WE SPOTLIGHT - Adrian Dutchin: The Humble Pride of Guyana

By Karen L. Richardson



The air was hot and thick in Toronto on the night I met the emerging soca singer Adrian Dutchin in 2006. It was about 2 a.m. when a handsome young man, short in stature with a big personality, walked over to introduce himself to me as the reigning soca monarch of Guyana. I was already a fan. “On Me” had long since made it to the heavy rotation list in my car. Curious about the man behind the music, I had googled the artiste to see what I can learn about him. And there he was before me, humbly blending in to the Caribana masses.

I’ve been watching Adrian Dutchin ever since. The 26-year-old singer/songwriter grew up in Georgetown, Guyana. Without a father to show him the ropes, Dutchin found his own path through childhood. He always loved music, but never dreamed that one day it would become his career.

“I might have said yes to acting, but me singing? Nah!” Adrian said laughing. “My mother would scream at me to stop in the shower, but I went into a studio one day to do a TV show I was a part of, and I never turned back since then.”

“The guy that’s my manager today, turned me back like about five times, but was convinced to give me a chance and I’m thankful for it.” He got his break after finally impressing Burchmoore Simone. Two soca monarch titles later and a hit called “Impossible”, Adrian is gaining visibility like no other Guyanese soca artiste. In 2007, Simone hooked him up with veteran Bajan band Krosfyah. Dutchin currently sings frontline vocals alongside Edwin Yearwood and Khiomal Nurse bringing explosive energy to each live performance.

“I’m very blessed to be working with the band. I’m having a blast. I have learned to control my way of being on the stage, but every day is a learning process,” said Adrian. It’s not known how long his working relationship will continue, so for now he’s just going with the flow. He’s enjoying each new experience while staying close to his Guyanese roots.

“I just want to let go some music and have fun man. I have been performing a lot in different countries. I just want to enjoy my festival,“ said Adrian. Guyana’s Mashramani Carnival just wrapped up at the end of February, and Adrian participated fully. He sang “No Place Like Home”, to win himself the Carib Soca Monarch crown, February 16th. The song was recorded and produced in New York by Shawn “Mastamind” Noel. This is Dutchin’s third Soca Monarch victory.

He’s got big plans for 2008. Adrian Dutchin is still half of the group X2 (Times Two) with longtime friend and colleague Jumo Primo. The duo has an album coming out in 2008. “X2 is something in my heart and would never leave because myself and Jumo love doing what we do. We are like brothers. Our relationship is really down to earth,” said Adrian.

Dutchin is enjoying the ride and trusting God for more blessings in the future. To upcoming artistes he says, “respect your craft, treat it with care. Love it. It’s yours. Always put God first. Always.”

For more information on Adrian Dutchin and X2 visit www.myspace.com/adriandutchin2

WE SPOTLIGHT - Farmer Nappy – The Family that Plays Together

By Karen L. Richardson

West Indian carnival is lawless, reckless fun. It is a time to become who and what you are not. The peasant masquerades as king. The married masquerade as single. The very meaning of the word 'carnival' is a celebration of the flesh. So, it's no wonder countless soca artistes have made their name singing about marital infidelity. They call it wild meat, gettin' butt, horning, or help, but Trinidad's Darryl Henry a.k.a. Farmer Nappy calls their bluff with Chippin'.

"It's all about reality. Why sing about you huggin' up a woman, and go down de road with this next man’s woman and that sort of thing, when you could go to the real point. The song is a reality check at de end of de day," said Farmer Nappy. As the father of a 16-year-old girl, he feels strongly about creating songs that show respect to women.

"Some people don't have a bother to feel the pain when a woman would feel pain, but I grew up with only women in the house," said Farmer Nappy. It all comes down to family. That's how he approaches both his music and his life.

"I'm an entertainer and I'm a guy out there. I’ve done my things already. I’ve hurt people’s feelings. You know girls, guilt and all that. But I have a girl child and I wouldn't like people to do me that. So, I pray that the father could help me know the way." The prayers began to pay off in 2007 when Nappy's female manager connected him with her cousin Mikey "Red Dawg" Hulsmeier. He's half of Barbados' stellar production duo De Red Boyz. That's the team responsible for producing Peter Ram's Woman By My Side and the tune that won Biggie Irie, the 2007 Trinidad Groovy Soca Monarch title, Nah Goin Home. After working with Trini songwriter Ginger to get the melody just right, Farmer Nappy flew out to Barbados to record Chippin'.

The song was released in June. It became an instant hit. Nappy later returned to Barbados to perform his inaugural Crop Over release at three pre-booked gigs. He would end up performing at 16 different shows before the season came to an end. Of 400 new songs released for Barbados Crop Over Festival, Chippin' finished with an enviable number six position on the charts.
Nappy may be celebrating newfound success as a solo artiste, but he's certainly not a fresh face in the soca industry. He toured with Machel Montano and Xtatik right from the beginning, playing a key role as percussionist and songwriter. If you have ever taken a wine to Big Truck, Music Farm, Big Phat Fish, or Footsteps, then you're already a Farmer Nappy fan.

"That is home sweet home. That is like the lamp. Take business out of it and as they say, blood is thicker than water. Machel’s mom is a mother to me and Machel’s dad is a father to me. They practically raised me. Machel is like my brother," said Farmer Nappy.

He surrounds himself with those who understand true kinship. That's what led to collaborations on Wildness and Capsize with Oungku of Antigua's Red Hot Flames. "I look up to Oungku. Other than being in Xtatik, the only other band I could see myself being around is Red Hot Flames. Because Burning Flames are brothers and a nephew. At the end of the day, I based on family," said Nappy.

Now that the dust has settled on Trinidad Carnival, Farmer Nappy says, he has set his sights on being billed as "The King of Groovy".

"I'm staying in the slow groove, because the slow groove working for me. I want to stay with the woman theme because it's a message I trying to send across too," said Nappy. "You have to have respect for the ladies because at the end of the day, women made us. We as entertainers are the messengers. That is why we sing."

Farmer Nappy is already hard at work increasing his repertoire. He anticipates releasing 4 tracks for next season, beginning at Crop Over. There may even be a collaboration with his mentor Chris "Tambu" Herbert. In the meantime, fans can hug up their own lovers and look forward to more of what Chippin' has to offer.

WE SPOTLIGHT - Tarrus Riley

By Cheryl Nneka U. Hazell
The Jamaican sun sits high in the sky as Tarrus Riley shops in a busy Kingston marketplace. Our conversation is focused but from time to time this latest blessing on the reggae scene gets caught up in the hustle and bustle of his surroundings and utters a long drawn out “chaaa”.

Several years after the release of his debut album, “Challenges” in 2002, producer Dean Fraser brought out a 15 track album entitled, “Parables”, (distributed by VP Records,) which has turned this ex-deejay into a highly sought out man. Tracks from “Parables”, such as “She’s Royal” set to Delroy Wilson’s Money Love melody, “Beware” which rides on the rhythm of Half Pint’s Political Friction, the John Legend cover, “Stay With You”, and “Lion Paw”, are top choices on every reggae deejay’s playlist and popular favourites with dancehall patrons.

