". Both of those are just terrible considering the fact that she hasn't left the scene. She hasn't gone anywhere! Instead, she has continued to cultivate her supreme skills and today remains the Roots Reggae fireball that she always was. 2014, like every year before it and every year after it, would be a fine return and I do see a bit of hope for a new Queen Omega album. This year, a burgeoning label by the name of JahLight Records, like the singer from out of Trinidad, made its album debut in the form of Matthew Greenidge's solid "Jah Rules Over All", an album which carried the work of Queen Omega (as both a featured guest and a backing singer, if I recall correctly). Presumably at some point they will want to make another album -- probably at some point in the next twelve months -- it would seem a possibility that JahLight may take this next step with her as the star. Such a thing would have massive results and she'd also likely have similar success with almost anyone (including 149 Records who did a video with the Queen this year) and I'll definitely be watching because I'm tired of being able to put her name on lists like this.  

#2. Bunji Garlin

We ready. Though he just had a full album in 2012 (the wonderful "iSpaniard", in stores now) Soca lyrics leader, Bunji Garlin, has just had a supremely powerful 2013 which, literally, dictates that he return with a new album, which will be his tenth in 2014. To facilitate this, the four time Soca Monarch recently [re]signed up with VP Records which will likely deliver the project. All of this, of course, comes through on the heels of the MASSIVE creation that was 'Differentology', but it was not alone and it won't be alone on the album (that would be really weird if it were). The likely result here is that VP allows the 2014 carnival season to play out, during which Garlin will likely have another hit or two and I would expect the album (to be called "Differentology") to be full of songs from his '13 and '14 seasons. Also I would like to hope that they would appreciate the moment. Though Garlin previously did two albums for the label [2001's "Revelation" and "Global" six years later], they both seemed to be at least somewhat packaged in a way to make his music more accessible to the typical fans of VP Records' releases. And there's nothing wrong with that (and it probably worked) but as someone who is always so upstanding about pushing Soca music, I really do hope that everyone involved on this set realizes that they may have something which has the possibility/likelihood of becoming one of the genre's biggest albums EVER. If they do, we'll have something special and even if they don't - I'll still be picking it up. And nothing can break it up. And nothing can break it up. And nothing can break it up. And nothing can break it up…

#1. Chronixx

Fit to lead. The biggest album jewel that 2014, seemingly, would have to offer Reggae fans would be the debut set from the leader of the latest rise of Roots Reggae stars, Chronixx. Though it is conceivable such a release could be pushed to 2015, I'm fully convinced that with the material that he has already done, Chronixx could probably put together a potential classic album right now, but if someone were to actually make an album for the sake of an album, it would be GOLDEN. The artist has shown himself to in possession of a very curious talent which is founded in a heavy streak of common sense and the application of common sense and humility. The blend has led to someone who has not only produced one of the most dominant streaks in recent memory, but someone who has also immediately gained the mass attention of fans. His situation has been similar to that of some of his more immediate predecessors, such as I-Octane and Tarrus Riley, but in Chronixx' case, it has seemed to be even more magnified. Furthermore, he has not faltered and in 2013, the youth turned Reggae music into his own personal flawless performance. He figures to do the same into the new year and an album would be a perfect bow to place on an amazing rise to prominence. 

You Have Me Now: A Review of Entre Toi Et Moi by Kénédy

Like most people, I would imagine, as I listen to more and more music from more and more different artists I tend to not only develop favourites but I also develop different methods in which I deal with those favourites as well. And this is in general, of course, you kind of deal with certain artists in certain ways and approach them differently but my ABSOLUTE favourites tend to get such an incredible amount of leeway with me and besides that, they definitely are the first choice the SECOND I get something new. Probably the best example of this would be Beenie Man. As the most talented and downright BEST pure Dancehall artist that I’ve ever heard I listen to Beenie Man’s music in such a unique way, even when compared to my other favourite artists. Beenie Man may not be (he isn’t) the best album artist but his just random songs on any random riddim tend to stand out SO MUCH when compared to even his most addictively vibed peers and really even after all of these years he still manages to impress by simply being himself on a given riddim. The King Indeed. So I’ll listen to a Beenie Man tune, first and foremost over almost anyone else, all things being equal. That phenomenon DEFINITELY extends to Soca as Beenie Man’s apparent ‘cross genre equal,’ Machel Montano, also receives similar attention from me also. Now Machel is definitely one of my favourites but not my absolute number one (Destra is) but he is able to simply ‘go BIGGER’ and crazier and madder than almost all of his peers and consistently do so in a way which is very polished and refined, its not just jump up until your feet ankles break and wave your rag until your wrists cramp up! On the album side however, things are a bit different. For Machel, things are very different as, with the way Soca works, almost every time I’ve heard not “some” of the album but just about all of the album and the only matter of concern is to see how the tunes work together (and to look at the nice pictures on the inside of the cover) and, as I said, Beenie Man’s best work tends not to come on albums for the most part. However, the artists who I do rate on albums do definitely get far more and ‘better’ spins around these parts, even on albums that I don’t necessarily enjoy. Right now the man of the moment is definitely Lutan Fyah who is simply rhyming with so much knowledge these days and is just such a genuine talent that I have a ridiculously hard time not booting whatever is on my players at any given time in favour of him, with very few exceptions. Although Sizzla was and is my single favourite (and is the ONLY artist probably who I would push aside a new Lutan Fyah release (very briefly) for) Lutan Fyah fits into a very small category of that next tier of artists, which includes, beside Fyah, artists like Luciano, Natural Black and ESPECIALLY Queen Omega, all of whom routinely release albums and will have NO COMPETITION (save for each other and Kalonji) gaining my attentions on an said releases and WRECKING my schedule with them also. I do give preferential treatment in that regard. No shame.

