As Expected: A review of Eminence by Beenie Man

Unshock. Sometimes you go into these things and you just don't know what the fuck to expect. Be it some oddly overactive artist (biggup Sizzla back in da day), someone announcing that some album that they're doing is going to be more on the experimental side, someone just unpredictable, in general (biggup Perfect) or for some other reason; sometimes you don't know even remotely what you're getting into when you listen to an album... and then there are times like these. On the other side of the examples I just gave you would be several others which virtually guarantee what you're going to hear (quality, of course, being a different story - just  talking about SOUND right now). Not too long ago, we told you about a new EP from VI standout, Pressure Busspipe by the name of "All For A Time". The set found Pressure, once again, linking with the venerable Zion I Kings, a pairing which has not only proven to be ultra-fruitful and productive but has also managed to produce a very signature sound; everyone and everyone's mom knew precisely what we were getting into in that instance (...in that particular case, the quality was also assured, actually). And that could be the signal that gives you an overview of what's going on. Sure, someone working alongside someone else doesn't always have to be the same thing but an oft-pairing of artist and label/s making a certain type of sound can definitely be a strong forecast of what is to come. This is true despite the fact that Pressure is someone who has changed things up in his career. He's made Soca and Dancehall and even an entire album full of love songs at one point. In other cases, they can just TELL you what to expect. That occurred on Buju Banton's most recent release, "Too Too Bad", which he billed, essentially, as a sequel to "Too Bad", an album built upon hardcore Dancehall music almost entirely. Again, we can talk about the results of said direction at another time (we already did that) but the route to be taken was crystal clear and, there especially, became a major selling point in the marketing of "Too Too Bad". Also, just as someone like a Perfect Giddimani can be very erratic (and I mean that in a good way), there're others who can be just as routine and calculable. When.... Mark Wonder makes an album (any time now Mr. Wonder), for example, you know what to expect because his history and his present has taught us what he does. 

And sometimes you can just... kinda... sometimes you can LOOK AT SOMETHING and have a pretty good idea where it's going. Let's say... oh, I don't know... let's say BEENIE MAN, just to name someone, was going to release an album in 2026. Most likely you'd have a pretty good idea as to how it would sound, regardless of the producer. Beenie is someone who has long entered the 'crossover' category, so whatever he does, you'd expect it to at least have some more international flavours to it, namely Hip-Hop & R&B (and maybe a little Pop as well). There'd be some big name crossover guests and some sounds that would well appeal to a wider audience. That's what he did at his peak and he's still doing it to this very day in regards to his album releases (I've been listening to a lot of "Undisputed" lately) (probably better than it was given credit for being). You'd also expect there to be an attempt to appeal to some of his more traditional heads (like You & Me) and doing that by incorporating more traditional Dancehall and Reggae music and maybe even bringing in a few names from that spectrum as well; maybe even with a few very familiar riddims. I'd also think that he'd look to make a big statement in the Dancehall. Something proclaiming himself as KING (remember that). 

SHOCKINGLY (not really), that turns out to be a decent description of the latest creation of the Dancehall beacon, "Eminence". Though it seems as if we've gotten used to Beenie taking a long time between full releases, it was just three years ago when he delivered the Grammy nominated "Sim Simma"; while It was a decade ago now that the album ahead of it, "Unstoppable", dropped. I'm going to place "Sim Simma", "Unstoppable" and now "Eminence" in the same little group as they almost seem to come off as Beenie almost enjoying a 'victory lap', of sorts. The albums haven't been crazily popular (as far as I know) or amazing in quality but they've generated a considerable amount of buzz and have done well in terms of attention. Also, it most certainly doesn't appear that Beenie Man is ready for retirement anytime soon as he's continued to put forth a strong effort at such a progressed and downright legendary stage of his career. "Eminence" finds the 'Who Am I' star linking with Billboard King Records and one of our personal old favourites, Kemar 'Flava' McGregor. Once upon a time, in the very early days of this blog, McGregor would have been THE producer of choice. The man sat on a mountain and is still to be respected so, even now, the idea of BKR making an album with Beenie Man, on paper, was pretty inviting. At some point along the way I got a look at the tracklist of "Eminence" and I got even more convinced that what I was thinking that it might be was going to turn out to be the case. I am no fan or expert of Hip-Hop at all but there's a certain quality that comes with these type of 'broader' releases and that's numerous combinations. There're a lot of people featured on "Eminence" not named Beenie Man and there are a few occasions that you run into songs that you presume will receive some run in more international circles... as expected. While I don't think that "Eminence" will necessarily get that type of outward PUSH, again, Beenie is someone who has attained a level of respect amongst international fans and I would expect quite a few of them to be interested in "Eminence". When/If they do get here, however, will they like what they hear??? 