It’s hard to believe that Tarrus never received formal musical training when you hear his soulful voice but he was saturated in the art via his father, ex-Techniques member, Jimmy Riley, and was gently pushed more towards it by his mother. He reflects on the way things worked out. “Me jus’ tek me likkle time and gwan and gwan until I couldn’t refuse it anymore.” It may have been his calling but his style does remind some folks of musicians that have preceded him.

Being a singer, songwriter and arranger are not the only contributions Tarrus brings to the table. Musicianship is equally important. “I play my likkle keyboard, and play my likkle instruments and I think that is good for your hearing and a professional in any trade should have tools to do his job.” Self-described in a humble manner as a “cool youth man, who mek music wha de people dem groove to, an easy youth who jus’ love music, live up and jus’ go through.” Riley is certainly covered with strength and protection, which according to Rastafari doctrine is symbolized by the lion paw. His latest production was the live video of the song of the same name. Lion Paw LIVE was recently recorded at the historical Ward Theatre and the Courtleigh Auditorium in Kingston and was the first video in recent Jamaican musical history to feature a combination of top instrumentalists and musicians.

Tarrus Riley is a young visionary and bold artist who is naturally plugged into what he feels his people want. “I want to give the people the feeling that I am right there with them in the struggle giving them inspiration.”
For information visit www.myspace.com/tarrusriley

WE SPOTLIGHT - Joy Lapps - Princess of Pan

By Monica Joseph-McIntyre



Joy Lapps wants to see the steel pan accepted on the world stage as a legitimate musical instrument and to see it being paid the same kind of respect instruments like the guitar and piano receive. Lapps, who has been playing the steel pan since she was 13, has seen her hard work and love of the pan pay off. Now 23, she is one of Toronto’s top female pannists, and has earned the title “Princess of Pan.”

Born in Canada to Antiguan parents, Lapps began playing the instrument by chance. The church her family attended was offering lessons and her godmother suggested she take lessons, insisting on paying for the first one. That introduction sparked a passion for the instrument that continues to grow to this day. Playing the steel pan “wasn’t something I decided to do on my own,” she says. “It was guided by my godmother and my parents, but I enjoyed playing so much that I stuck with it.”

She credits her teacher, Vince Kato, for making her the pannist she is today. She started on the bass pan, before switching to the tenor pan. She would often take the instrument home to practice. Kato also took her along when he had a gig and they played duets together.

Since then she has made many solo appearances playing at weddings and dinner receptions and other high-profile events, including a service at the Moravian Church in London, England, the Harry Jerome Awards in Toronto, Ryerson University’s convocation ceremony and ‘Autumn Leaves on Steel,’ a celebration of the pan held at the Glen Gould Studio in Toronto.

While an exchange business student in France, Lapps played with the highly respected “Calypsociation Steelband” and at the Carnaval de Paris. In Toronto, she has played with local steelband, “Pan Fantasy,” which won the 2005 and 2006 Pan Alive competition held during Toronto’s Caribana celebrations. This past Christmas season, Lapps has added her tenor pan to the parang group Los Amigos. She is currently practicing for “Snowflakes,” a show celebrating the pan, which takes place in January.

Lapps has so far released three albums: “Praise on Pan: How Great thou Art”; “Make a Joyful Noise”; and her latest, a collection of Christmas carols.

“A lot of my inspiration comes from musicians I meet,” Lapps says. “It’s nice to meet somebody and feel like you can relate to them.”

Lapp now has a business degree from York University, but has returned to York to pursue a degree in music.

For more information visit http://www.joylapps.com/

WE MUSIC: Nadia Batson – 100% Caribbean Girl

By Karen L. Richardson



It’s finally here. Nadia Batson’s debut album hit the streets on December 17th - not a moment too soon. Her career began 15 years ago, singing background vocals for everyone in the business. At just 31 years of age, Batson is already a veritable veteran in Trinidad’s music circles.

The 13-track album is called “Caribbean Girl.” It’s named for the release that earned her an impressive third place finish in Trinidad’s 2007 Groovy Soca Monarch competition. “I figured that it's time that I compile all of my songs...can't keep releasing singles. Plus I felt like it would also be an exhibition of my growth,” said Batson.

The title is a natural fit for the quintessential Caribbean girl. Nadia is a proud West Indian. When you hear her pristine voice hammer out My Land or One Island, it only takes a moment to understand what she’s about.

“I represent where I'm from 100%. I think that we as Caribbean people are not fully aware of our richness, our beauty and our potential, the way we talk, our warmth, our food. We are so beautiful,” said Batson “and so I have no problem being the Caribbean Girl, ‘cause I'm extremely proud of that.”

But there’s so much more to Miss Batson. She’s a lover of music, and she strives to create the best, both for herself and for other artists in the business. “Good music to me would be that song that can evoke a certain feeling out of me, whether it be happiness, sadness, anger, anticipation, whatever,” Batson shared. “So any song that can be my mouth piece, I like.”

The accomplished singer-songwriter has indeed come a long way. “I just used to write poems and sappy teenage love songs. It wasn’t anything that I had really planned on making a career,” said Batson. Writing, however, eventually became her calling card. Having written high energy soca hits like Flames and Expose, Nadia’s songs have catapulted Antigua’s Tizzy and Barbados’ Barry Chandler into the international spotlight. Batson’s work was aptly recognized when she walked away as 2006 songwriter of the year at the annual COTT Music Awards.

With the release of her very own album, the focus shifts to Nadia the vocalist. “I would have to say that the most important lesson learned was that I always need to believe in myself, cause I am a talented person who deprived myself of true happiness and success for too long. I need to always remember who I am,” said Nadia.

The collection is a mix of previously released singles and newer tracks that display a depth many do not expect from the soca genre. Listeners will see Batson from a more intimate vantage point on As My Pen Drops and Ready For My Loving.

For 2008, she is singing her way through a hectic carnival season with Kes the Band. Versatility oozes from her microphone as she croons in a groovy soca-chutney style Meri Zindagi. On My Posse, the word-of-the-day is pace. In contrast, the ongoing theme for her career is stamina. And with each new milestone, there is no doubt Nadia Batson has what it takes.

For more on Nadia Batson check out www.myspace.com/nadiabatson

WE SPOTLIGHT - Dance De Parang: Los Pajaros is heating up Toronto

By Krysta Celestine



On a cold winter evening, hundreds gather inside Shangri-La, a popular banquet hall in Toronto’s east end. Despite the cold weather, it’s hot inside. In here, no one is a stranger. It’s more of a “lime” than a concert (hence the name, Joan Alexander’s Annual Parang Lime), and the crowd is anxiously waiting to kick off the Christmas season with good friends, food, drinks, and of course—no Christmas lime would be complete without it—parang.