So having covered the furthest corners of Reggae music and Soca there is one all but forgotten genre of music, Zouk, which I kind of gotten started in but (shamefully) haven’t followed through with as much as I would liked to. During this past Carnival season in St. Maarten I did catch one VERY memorable show full of some of my favourites but I didn’t really maintain the interest after that as I thought I might (my wife did!). However, as I said, with me, my favourites tend to change the landscape of things. Thus, not that concert and not a handful of pretty big releases including Soleil from the divine Tanya St. Val, the double release Forever Young by superstar Kaysha, and Confidences from Soumia and Black Madonna from Isah (although that’s working on me pretty good these days) both artists on Kaysha’s Sushiraw imprint and not even Talina’s new album Plus Jemais De Larme (which is lovely) could REALLY kick start my interest back into Zouk. It, of course, would take my absolute favourite Zouk singer today who, in very much Lutan Fyah style comes out of virtually nowhere with her new album. That, of course, is Gwada native Kénédy who absolutely LOCKED ME DOWN with her debut album back in 2007, the absolutely sublime Mon Oasis. And, again, I hadn’t exactly been paying great attention (and I’ve been on the road quite a bit as of late) so who even knew she had a new tune out? Who even thought to go and do the research and find out what she was doing these days? Apparently not me but in typical fashion, any notion I may have had of scrutinizing ANY Zouk album for the point of a review went completely out of the window in favour of Kénédy’s new release, Entre Toi Et Moi [Between You And Me]. Kénédy has apparently been doing the work to set up the next album and with the results here it really shows and when I FINALLY did get around to doing the necessary research I was actually quite impressed (DUH!). Once again, just like its predecessor, Mon Oasis, Entre Toi Et Moi comes via DeeJay Slam BB although Kénédy has taken a few twists and turns with the production on the album (which is definitely a great thing) the magic that she planted in my head back on the first album is still well evident this time around. I always find it quite interesting when examining Zouk artists (which is a genre which, from a technical standpoint, I know VERY little about) that Kénédy didn’t really seem to fit in with most of them in terms of how she approached her music (which was maybe why I liked her vibes so much at first) and from a strictly MUSICAL standpoint, that’s still true as her slight differences from her peers are still quite evident. However, what you hear on Entre Toi Et Moi is definitely a more focused version of Kénédy and one who has either been directed so nicely or one who has found her own direction. I say this because as ENCHANTING and LOVELY and at times BREATHTAKING as Mon Oasis was and still is, Entre actually ends up topping it in more ways than one.

Although, as I said, Kénédy definitely seems to march to the beat of her own drum, she does so still very much within the overall concept (and sound, more importantly) of Zouk music. Just as on Mon Oasis (to the best of my recollection) you won’t find anything on Entre Toi Et Moi which breaks the mold of Zouk music for the most part and even on some of the more adventurous efforts and that’s a good thing. first up on Kénédy’s sophomore album Entre Toi Et Moi is a song which certainly doesn’t even come close to stepping outside of the scope of Zouk music, Cours Toujours. Virtually unbeknownst to me the tune had been doing quite a bit of damage (when I heard it on the album I realized that I had actually heard it but obviously hadn’t associated with either being a new song or a Kénédy song at all) and with a (GORGEOUS) video in tow is the first single from the album. The song, although not my favourite here, is excellent and it follows more in a kind of an R&B type of direction but, again, well within the kind of ‘abstract’ nature of Zouk. Big start and check out that video definitely. Next up is a step up over a the start definitely as the title track rolls in with what turns out to be one of the SWEETEST vibes you’ll hear on the album named after it. I always kind of find it difficult to kind of describe that vibes I get when I listen to what I think of as pure Zouk music and Entre Toi Et Moi definitely presented me with that dilemma again. I think I usually will refer to it as that ‘swing’ and that swing is well in effect on the title track. Even more remarkable is that, in my opinion, in the face of the opener and a third tune which is just as sweet, it’s the best tune of the opening bit. Locking off the opening of the album is the aforementioned third piece, Je T’aime Encore [I Still Love You]. This isn’t the slow and boring love tune you might be thinking with the rather corny title (and the rather corny phone ringing intro) AT ALL and I think the pure nature of the tune itself kind of makes it hard to get that boring really. Instead, what it is, is kind of a slow building nice tune which even features Kénédy stretching the vocals a bit later on in the tune (as she does on the opener as well). All in all the taste the first bit of the album gives you is one which so good and I loved it so much, thinking back to the Mon Oasis album. Kénédy still has it.