Probably not ALL of it but some of it. Beenie Man does something similar to the aforementioned Pressure Busspipe and Chronixx with their most recent sets as "Eminence" arrives just a couple of days ahead of the completion of his fifty-third rotation of the sun. To start things off, he picks up nice singer, Rènata (who has her own album, her first, "Self Expressions", which just launched a few weeks ago) and they head to Miami and link up with Hip-Hopper, Rick Ross (I actually think Flava McGregor, himself, is also calling Miami home these days as well) for '305/876'. This tune reminds of an old R&B song whose title escapes me now (and I could just be wrong about that) and I have to say that it grew on me just a bit. Beenie drops a few wordy pearls ["Wi neva stop til wi hit di bullseye. Di baddest riddim play by Robbie & Sly"] and Rènata, with her somewhat unusual voice, definitely helps to light things up. I still don't LOVE the opener but it's probably better than I would have thought after my first spinthrough. Rick Rock returns later on, along with Rotimi, on the kind of meh 'Hat Tip'. This one is spiritual and it does have a BIG sound to it but 'Hat Tip' is a very average song and slightly behind the opener. For the album's second tune, Beenie pulls in good friend and long time collaborator, American R&B songstress Mya for, 'Don't Rush'. I don't know how many times these two have worked together and I don't feel like looking it up but SURELY their most memorable track would be the classic remix for 'Girls Dem Sugar'. 'Don't Rush' is absolutely nowhere near that level and.... I don't particularly enjoy it at all, REALLY. BY FAR the coolest thing about this one is that it seems to utilize a version of the same track that originally underpinned a song called 'That's The Way Love Goes' by Janet Jackson (who Beenie's also worked with in the past). That's it. That is THE best thing that I can say about this song but "Eminence" would have been more eminent had it been left on the cutting room floor. They could have kept 'Do It' as well, in my opinion. This song features American rapper, Lola Brooke, a name that is completely new to me anddddd, it also sounds kinda familiar, like some old song with a name that I can't quite put my finger on. This may just be my least favourite tune on "Eminence" altogether. Brooke seems to be a fairly straightforward rapper and talented enough (coming from someone who's never been a fan of the genre, admittedly) which isn't my thing but 'Do It' seems to... be offkey at times. The vocals, especially at the chorus, don't mesh really well with the music in my opinion and it just does not do a single thing for me. 

I may not know very much (anything) about Lola Brooke but the next name to join Beenie Man here is well familiar as is the song on which she joins as the spectacular Etana lends her ridiculous talents to 'Guide Over Us'. The first thing I thought when I saw these two together was probably about what a unique combination they made for. Though Etana has definitely branched out in recent times, Beenie Man + Etana still comes off as a little strange, doesn't it??  Maybe it's just me. Anyway. Their tune together is anything but "strange" and, instead, is fairly terrestrial (the video, on the other hand, is another story. You look at that video and try to make it make sense with the actual song... GOOD LUCK!. There is way too much ass in it to have some kind of correlation. The song, itself, is decent though surely nothing special but the very fact that these two worked together is an attractive point for "Eminence" - a pairing of genuine Reggae & Dancehall royalty. 

The big names continue to join Beenie Man for this album. Without a doubt, one of the finest such moments comes during the delightful 'Make Out' which pulls in R&B veteran vocalist, Ashanti and rapper, T.I. In the case of the latter, I'm pretty sure that the very first time I ever even heard TI's name was on a song he did with Beenie, maybe twenty years ago now by the name of 'I'm Serious'; so the two have a history together and Ashanti is no stranger to the spectrum at least, having mined gold alongside Machel Montano a few years ago on 'The Road'. 'Make Out' is VERY good. It's a beautiful summer-ish sounding type of song that finds just enough of an edge to not be too... sappy. Also managing just fine is 'For You', which is sort of a remake of the classic 'Anything For You' and, just as was the case on the original, this cut features several different names. Joining Beenie, amongst others are Snoop Dogg and Ele (who does EXCELLENT with his small contribution). There're almost TEN people on this track by my count and it isn't even four minutes long so yes, it does come off as a bit rapid but, again, it's a fun time and almost everyone manages to score well with the biggest credits going to the aforementioned Ele as well as Pamputtae. Reggae vet, Stevie Face, lends his gorgeous vocals to 'If I Follow My Heart' which isn't a total loss, I suppose, but it also isn't very good. Where 'Make Out' avoids the trap of being entirely too damn mushy; 'If I Follow My Heart' most certainly does not. It falls right into the hole. 