The house is packed, and one cannot help but get up and dance to the pulsating rhythms of the cuatro (a four-string small guitar), mandolins, and shak-shaks.

Los Pajaros, the Brampton, Ontario based parang group, is one of the many electrifying groups featured this evening. Their name, which translates to “The Birds” in Spanish, is a family-based group that has been performing since 1994. Their love for parang is nothing new, says Glen Cassar, a lead vocalist and cuatro player. He has been a “parrandero” (a person who plays parang), since his early teens in Sangre Grande, Trinidad. In 1973, he was a founding member of Los Tocadores, a local parang group which still exists in Trinidad today. After migrating to Canada in 1989, he married into what he calls a “parang-loving family” from Mon Diablo, Trinidad.

The idea to form an “official” band came when the group, then five members, went to Miami for Christmas in 1993. Cuatros and mandolins in tow, the group gave an impromptu performance to an enthusiastic crowd. The demand was so high, says Glen, that the group decided to make an official name for the group. “We thought, why don’t we become a bit more organized?” he says, recalling the day. The group has been popular ever since, performing at Christmas shows in Southern Ontario, Miami, New York, Ottawa, and Atlanta.

The members of the band, now 13 in total, pride themselves on being a family group, boasting 3 generations of family. “Bass, the eldest member of the group, has a daughter and a grandson in the band and there is a fair amount of youth in the group,” says Glen.

Los Pajaros prefers traditional parang—in the vein of parang queen, Daisy Voisin—as opposed to the ever-popular parang soca, which has been popular since the 1980s. Glen says, “Changes happen along the way with music, so the fusion of the parang with calypso is here to stay.” It’s not that they dislike the fusion, but he cautions, parang soca (sung in a combination of English and Spanish, unlike its Spanish language counterpart), often strays from the traditional Christmas message. The group also stays away from doing Latin music, which has become increasingly popular in recent years.

Los Pajaros released their first CD, aptly titled “Dance de Parang”, last month. The CD draws its inspiration from parang greats such as Voisin, Sylvestre Mata and Henry Pereira, and there’s also a bit of parang soca in there. The CD, released first to the Trinidad and Tobago Consulate office in Toronto, can now be found at Christmas shows, and online at cdbaby.com.

In terms of where he sees parang going in the future, Glen notes that while there is so little of it in North America, parang is very much alive in Trinidad, where there are lots of groups and parang festivals every weekend. The mission of the band, Glen says, is to promote parang music and to keep it alive. So far, Los Pajaros has done a great job of doing so.

For more information on Los Pajaros, and upcoming shows, log on to: www.myspace.com/lospajaroscanada or http://www.lospajaros.ca/

WE SPOTLIGHT - Blessed

Traveling the earth, and teaching as he learns

By Stacey Marie Robinson

Music is a powerful force. When you combine tight production, natural skill, positive messages, and an intelligent messenger, its power only multiplies. With all of those elements, and a vibrant talent behind the force, the possibilities for success are limitless.

The music industry in Canada is a difficult one to infiltrate, so those who have earned the respect and displayed the strength to break through barriers have a mighty responsibility to make their fellow Canadians proud. Reggae artist Blessed, aka Peter Skinner, has been ‘blessed’ with this power and with the release of his first full length album in September, was able to share his voice and represent Canada around the world.

“When people go out and support my album, it’s doing more than they would ever imagine,” said Blessed, 32. “It’s not just helping me, but it’s helping the Canadian reggae community and the Canadian music fraternity in general.”

Anyone that knows Blessed’s music can quickly conclude that he has a good heart. His respect for women, love for his country of birth, Jamaica, and awareness of life in general is evident in award-winning songs like “Natural African” and “Reggae Time,” as well as popular tracks like, “Jamaica Land of the Sun” and “Unexpected.” The track closest to his heart, “Final Road,” expresses that although the journey is tough, he will survive, and teach others as he learns.

This is the spirit that has encouraged Canadians to support him, and audiences to accept him at home in Toronto and Montreal, as well as across the ocean in Jamaica, where he performed along with Sizzla and other top reggae artists at, ‘Rise to the Occasion 3’ this past summer.

“I think they just love the energy I bring to the stage,” said Blessed. “They love the music I sing, and the fact that I make positive music. It is uplifting for the community.”

Although the road for Blessed has been a successful one, with two Juno awards, and recognition from the Urban Music Association of Canada, it has been a long journey. Entering the industry requires talent and perseverance, however one of the main obstacles to progress is the lack of money allocated to supporting Canadian music. Blessed was fortunate enough to be given the opportunity to shine.

“I strongly believe things don’t happen in life unless they’re meant to be,” said Blessed. “The best part of the process to me was just hearing that the album was going to be released; there have been many false starts. Knowing that the album is out there -- it’s the greatest feeling.”

Blessed’s album is available at Wal-Mart, HMV, Best Buy and Music World; supporters can also connect with him at www.myspace.com/blessedvibes.

“I want people to remember that I did something to help the music go further in Canada. That’s my main goal. I want people to get the respect they deserve, and for people to live off of their music in Canada. I hope I can be remembered for helping to change that in Canada.”

WE SPOTLIGHT - THE BARON

Legend to celebrate a great year with family and friends in Toronto

By Stacey Marie Robinson

It’s been a busy year for the mighty Baron. Since the beginning of 2007, he’s been on the road every weekend, traveling, performing for sold-out crowds, and making sure his fans are musically fulfilled as he keeps the vibes going well into the third decade of his career.

“It’s been very hectic,” said Baron, also known as Timothy Watkins, “since the year start, I’m on the street.”

No matter where he goes, he is greeted with warmth, and hundreds of fans who look forward to hearing his classics, and anticipate his new releases. This New Year’s Eve, he will perform a full 3.5 hour show in Toronto at the Lion Gate Lounge (1957 Kennedy at Progress) backed by Ossie Gurley & De Relatives.

He grew up in Bamboo Village, La Romain, South Trinidad, but Baron is no stranger to Toronto, Canada. He spent three years living in Toronto, and is looking forward to seeing his many friends, family – including his son Richie – and his loyal fans when he returns at the end of the month.

Fans can look forward to hearing favourites at the Baron New Year’s Eve Ball like “This Melody Sweet,” “Doh Rock it So,” “Somebody,” “Buss Up Shut” and his numerous parang hits including, “It’s Christmas.”

Many of Baron’s supporters have grown with him over the years; he’s been present in spirit for holiday celebrations, romantic moments, childhood memories, big shows, family basement parties, and his voice has filled their homes and lives for decades. This calypso crooner, also dubbed the “Sweet Soca Man” can sing anything from traditional Trinidadian songs, to American classics.

His beautiful voice and golden charm keep his career fresh and progressive. Along with touring the world, making frequent stops in fan favourites like Miami, New York, and the Caribbean islands, Baron has also been working hard in the studio. While his next album will not be released until 2008, he is preparing a couple of tracks to give to fans before the end of the year.