She also has herself a pair of ABSOLUTELY HUGE tunes wonderfully situated on Entre Toi Et Toi which really begin to give the title track from Mon Oasis a challenge as my favourite songs from Kénédy. The first jumps up just after the opening lot, A Raison Ou A Tort [Right Or Wrong] and from the HIGHLY ADDICTIVE drumming which champion its arrival the tune absolutely had me hooked. This is the type of song where even if you don’t like Zouk, you can listen to while sitting around your house playing with your special someone because the vibes are just so NICE! Seriously! And later on the record Kénédy changes up the vocals quite a bit, literally at one point sounding like an angel! HUGE TUNE! The next tune here which reaches those levels and is, as of right now, my choice as the best tune on Entre Toi Et Moi altogether is the Creole vibed Enmé Mwen An Kréyol which. . . Left me kind of speechless and for me, that’s a big deal definitely. That vibe is just SO powerful you almost have to start looking around and questioning completely unrelated things! It has a very powerful abstract type of nature to it and one which you’ll catch yourself singing along (and humming because your Kreyol still isn’t what it should be) and just admiring. Its very hard to explain but Enmé Mwen An Kréyol for me was on another level and one which thankfully came from my favourite artist. Now that isn’t to say after the opening three tunes and the two undeniably huge ones that Kénédy’s magic is running on empty for the next ten tunes because, of course, it isn’t. She does spread the wealth however and very thankfully on one tune, Nouveau Départ, where she is joined by neighbour (and cutie) Eleeza R. The two make a very nice pair (Eleeza’s voice is VERY impressive) and hopefully young Eleeza can develop nicely under Kénédy and Dee Jay Slam. Electrifiée had me very curious on title alone that it might be a Soca tune of sorts but instead its more of the same extremely high level straight forward material that dominated on Entre and I’m not complaining at all (although I’m ready to jump and wave should you need me to Kénédy. Immediately following Electrifiée is a similarly vibed, although clearly better, tune in Sans Rancune. The song has moments which are downright breathtaking and Kénédy, for the most part assumes a ‘louder’ tone through its duration and it definitely proves to be one of the album’s finest moments. Partir [Go] has a bit of a ‘poor man’s’ A Raison Ou A Tort vibes to it, it doesn’t reach those EPIC levels but in not doing that it still is a big tune. Now, on Aujourd’hui, my well worn Reggae ears hear a one-drop in there somewhere and even if there isn’t one, I’m still claiming it because the tune itself is just so cool! I could just go on and on really down the stretch of Entre Toi Et Moi: Ola Ou Yé is a crazy flowing tune which will just hook you definitely; I Still Believe sounds REALLY familiar because it sounds like Lettre Ouverte, a single from Thayna’s album Nouveau Depart, especially at the beginning which is a good thing; Bégéyé is GORGEOUS, one of the best here; Tou Lé Jou is very different sounding before developing into the master class that it is. And conveniently left to close things on Kénédy’s Entre Toi Et Moi is the high stepping Techno/Dancehall piece Lévé Lanmen Wo. This one isn’t amongst my favourites but the prospects of it growing on me someday aren’t completely out of the question AT ALL. And I do believe I hear some DJAYING from the songstress on the tune, perhaps giving us a taste of things to come for album number three on the way out.

Overall this one is pretty much a no-brainer. If you like Zouk, you’ll probably like this album. If you don’t like Zouk, you probably won’t like this album (DUH!) but if you like Kénédy, in particular, then its golden. Also, I would say it’s a rather ‘comfortable’ piece to pick up if you are new to the music, although Zouk, to my ears, is always pretty new fan friendly and not TOO hard to get into if you have the motivation. Take this review with the knowledge, however, that I AM PARTIAL AS HELL when it comes to Kénédy and her music because to me, Entre Toi Et Moi not only outdoes Mon Oasis, it outdoes every Zouk album so far this year (and although I haven’t been paying too much attention, I have picked up quite a few albums) and maybe every one I’ve ever heard. Of course, I’m still new, so that’s saying a great deal but I know good when I hear good and Zouk heads who have forgotten more about the music than I’ll ever know, I’m sure would agree: The album is top notch throughout.

Rated 4.75/5 stars

DeeJaySlamBB

2009

CD + Digital