When the friends take a step back and leave Beenie Man on his own, "Eminence" shines its brightest... for the most part... arguably. Not included in that statement AT ALL is the wholly awful 'She's A Good Girl'. 

"Girl you born pon a pum pum farm!"

And that's all that needs to be said about that one. There's also the AIGHT 'Bands' with its big sound. 'Bands' actually has a place on this album because it is somewhat related to my favourite song here, that it follows. THAT tune is also kind of bragging about the levels that Beenie has attained (and nothing wrong with that. You did the work - enjoy it!) but it's almost vacant at times and I'll go into this more in a minute but there's a nice distinction to be made between similar songs and why one sticks out and another does not. Substantially better than both the songs that I just told you about but still a distance from GREAT would be the closer of "Eminence" 'Heavenly Father'. It's pretty much what you'd expect (sound familiar??), with Beenie offering up a prayer to close out on. Though largely unremarkable (a year from now, you will not remember it being on "Eminence"), it isn't fully devoid of any quality at all; it does have its moments, just not a lot of them. A step up from that (you see where this is going) would probably be 'Friends For Life' which finds Beenie touching up a classic riddim whose name I always forget. 'Friends For Life' actually has a bit of substance to it and one (or two) which I've been high on for years now. Appreciate people while they're in your life and make them know it because, "Nobody never promised tomorrow". I think more could have been done with this song but, to its credit, 'Friends For Life' does crawl out of its shell more and more as it progresses; ultimately with Beenie Man seemingly set out more to make a point than to make a song. 'Kingsteppa' actually made me smile and it was around here that I started to catch on what was happening DIRECTLY with "Eminence" (and not surprised by it at all). This one is an ode to Ini Kamoze's legendary 'Here Comes The Hotsteppa' and that vibe did something to my brain! It got me all nostalgia'd out (and my Wife too) and it's not going to change lives (none of this stuff is) but WHO CARES! 'Kingsteppa' is a damn good time! More good, fun stuff comes through on 'Marijuana in the Kouchie'. 

"And mi nah smoke cigarette cah mi nah waan mess up mi lung

Mi fit like a Honda cause e very morning mi run

To how mi love Mary Jane it cause problems with mi and mi hun

And mi nah memba and ah hum, mi just ah hummmm"

Across another classic riddim, 'Di Doctor' absolutely glows and 'Marijuana in the Kouchie' represents one of the all too infrequent times where it appears that he is genuinely having a great time (again, more on that in just a second). The results stand up for it as, EASILY, it ranks as one of the biggest highlights from "Eminence". Even better is the damn infectious 'Doll'. The vibe on this one is just perfect for what it is and also showing up is the wordplay. Songs like this don't tend to leave much of an impact but there is a difference with 'Doll'. It's a fairly straightforward but ALL SORTS OF FUN gal tune and it scratches an itch that "Eminence" definitely needed taken care of. THE most eminent moment of "Eminence" is the song that I alluded to when I said, "I'd also think that he'd look to make a big statement in the Dancehall. Something proclaiming himself as KING (remember that)". This the HAMMER of this album. It doesn't really have a set course but Beenie does provide what I believe is the punchline of "Eminence":

"Mi nah go nowhere"

As a testament to his longevity (and around for SO long at such a high level. He now has peers in Dancehall (or whatever that shit they make these days is) that were not on the planet when he started making hits and he's older than their parents) and efficiency, he tears into 'Immortal' unlike anything else present ["Over two-thousand hit song. 'Sim Simma' and 'Romie', unuh choose one"] and, again, provides us with a most needed thrill in the process. BOOM!