“I have two songs that I’m trying to finish, so I can get them prepared and have them played by the DJs on the radio so they can hear it before the album comes out,” said Baron. “Two songs for the season, until the CD is completed, so fans will have an idea of what it’s about, and what it’s like.”

Some artists get to a point in their careers where their accomplishments have been so abundant that even if they never write a new song again, they can still travel, perform the old hits, and entertain their audiences with nostalgic melodies. Baron, however, chooses to keep the momentum going and is dedicated to making new music on a regular basis, keeping him on top of his game.

“This is something that I have loved since I was a child. I grew up in it, singing in church, and singing here and there, and I’ve entertained the world. In another twenty years, once God gives me the health and strength, I’ll still be singing. I’ll still be performing.”

Tickets to hear Baron sing on New Year’s Eve are available for $30 at all Nicey’s locations, and various ticket outlets around the city. Sprinkled in gold and bundled up for the season, Baron looks forward to reuniting with those in Toronto who have helped to make his career a success.
“I love Toronto in the summer, but I can’t take the cold so I run back home. But I love Toronto, period,” Baron said. “I hope that when I get there I will be able to do the best I can, which I always try to do. I hope to see each and everyone of you there on Ole Year’s Night.”

WE SPOTLIGHT - Los Amigos – Friends Passing on the Culture

By Monica Joseph-McIntyre


Los Amigos is a Toronto-based parang group that is keeping Trinidad and Tobago’s traditional Christmas music alive. In Trinidad and Tobago, Christmas without parang would be like having a rum punch without the rum, or the traditional Caribbean “black cake” without the fruits.
Parang -- from the Spanish word “parranda” for merry-making -- is the music played by a group of singers and musicians who move from house to house in T&T, serenading family and friends while being greeted at each house with food and drinks. It is a melodic Venezuelan folk music that has rhythmic similarities to calypso. Los Amigos brings a taste of the music reminiscent of a Caribbean Christmas to expatriates in Toronto.

The 12-member band was formed in 2004, when a group of musician-friends who loved parang got together to preserve the art form here in Toronto.

“Our goal is to keep the tradition of parang music at Christmas alive, and to introduce parang to a younger audience,” says Jamal Ramsumair a.k.a. “Dubble Impack,” the band’s sound technician and spokesperson, who also DJ’s in between sets. “Right now parang is mainly for the older generation of Trinidadians and Tobagonians. They are the ones who grew up with parang and appreciate the music, but the older folks will eventually pass on, so we have to make sure that the tradition of parang music at Christmas is carried on.”

The band’s influences come from the traditional parang groups in Trinidad including the Lara Brothers, La Divina Pastora, San Jose Serenaders, and Daisy Voisin, among many others. They have also been influenced by soca-parang, a fusion of calypso, soca and parang sung by artists like Crazy and Scrunter. Some years ago, artists mixed chutney melodies (soca blended with East Indian music) with parang to create chutney-parang. Los Amigos plays all the different genres of parang, as well as some Latin tunes, and this year they have added some original music composed by one of the band members.

Bandleader and bass player, Fabien Torres, comes from a family of musicians and parang singers, known as “parenderos.” His father led the Unicos, once a popular parang band in Trinidad. Other instruments in the band include cuatro, mandolin, maracas and congas, which give parang its unique flavour. There is also a tenor pan, which adds a touch of steel to the musical ensemble. There are four vocalists including Toronto calypsonian Connector.
Ramsumair says the band’s music is aimed at not just Trinidadians who are familiar with the music, but their children, grandchildren, and people from the other Caribbean islands, and the wider community. “We want to make it so that everybody can enjoy the music,” Ramsumair says.

This year the band has as many as 20 bookings for the Christmas season, playing two or three gigs every weekend. “Los Amigos is the most hired parang band in Toronto,” Ramsumair says.
The band recently released its first CD, “Old Time Christmas,” and on December 15th, will host its own Christmas show at Northern Tropics, in Scarborough.

“We are bringing a real Trini Christmas with all the traditional Christmas foods: pastels, ginger beer, ham and hops,” Ramsumair says.

For more info visit www.myspace.com/losamigosband

WE SPOTLIGHT - Chutney Soca is Terry Gajraj

By Natasha G. Samuels



At the table where we are gathered, sits saffron and green placemats, (reflecting the colors of the flag of India) while the tracks from a Bob Marley CD plays softly in the background, setting the mood for a chat with Terry Gajraj about Indo-Caribbean culture, Chutney Soca and “Berbice River,” his new album. Gajraj is one of the few Guyanese born musicians who have achieved success at the international level.

With lyrics that evoke memories of Guyana, his 1992 album “Guyana Baboo,” remains one of the best selling Indo-Caribbean albums of all times. Gajraj has topped Chutney charts worldwide and has performed for Indo-Caribbean communities in the Caribbean, North America and Europe. Last year, Gajraj also made full-circle back to his Indian originals where he performed at the 7th annual Bollywood Music Awards, the Indian nation’s equivalent to the Grammys.

Ironic that Gajraj would find success as a Chutney Soca artiste after being heavily influenced by Guyana’s assimilation with the Western world’s culture, which included music. As a result, he learned to play the guitar, a stereotypical prerequisite for Country and Western singers, which is what he initially wanted to be.

However, in addition to learning to play the guitar, his family taught him to play traditional Indian musical instruments. He may not have thought it was hip at the time, but he says now he is truly appreciative of the fact that his family introduced the instruments to him. He said, “as I grow and mature I realize… it’s a good thing they taught me, cause I’m so much more into my identity cause this is who I am.”

Chutney he says is a combination or a blend of music from India and the Caribbean. “If you listen to it, it has the beat like Soca or Calypso, but then you have the Indian instruments like the harmonium and the dholak. We also sing in Hindi —not totally, but we do include a few Hindi words in the song[s],” Gajraj said.

Chutney music emerged in the Caribbean amongst East Indians who remained after indentured servitude ended in the early 1900’s. Through music, they recreated segments of the culture they had left behind in their native India using traditional instruments. Later, the tassa drum, which is an Indo Caribbean version of the Indian and Persian precursors, was introduced to accompany the traditional instruments and songs that were almost always sung in Hindi but in the distinctive West Indian dialect and accent.

In the early stages, the local music, as it was called, was mainly devotional songs, folk songs and wedding songs. The music remained confined to the temples and wedding houses until 1958 when Ramdeo Chaitoe of Surinam released an album of devotional music.

In 1960, Drupati released an album of traditional wedding songs, which along with Chaitoe’s music became pop hits in the Indo-Caribbean communities. The two albums united the East Indian communities and also established Indo-Caribbean music as a legitimate art form.
The turning point of Indo Caribbean music came in 1979, when Sundar Popo a Trinidadian, released the song, “Nana & Nani”. Unlike Drupati’s and Caitoe’s, Popo’s song was non-religious but used Hindi words and the traditional instruments in the composition. Thus, Chutney or Indian Soca as some call it, was born.