Two things I want to touch one about the balance of this release. When Beenie Man is, in my opinion, at his absolute best - yes, he's impressive lyrically and he makes a really catchy and flaring brand of Dancehall but it's also ENTERTAINING. He doesn't take himself very seriously at all (he's the ever iconoclast to Bounty Killer's rough and gruff style) and it's a BEAUTIFUL quality that comes through in his music when he's really on his game... just ask Romie... and his big fat sister Naomi. You don't find a lot of that during "Eminence", unfortunately. A song like 'She's A Good Girl', for example (and it's the final time I mention it, I promise), is playful and it's dirty as hell but it isn't really fun to listen to outside of it being awful. The approach actually sounds a little RIGID and formulaic and it isn't alone in that. Also worth mentioning is the preponderance of familiar sounds. All of the old riddims and melodies that come through seems like the intent was even more so focused on capturing that international ear. As a more hardened head I don't have much of a problem with that particular aspect --and it works better in some instances than in others-- but, along with the various names involved, it's another piece of evidence as to exactly what was the thought behind "Eminence". 

Overall, I don't want to seem like I'm being too hard on this one because it's not far, at all, from what I presumed it would be when I saw the tracklist in terms of quality. I wasn't expecting "Eminence" to be some fantastic, best of the year type of album and it most certainly is not; it's right in the middle. Some of it is (one of it) is truly bad, some of it borders on the spectacular and MOST of it is somewhere in between. That's something else that sort of gives me that inclination that it best stands as a "victory lap" type of set and... hell, he's earned it. While you will neither find Beenie Man at his best or anywhere near it on "Eminence", consistently, but what you will find, in spots, is the handiwork of an undeniable, bona fide legend and one who is, OBVIOUSLY, at a point in his career (and has been for years) where he is well aware of his stature, and he should be.... but you knew all of that already. 

Rated: 2.65/5

Billboard King Records

2026

The Coronation?: A Review of Tell It Like It Is by Stevie Face

With Sanchez having seemingly moved on to a stage of his career where he can now enjoy the benefits of working endlessly for decades and just tour without recording very much these days, there is a very important and very well paying job opening in the Reggae landscape: That of reigning King of Lovers Rock music in Jamaica. Of course there’s Beres Hammond who, indirectly held the title even when Sanchez was at his best, but we’re going to call Hammond “King Emeritus” as his life’s work has certainly earned him the title, active or not. There’s also Wayne Wonder, who would be considered a peer of Sanchez’, but the WICKED singer from out of Portland has always (and especially as of late) been so successful making love songs, but of a variety which would drag itself more into the Dancehall, which is his forté. So, I’m looking to the younger generation of artists for a name. We’d be looking for an individual who has been around for awhile and has the experience and the catalogue which would suggest that he wouldn’t have a problem trying to make his name making SWEET love songs predominately. He would also have to be not too young, we’re looking for someone who is in his early-mid thirties or so (sorry Turbulence), he would also have to have a powerful tone to his voice when he needed (sorry Gyptian) and just generally make very good and strong lovers rock music on a consistent basis. Of course the perfect man for the job (in case you couldn’t tell by the title or picture) in my opinion, is veteran singer Stevie Face. The St. Thomas (Jamaica) native comes complete with a VERY interesting past (which he has compiled in his thirty-four and a half years) (perfect age for the job), a voice with which he can do almost anything at this point and a catalogue which, although maybe not as well known as those of some of his more popular peers, is definitely highlighted by it’s consistency and just overall SOLID quality levels. Also, although Stevie Face’s is a name which probably won’t sound too familiar to the ears of many Reggae fans, within his fan base and hardcore, he is amongst a very select group of artists who seem to just bring an aura of CLASS with their music. There are no false conditions going in and there are no boastful remarks of his greatness for the most part, just the absolute feel of quality which, again, is something the King of Lovers Rock should have going for him as even apart from his more romantic work, that should come across in everything he does and in the case of Stevie Face, it does just that.