Gajraj says when he heard Popo’s “Nana and Nani,” he knew it was him. “ [His song] was about local life unlike the lyrics typical of those in Country and Western songs,” he said. He describes Sundar Popo as the Bob Marley of Chutney Music. “Reggae was there but Bob Marley made it popular and more internationally recognized. That’s the same with Sundar Popo,” he said. “The Chutney was there but he kind of brought it more to the forefront,” Gajraj said. Popo became Gajraj’s main influence and his lyrics are often compared with those of Popo.

“Berbice River,” Gajraj’s newest compilation, brings the count to 29-recorded albums since he released “Soca Lambada,” his first album, in 1989.

“Berbice River,” he says is slightly different than his previous albums. The traditional instrumentation of Chutney music can be clearly heard on the album, but influences of reggae, almost a Chutney Reggae flavor, can also be heard on some of the tracks. The reggae influence is unmistakable on tracks like “Guyana, Guyana” and “Bigan Farmer”. “Nasty, Nasty” promises to be a big hit in Soca clubs and “Ayi Yo, Ayi Yo” and “Dance the Maticore” are more traditional in nature, reminiscent of Dropati’s and Ramdeo Chaitoe’s wedding and devotional songs.

For more info visit http://www.terrygajraj.com/

WE Spotlight - Problem Child: More than a Party Animal

By Karen L. Richardson



The simple, infectious lyrics of St. Vincent and the Grenadines 2007 road march strike a chord with everyone who has ever experienced the boundless energy of carnival.

No more sleep ‘til Carnival done (yea ah)Ah jumpin’ up in de burnin’ sun (yea ah)And I don't care if de rain come down (yea ah)Dat can’t stop me from havin’ fun

Penned by an American-based artiste who crams his love for making music into a chaotic schedule of full time employment, Problem Child’s Party Animal is a musical tribute to the tireless efforts of its author.

He released his first professional soca recording for Vincy Mas 1998 with the help of producer Cherry Ince, formerly of the band Touch. Position was a commendable rookie offering featuring aggressive dub-style lyricism over a bed of zouk-flavoured instrumentation and rhythm. Nearly ten years later, zouk would prove to be the ticket to his first-ever roadmarch title and all the unwanted pressures that go along with it.

“If they hate it, they have their reasons. There’s a lot of people hating it because they didn’t come up with the idea, although they would never admit that’s why,” said Problem Child.

The song, which samples Kassav’s 1996 breakthrough hit Zouk La Sé Sèl Médikaman Nou Ni, was met with criticism at home and abroad due to what was perceived by some as a lack of creativity on the part of its creators. DJ Scratch Master of St. Vincent’s Hot 97.l FM begs to differ: “The main reason for Problem Child’s success was not the sample, but the fact that at carnival all of us are indeed party animals. The no sleep factor, plus the manipulations that were done to the music by producer Fryktion cannot be ignored either. Play the Kassav first. Watch the response, then play the Problem Child after – night and day difference. Never in my 16 years of playing music have I seen a song in any genre do the damage and create the havoc this did, and I mean this in a positive way.”

Problem Child says he appreciates the support of fans who see the bigger picture and insists that he meant no disrespect. “The original is a classic, but not too many people can sing along with it. My version is in English. It’s very simple. Yeah, I’m not lyrical on this song and that was done purposefully, because a lot of my other songs people can not sing along to, ‘cause it’s just too deep,” said Problem Child.

One of his most lyrically exhausting songs was his 2005 come back tune, Mad on the Great Zeee’s Flood Storm riddim. Its rapid fire verses describe the anticipation of returning home for carnival after a long absence. Having lived in the United States for almost 10 years, Mad foreshadowed the atmosphere of euphoria that would fully take root two years later when the cliquish Vincentian soca fraternity could no longer deny its native son.

Party Animal was never expected to win any titles, but its producer isn’t surprised that Problem Child was able to make it happen. “Problem is the most creative artist I've worked with. He's the same like me, we don't stop till it's the way we want it,” said Fryktion.

Fryktion permitted Problem Child to record on the track after an earlier release called Gladiator failed to get attention from DJs, due to its unmixable quick tempo. “So, that’s how I ended up using that beat in particular. It wasn’t a plot or a ploy. It was just sitting there. It wasn’t even my beat. So, I guess everything happens for a reason,” Problem Child laughed.

The reasons are becoming clear. Finally people are taking notice. “I’ve done nothing really! OK, roadmarch I won. I’m grateful for that,” said Problem “That’s a notch. But that’s about all.” And so it begins, the party continues, but the hard work never ends. Problem Child expertly juggles his gigs, musically and otherwise while considering the possibility of compiling an album in 2008.
For more information on Problem Child, visit www.myspace.com/johnnyfontainne .

WE Spotlight - Warrior King

by Monica J. McIntyre



Acclaimed reggae star and Rasta messenger Warrior King is sending this message to all women: “Keep your heads up high and keep strong. It’s the 21st century and women must play an equal role in the day to day activities of society,” he says. “ It’s not like back in the day when women cooked the food, and washed the clothes, those days are over. No more woman on the back burner.” The message is no surprise coming from an artist whose breakout single “Virtuous Woman,” praised and uplifted women.

When the single hit the air waves in 2001, it topped the charts in both Jamaica and New York, and was a hit internationally. Since then the talented 28-year-old has put out two albums: “Virtuous Woman and “Hold the Faith” and has toured throughout the Caribbean, Europe, North America, and Japan. When we spoke he had recently returned from touring in Europe.

His positive lyrics are about social and cultural issues, “man and ohman relationship,” and Africa. He says love is the foundation for all of his messages.

He’s now working on his third album, and has released the single called “Melody,” a track from the album. “No matter how powerful your words are if you don’t have melody people can’t sing along,” he points out.

Warrior King feels blessed for the success he has achieved so far, but credits Jah with using him as an instrument to spread his love, message, and positive vibrations, around the world. “We cannot take the praises for ourselves because without him we can’t write a song, or find a new melody, so we have to put him first in everything,” he says.

Born Mark Dyer, in Kingston, Jamaica, he is the second of four brothers. His father is a businessman, and farmer, and his mother, a nurse. As a child he loved music, but only realized that he could sing when he was 13 years-old, he says. He imitated reggae artist Bounty Killer, and was so good they called him “Bounty Junior.” As a young singer he also used the sobriquet “Junior Kid” and “Junior King.” When dancehall artist Frisco Kid began calling him “Warrior” because of the powerful lyrics in his songs, he became Warrior King.

Although he was immersed in music, and pursuing a career as a reggae artist, Warrior King didn’t let his education lapse. He attended the National Tool and Engineering Institute, in Kingston, and received his diploma in mechanical engineering. He says it’s a profession he can fall back on if he ever needs to, because you never know what tomorrow will bring.
“If you have a car and you are driving to the country you should have a spare tire,” he says, “because you can get a puncture along the way.”