So what else does Stevie Face have going for him here? Well, although the shelves aren’t brimming with releases from the singer, like they are with releases from Turbulence and every time it happens you won’t find yourself inundated with press material about it, like you will in Gyptian’s case; Face does have an album to his credit. The VERY hard to find GEM of an album, Coming At You, was pushed through back in 2001 and apparently did quite a bit of damage for the singer as it was very popular in the States and contained a few big tunes. To my memory (and subsequent research) Coming At You also contained combinations with Cherine Anderson, Bushman and, of course, the WONDERFUL Teach The Children which included Junior Kelly, which I remember quite well. In the eight years since, Stevie Face has VANISHED (due to an automobile accident which I didn’t know about at all until recently) and a falling out with his former label, Arrows (which I did know about). And now, within the last three years or so, having rested up and righted the ship, Stevie Face has made one of the more remarkable comebacks in recent Reggae history to my opinion as he not only returned to the scene, but did so better than ever, with more fanfare than ever and carrying a bag full of big tunes, likewise. After parting ways with Arrows, Stevie Face linked up with HARDCORE veteran producer/engineer/musician/whateverelseyoumightneedmusicallyspeaking, Computer Paul and his Boot Camp Records imprint. Since coming amongst Paul and the Boot Camp crew, Stevie Face has enjoyed his greatest commercial successes to date and has solidified his standing in the music. Where he was once a very respected artist who didn’t receive much acclaim or attention, he now receives his fair share and more as the link with Boot Camp has birthed the next level and stage in Face’s career to the tune of a #1 Reggae smash hit, big further tunes and videos and he even took the stage at Sting and did very fine for himself. Now, as if that weren’t enough (and it was), as an attempt to wrap a bow around his return, take an even more international presence and just to overall reinforce the fact that he’s a bad, bad man, Stevie Face delivers his much anticipated sophomore album, Tell It Like It Is, eight years after his first. The album is done with the aforementioned Boot Camp Records (with the world’s finest Zojak Worldwide taking it the digital route across the globe), with Computer Paul manning the boards for the most part (although a few bits from other producers are LOVELY sprinkled in amongst the sixteen tracks) and, if you like sweet, romantic styled Reggae music, you will be absolutely DAZZLED by Tell It Like It Is. The album is released on the strength of (and is titled after) the big tune Tell It Like It Is, which went number one in Jamaica and several other places (apparently it was quite popular in the lovers rock frenzied UK, where Face reportedly scheduled a release party for the album) around the world and really was a BEAUTIFUL song which served as a reminder that he was back. The album keeps the vibes high as well, with several standout tunes to my ears but let’s be cut and clear with what’s going on here: If you like serious BABY MAKING REGGAE MUSIC and just emotionally driven vibes at the same time, then you’ve found what you need in Stevie Face’s Tell It Like It Is as he deftly avoids the ‘dreaded’ sophomore curse.

Stevie Face, just like Sanchez before him, proves adroit with the cover tune as well. There may actually be more than I recognized from my own memory of the songs, but regardless of the source, everything you’ll hear on this album is very well done. A cover song actually gets things started on Stevie Face’s brand new album, Tell It Like It Is, as he taps a tune which I didn’t immediately recognize AT ALL, but turned out to be a version of a song from English group Mike & The Mechanics, the MOVING ‘In The Living Years‘. This tune is about simply loving and making the best of the time you have with someone because you never know when they’ll be removed from this life. Stevie Face’s version is a nice and bouncing piece and one which hit me quite nicely and makes for a very nice opening. Up next is an original tune (I THINK) and one which I know quite well as it has received quite a bit of attention, ‘Coming Home’ which links the singer with the venerable Bobby Digital. Coming Home is the first bit of straight forward love tune you get on Tell It Like It Is and it’s BIG. If you have a special woman in your life, when you hear this tune you will IMMEDIATELY grab that special someone and do a little dance because it’s so nice (and if you don’t have anyone, you’ll get up and dance by yourself!), trust me! It’s definitely one of the main attractions here going in and one which lives up to the fanfare and attention that it has received thus far. Wrapping up the opening here is another cover and one which struck me quite nicely as Stevie Face invokes the (still living, I believe) spirit of Boris Gardiner for one of my mother’s favourite tunes of all time, ‘I Wanna Wake Up With You‘! I’ll stand up as well because I used to LOVE this song and Stevie Face runs it quite well and while I’m sure Mr. Gardiner loves the piece, my mother heard it and IMMEDIATELY said something to the effect of “Oooh!” A personal bit of respect goes for that one to end a downright stellar beginning.