Asked what he thought about the prevalence of guns, gangs, and drugs, among young people nowadays, he points to the negative images young people get from the media, and its influence on them. “Young people listen to the radio, watch TV, and read magazines, and there is a lot of negative news happening,” he explains. “A lot of positive things are happening in Jamaica, but if you check the news, and listen to the radio, the only thing you’ll hear is who got shot today, and who got killed. If the media would put a greater focus on the positives there could be a big change,” he says.

Now a family man with two young sons he says the family unit is very important as it’s where love begins. “It starts within the family, and then goes to the community, the nation, the world, and the universe.”
He encourages young people to get an education. “Read and examine all things, and choose and follow the good,” he says, “and women and men must stand side by side. Unity is strength.”

WE Spotlight - Ricky T

by Karen L. Richardson



He is ghetto rudebwoy hidden in the mountains of the Eastern Caribbean. Ricky T’s infectious lyrics are putting St. Lucian Soca on the international music map. This carnival, Pressure Boom took St. Lucia by storm and moved down through the Windward Islands like a hurricane. Ricky T’s energetic anthem received heavy rotation at both Vincy Mas and Spice Mas. The voice behind all the fuss is a 24-year-old boasting two road march wins in as many years.

“It feels great to know people are supportive of my music and me,” said Ricky T “Is the people that really request the songs. So it’s them that determine who road march is.” The artist says he takes inspiration from Bounty Killa for his ability to represent the people.

Originally on the scene as a dancehall artist himself, Ricky T. made the decision to record Soca in order to carry his name to distant shores. His 2006 breakthrough hit Container helped to realize that dream on the Piton Riddim in the company of more established artists such as Nicole David, Nadia Batson and Mista Vybe.

The 2007offering was an unrivaled party-starter on the Leggo Me Riddim. Pressure Boom is a J’Ouvert style eargasm about drinking and getting on bad on the road. While the original tune is a stand alone classic on a riddim that features tracks by Alpha, Faye Ann Lyons and Bunji Garlin, Pressure Boom now boasts a DJ Scratch Master road mix and a remix featuring Mr. Vegas.

“If I'm on a riddim and an artist like Bunji or Machel on that same riddim, then I stand to get airplay along side them. But in de same way if someone has a tune and it not popular on that same riddim then it could get left out of rotation, " said Ricky T.

Producing duo Penn and Ace know they have struck gold collaborating with Ricky “Teasel” Joseph: “Ricky T. is a natural talent and is a very patient and humble person. We always seem to catch a good vibe in studio and he takes criticism and channels it into results. [He] has a natural smooth voice, no additives," said Ace.

Ricky is equally flattering of his production team, "Dem men have magic in de studio. They help me write my big tunes so far and they have the whole concept on lock. They know what go make de people move."

According to CEO Irvin "Ace" Loctar, that concept includes trying to push SLU records to the forefront of the Caribbean music industry with the help of partners Dwayne Mendes (Managing Director) and Thygeson "Penn" Joseph. Penn is described as the mastermind behind the infectious riddims, but studio has built strong singles too. Nicole David's 2005 road march Bounce is a prime example.

For now, a video for Pressure Boom with Mr. Vegas is in the works. Ricky is looking forward to getting out there to continue spreading his irresistible vibe. He has been booked for a few dates in Canada and the US, and really hopes to get out to other islands where his songs have enjoyed success.

For more information visit www.myspace.com/slurecords

WE Spotlight - Kassav’ - Zouk is Here

By Cheryl Nneka U. Hazell



When we think of the French Antilles islands, images of graceful streets and gardens, a beautiful language, colourful traditional garb, and a spicy uniqueness to its music and dance come to mind. The musical flavours of Martinique and Guadeloupe (or as the indigenous peoples called them respectively Matinino and Karukera) have influenced many soca and calypso artists to the south as well as in turn been influenced by the music of its neighbouring islands of Jamaica and Cuba. But there is a legend that has been born of Martinican melodies and Guadeloupean grooves. This legend is Kassav’, the Kreyol name for cassava, which was first formed in 1979 when Paris-based George and Pierre Edouard Decimus, Freddy Marshall, and Jacob Desvarieux elevated the Antillean music style that was coming out from Guadeloupe and Martinique to a more modern and polished level. Although the band has roamed far from home and toured almost the entire globe, Martinique continues to be the group’s eternal source of inspiration. The rhythmic style of zouk, which means “party”, has its roots in Haitian kompa and Dominican cadence, beguine and quadrille while its evolution has been heavily influenced by heavy-metal guitar, funk, soul, Congolese soukous and a variety of Latin rhythms. This genre has gained international popularity since it first was heard in the early 1980s and is considered one of the most important contemporary pop innovations.

Kassav’ recently played in Toronto for the first time ever in the band’s 25 plus years career to a packed concert hall on Emancipation Day, August 1, where the crowd went wild in a carnival-like atmosphere. Core members Jocelyne Beroard and Jean-Philippe Marthely were supported by vocally strong back up singers and a full band with lead musicians - Jacob Desvarieux on guitar, Jean-Claude Naimro on keyboards, and Georges Decimus on bass. The audience obeyed the call-and-response chant of “Nou la! Toujou la!” led by Marthely. And it didn’t even matter that an English-speaker couldn’t understand Kreyol. According to lead singer Jocelyne Beroard, “A lot of people don't understand everything Michael Jackson sings but that doesn't stop him from being a hit in non-English-speaking countries. Our music is strong enough in itself to reach audiences of different nationalities. You just have to know how to listen.”
The strength of the performance, the perfect pitch, tone, and harmonies of the singers and musicians added to the energy coming not only from the performers themselves but from swaying, singing, hands-raised, sweat-drenched bodies moving in one accord from the front of the stage, in the aisles, way up in the balcony, all the way to the back of the concert hall.

This type of love affair with their audiences and a love for their culture has helped Kassav’ to navigate through the production of 30 successful albums that inevitably blessed them with a dizzying array of awards. Songs like Mi Che Mwen, Rété; Siwo; Difé Soupapé, and the unforgettable Zouk la sé sèl médickaman nou ni (Zouk is our only medicine), which brought the group international fame far beyond the Caribbean and is on many a soca DJs play list today, have all been runaway successes placing Kassav’s albums in the big league. There may have been past mutterings within the music world of a boredom threshold but those were stymied as the band’s considerable recording output gave the public no time to forget the group between two hits. Kassav’ continues to dominate their genre’s ratings as they leave their musical footprints on a world that – from America, to Japan and Russia - has grown to recognize the culture of the Antilles and that of the Caribbean in general. Sak pasé? Joie de vivre!

WE Spotlight - An Intimate Look at Kees Dieffenthaller

By Karen L. Richardson



Away from the open-air stages of soca fanaticism, there is a quieter side to Kees Dieffenthaller that few would expect. The 26-year-old frontline vocalist for Kes the Band is a self-proclaimed nerd. Aware of his blessings as he is concerned about his future, Kees relishes each moment of his ascent in the industry with grace and humility.