Surprisingly, the star of the show, the title track (a cover of an Aaron Neville tune), doesn’t roll in on the album named after it until track #9 and when It does finally strike, what you’ll find is a tune SO NICE and SO NECESSARY that it’s hard not to pay attention to. It’s also no wonder why such a tune blew up as it did, as it’s just so personal and something so many people can relate to, I’m sure. The album also features three nice combinations. The first comes alongside Stevie Face’s stablemates at Boot Camp, MBC [Make Boyz Cry], with the CRIMINALLY sweet ‘If I Was Home Tonite‘. The song is a very romantic back and forth (your joke here) between Face and one of the members of MBC and it’s one of the best tunes I heard on Tell It Like It Is, definitely. Next in to link up with Stevie Face is a very nice addition, the typically fire and brimstone chanting Teflon, who tones things back a bit to make a very nice effort on the song ‘Loving Time‘. Teflon (who also has a very nice album out from Zojak, Motherless Child), would have been one of the last people I would have expected to see alongside Stevie Face does a very good job, although it is Face who takes center stage here with the laid back and syrupy sweet vocals. The final combination is also the final tune on the album, the BIG titled ‘Altar Of Jah‘, which features former Digicel Rising Stars contestant (he came in second) Noddy Virtue. This piece is a straight Gospel styled chant which will probably sound quite familiar and ‘comfortable’ to many ears and Virtue WELL holds his own on the large praising tune. Still, with the big start and all of the combinations and the title track and the others, my favourite tune on Tell It Like It Is comes in almost surreptitiously right after the title track, the TEAR INDUCINGLY EPIC ‘I WORRY OVER U‘! This song! This song! I’ll leave the setting of it to your own ears, but if you’ve been through something like this with a loved one then you simply have to be careful with tune as it will BREAK YOU DOWN! It was just so spot-on with the colour and ranges of emotions you go through in such a situation that it moved me. Seriously! And the vibes on the tune also, with an old school sounding horn which absolutely lights up the backdrop, you can’t ignore. You just can’t. HUGE tune. I was really happy to see the Kemar ‘Flava’ McGregor produced ‘Proverbs 6’ (Sweet Riddim) included on Tell It Like It Is because I’ve loved that song from the first time I heard it as Face reminds us to focus less so on the material things in life and more on His Majesty and the things of substance. Big tune. Similarly vibed is the tune which immediately precedes Proverbs 6, ‘Naw Leggo Jah‘. This is another big shot on the spiritual vibes and you REALLY need to be tuned in and really feeling good to be able to appreciate this song, so spin through it a few times it if fails to hit you the first few times because, trust me, there’s magic in that tune for His Imperial Majesty (and it sounds and is situated so nice right before Proverbs 6). ‘All She Needs’ is an interesting selection because it kind of reaches on two levels, with the first being a story styled vibes, but also it really (at least to my ears)is a piece for the guys out there to treat our women a bit better and be more open and sensitive and HELPFUL to their needs definitely. ‘ROSES IN YOUR EYES’ is a very familiar and rolling vibes. The song is quietly addictive and, again, it’s for the guys to APPRECIATE exactly what we have. That kind of a pausing moment you hear before Stevie Face jumps in on the MASSIVE ‘Lay Your Troubles On My Shoulders’ is something straight out of Sanchez’ repertoire and the balance of the tune doesn’t dissuade him from a similar course, which certainly isn’t a bad thing in my opinion. And speaking of Sanchez, I was kind of surprised to see that he hadn’t in fact voiced Calibud’s cut of the ENCHANTING We’re In The Mood riddim which backs the lovely ‘Every Minute, Every Day’ (the tune which I had stuck in my head on the same riddim was the equally enchanting Empress So Divine from Warrior King). The tune is yet another strong one and one which just may go to confirm Stevie Face’s standing in the lovers rock arena. It also goes to set up the aforementioned Altar Of Jah which closes us out on this ultimately STIRRING album, Tell It Like It Is.

Overall, I have to say that I can well see why Stevie Face chose the UK as a landing place for his album release party. If you are in that group of fans that enjoy people like Lloyd Brown, Bitty McLean, Peter Spence and Peter Hunnigale, YOU WILL ABSOLUTELY LOVE this album. There were times during listening to it when I felt like I was listening to a Lloyd Brown album or a Sanchez album and those fans that WELL appreciate well done modern lovers rock music, with Brown supposedly still to have an album this year, I’m rather comfortable in saying that, at least for 2009, you’ve found your winner already in Tell It Like It Is from Stevie Face. For everyone else, however, there’s more than enough material here to capture your attentions and affections as well. The overlying sense for me, personally, comes in the exudation of RAW emotion and Stevie Face isn’t even someone who has a very emotional tone either, he definitely has the voice, but he’s more reserved for the most part. He, however, is able to bring out such vivid and colourful emotions from his listeners which is REALLY, in my opinion, the attraction to his music. So with such a skill and all of the qualities I’ve spoken about are we ready to crown Stevie Face the NEW King of Lovers Rock? Well, with more efforts like the material found on Tell It Like It Is, I won’t even have to ask the question. It’ll be obvious. Well done.

Rated 4.5/5

Boot Camp Records/Zojak Worldwide

2009

Stevie Face @ Myspace