“On de stage there are moments when you feel sexual, because that is the energy that you use,” Kees said about his sexy image. “I think that just developed over the years and it’s something I try not to pay attention to. Obviously, you love de attention from de female population. It’s nice, but it’s something that ah doh really think about too deep.”

When Kees gets a moment away from adoring fans, he visits the countryside to observe nature. “When I go home I going and see turtles lay eggs,” Kees said. Other times, he relaxes himself with a plate of food in front of the tube.
Before forming Kes the Band with brothers Jon and Hans, in 2005, Kees contributed his silky vocals to Imij and Company. The Dieffenthallers would have a big challenge ahead as they attempted to establish their own niche in the market. Having since proven its musical credibility as an act, the young band has begun to taste the limelight. “Now you find a lot more attention especially at home. In the region also, cause there’s [MTV] Tempo. They be like, you dat guy from TV,” said Kees. “The fan base has increased and it has been a little tricky at times, because women love to flirt.”

“Right now I’m actually single, hey!” Kees winked, letting out a hearty laugh. “I think now in my life I’m kinda happy being single because music is a pretty taxing industry at times. Sometimes you get lonely. You wanna have that special someone there, but it’s an industry where you really have to understand your spouse. I think now I’m getting my hands dirty in the music and ah giving it a really good kick, I need to be on my own beat. For now, yeah I’m a single guy,” he said with a playful smile.

When the time comes, Kees says he knows how to spot the right girl. “As cliché as it may sound, it does stem to personality and vibe. Is a very very personal thing to me, when I feel a connection to somebody on some level. That has a lot to do with the attraction. I can’t just off de bat see somebody I like and all of a sudden be all over dem. No! I don’t know what it is, but definitely I believe in the unspoken language of souls, and it’s very important who you have around you.”

For now, his only partner is music. Kees is determined to keep climbing higher as he shows fans what he can do. This year Trinidad and Tobago saw its son in a new light, helping Nadia Batson to a second-place win performing My Land on the International Power Soca Monarch stage. “Yes, I like to groove on romance, but there’s a time to get on bad and wild, and that side is a big part of me also. So, I took that opportunity to really bring that style out. A lot of people, even at home, were confused ‘Kees is dat you on that track?’”

What may confuse others is liberty for Kees. “I don’t feel pressure to fit any kind of mold. I look at the industry as we are now taking baby steps into something bigger. What we don’t do is, we don’t limit ourselves. We don’t limit our musical landscape. We are a Caribbean music band, rather than just a soca band out of Trinidad and Tobago.

“We refuse to be pigeonholed into one particular sound. Sometimes I’m contemplative and I think about the deeper things in life and sometimes I just wanna wine and jam and get on bad,” said Kees.

Kees began considering his purpose as a teen. He credits his parents’ spiritual influence for enabling him to pursue music as a career. “At a young age, I really was searching for the answers. What is this life all about. I was gonna study veterinary science and become a vet. Though I loved school, music was something that I always wanted to try. I had to find myself and know what I was really about.

“My mom used to read a lot. She would just drop books on my lap and she would pull a paragraph and say ‘read this,’” Kees recalled as a nostalgic mist enveloped his eyes. He arrived at a personal turning point after reading Neil Donald Walsh’s Conversations with God. “Who I am is music. So from then, I found it easy to sit silent and sit aside from everything and just question myself. Are you really doing something that represents who you are? Is this me? Am I going the direction that I need to be? And I think once you keep that kinda connection with who you are and that kind of connection with God, those lyrics are not something that you have to think about, it’s something that you live.” said Kees.

The sex-appeal emanates effortlessly as every word displays an enviable self-knowledge. Kees Dieffenthaller knows what he wants, and one can’t help but join in hoping that he gets it. “I love de fact dat we’re getting our bligh, but I also know that there is so much more. I really want the world to be a smaller place for music, for Caribbean music…and if it is that we just pave de way for somebody else, so be it. At least we would be remembered for making a difference, putting a dent into de ting. Dat is my mission really, to travel de world with music and change some lives – somehow.”

For more information on Kes the Band visit www.kestheband.com.

WE Spotlight - Mr. Dale - Junkie wins Barbados Peoples’ Monarch and Road March

Karen L. Richardson



The music of Crop Over is best known for its uncompromising pace. This year Barbadians traded in the wuk up, for a wine-down to the sounds of Mr. Dale. The heavens opened on Kadooment Day. Only the true soca faithful could weather the rain that accompanied the festivities. A new Road March king was crowned.

“A friend of mine came down and said ‘Boy we win it!’ I ain’t had no kinda response. Just had to get home and actually hear it on the radio officially to confirm. So, when I got home and heard that the Nation Newspaper and CBC were trying to find me, then I knew for sure,” said Mr. Dale about his victory.

“It was very close,” said Mr. Dale, “but most people always thought that once the rain fell on the day and slow down de jump Soka Junkie would take the Road. If otherwise, Lil Rick's Can’t Wait would win… When de rain started to pour like crazy and outside get black, Rupee turn and said to me ‘De road is yours dawg!’"

Lil Rick and Mr. Dale enjoyed some healthy competition throughout the Crop Over season as Headliners tent mates. Lil Rick came first at Party Monarch. While Mr. Dale had to settle for second at that night, he felt honoured to capture both the Peoples’ Monarch and Road March titles instead. “My greatest thrill is to see the happiness and joy that my creation via the Almighty evokes from the masses. Music is so powerful!” said Mr. Dale.

He is a 10-year veteran from the community of Deacons Farm, Barbados. He emerged in 1999 with the release of Kaylaylay. Since then he has approached the music from all creative angles. In 2007, he finally got the formula just right.

Soka Junkie came to him in the wee hours of the morning. Hem had been listening to a riddim he got Double Xplojun’s Shawn Layne to produce. Mr. Dale says, he worried about the connotations of the word junkie, but he wasn’t satisfied with the alternatives. “I definitely set out to create a song that spoke to every and anyone who has ever been to a soca fete, waved a flag or played mud, powder, sailor or any kinda mas on de road. Something that we, de soca generation, could all identify with and call our own,” said Mr. Dale.

Written, composed and arranged by Mr. Dale, Soka Junkie boasts an all-star team of collaborators; Krosfyah’s Tony “Rebel” Bailey (Guitar), Karl Raggy (Keyboards), Adrian Ashby (Bass), and background vocals from Mikey, Lorenzo and Indra Rudder. “This song has become much bigger than Mr. Dale and it now belongs to the people. So wherever it goes, I will follow like a faithful soca servant. This has revitalized the interest in my music and is only the beginning of things to come from Mr. Dale,” he said.

There is already some speculation that Mr. Dale will attempt to fill Biggie Irie’s massive shoes at the 2008 Groovy Monarch competition in Trinidad. Till then, Dale Rudder is content to take care of business at home. As Peoples’ Monarch, he won a new car. Ever a pedestrian, Mr. Dale placed it on auction to the highest bidder. Mr. Dale says, part of the proceeds will be donated to the Deacons Development Project. The organization provides education, training and job placement for underprivileged youth.

Mr. Dale’s joy in his recent success is coupled with a genuine gratitude that lights his way; “I need to thank the Almighty God for his continuous blessings despite my many shortcomings…and everyone in the soka game who continues to create this music of love, peace and celebration. Let's put aside petty island insularities and unify to take this glorious thing of ours to the world.”

WE Spotlight - HOT VEGAS

By Natasha G. Samuels



On August 28, 2007 Clifford Smith, affectionately known to dancehall reggae fans as Mr. Vegas, released his fifth album on the Los Angeles-based independent record label Delicious Vinyl Records. With hits like “Hot Wuk” and “Tek Weh Yuhself” the “Hot It Up” album is destined to be another “sell-off”compilation for the Jamaican born artist.

Mr. Vegas, is a living legend of sorts considering his swift climb to the top. His single, “Heads High” released in the late 1990’s and debut album of the same name was an instant hit and catapulted the “sing jay” to the top of the charts in Jamaica, America and Europe.
His efforts, right out of the gate, earned him recognition as the Best Reggae Artist from the British Music of Black Origin (MOBO) awards and the Tamika Reggae Awards. His crossover hit “Heads High” skyrocketed to the top of the charts and remained in heavy rotation on urban radio stations such as New York’s WQHT (Hot 97) and on mainstream music television programs on MTV.

Imagine, all this success from an artist whose career was almost derailed back in 1997 when someone broke his jaw with an iron pipe. His mouth was wired shut and many who compared the singer to Sanchez, Tenesaw and Barrington Levy (his idols) were convinced that the career of Mr. Vegas, who was a studio regular since 1986, was over. But determined, energized and focused Vegas overcame adversity and returned to the studio. Although his damaged jaw limits his ability to belt out reggae tunes as he used to before the assault, it forced him to adopt a new sound called singjaying, which has blessed our ears since “Nike Air.”

Vegas remains one of the most sought after artists by producers who pull him into studios on the regular to voice tunes. As a result of his busy studio schedule, Mr. Vegas’ pristine catalog of music includes “Hot Gal Today” from his sophomore album which was voted one of the all time best combinations by the American urban music publication, Vibe Magazine. His third album entitled “Pull Up” included the hit song of the same name (the Spanish cover which also catapulted Miami, Florida based artist Pitbull into international fame) and “Tamale” which was released on Delicious Vinyl Records.

Not only is Mr. Vegas hot on the tracks, he is also hot on stage. The artist remains in high demand by show promoters as evidenced by his schedule, which took him from Italy to Jamaica and back to the UK, in a five day period during his tour in August.

During his performances, it is not uncommon to see Mr. Vegas behind the safety ropes in the midst of a sea of his female fans who step on each other simply to touch and fondle one of our living legends from the dancehall reggae genre. “Hot It Up,” was subsequently released in Japan and Europe following the August 28th debut in North America and will be released in Germany on September 21, 2007.

WE Spotlight - Da’Ville

by Cheryl Nneka Uzoamaka Hazell



Jamaica's "Big Bad Singer" Da'Ville, has been relishing in his success all while keeping it real and down to earth. The response to his rise on the Jamaican music scene has been tremendous. He says, "people have been really supportive of the whole vibe right now, ya know. In terms of every dance you go, every party you go, you have to hear a Da'Ville tune. If you turn on the television or watching the music channels or go up on Tempo (www.gottempo.com) you're gonna see two or three videos." And the exposure doesn't end there. Taking their cue from the people who are interested in terms of what is going on with Da'Ville's career, all of Jamaica's mainstream newspapers have made room for this songwriter, composer and producer amid their pages.

As a new artist based in Jamaica the lure of living abroad full time has not captivated this
singer as yet and he just doesn't think he would be able to bring the same vibe and energy to his music if his base was abroad.
"Jamaica is home. No matter which part the world you go. If you have house in NY,
house in Canada or house in Europe, Jamaica a home. You haffi have a base here so. Here so a de root. A here so every ting stem from. Exactly here you need fi have your base. You need fi know which part your roots dey man and de roots is in Jamaica, nowhere else."

If Jamaica is the root, then Japan was like the water that helped with its growth. “Japan was like the beginning for me. At the time, in 2005, I had a single that was doing pretty well, called "In Heaven". It was tearing up the charts and mashing up Japan and I didn't even know that. I was over here in Jamaica doing my ting same way and I got a call from a promoter over dey who wanted me come do two club shows. I wanted to have the experience. Before I had an album from any other company, Avex Entertainment Group in Japan gave me an opportunity to make my first album "In Heaven". After I got more established, I was invited to perform in Japan last year at the Mighty Crown anniversary show in front of 35000 people. I did a three-album deal with Avex. I did two albums for them already - "In Heaven" (2005) and "Can't Get Over You"(2006) - even before this new album “On My Mind."

2006 was a stellar year for Da'Ville with his smash hit singles "Can't Get over You”, the soulful “On My Mind”, and “This Time I Promise” topping the charts. “I really just wanted to get my break from standing on my own two feet and not through a collaboration. I was fortunate to have been able to break out on my own with a solo effort.”

Riding the wave of this success was eased along by a profile in the New York Times and being honoured as Singer of the Year by the renowned sound crew Stone Love. A personal touch had a hand to play in it as well. Da'Ville evolved in terms of his musical and personal growth and tapped into the spirits past and present of Bob Marley, Freddie Macgregor, Dennis Brown, Maxi Priest, and Beres Hammond for some inspiration. “I came to realize that the world I'm living in is not a picture painted one. Before I always tried to do a song from my imaginary aspect and now I'm doing my songs from a personal experience point. So I was able to be real in terms of what I said and the emotions coming out of me into the songs. The people on a whole heard it and connected to it because of that. It's so easy for me to tap into that energy dey.”

WE Spotlight - Ghetto Flex

by Karen L. Richardson



Hilton “Ghetto Flex” Dalzell has humbly offered his commanding vocals to audiences for years. The dreadlocked soca front man began singing publicly at age five. His is the rich bassy voice behind soca standards like Golo, Wine and Bend Over, and Soca Daddy. But now is the time for change. In an exclusive interview with, Ghetto Flex for WE Entertainment magazine, he announces his departure from Imij and plans for the future.

KR: When did you leave Imij and Co.?

GF: I already left de band. That happened [in April]. I left officially. I haven’t gone public with it yet. I was looking for the right time and the right medium which I think this is. Still it’s not public knowledge as such.

KR: Did you take anyone with you?

GF: No, I don’t think that would be a good thing. First and foremost, I never wanted to disturb de flow of de band. So, I left on my own. Leaving with somebody would be a very bad thing and I’m not about trying to harm de flow of it. Because the members of the band are my friends, you know what I mean?

KR: Why did you decide to leave?

GF: Well, a couple of personal reasons. Part of it was family reasons, family business. I had to go away for a while and take care of some business. You see being in a band is a lot of commitment where time is concerned. There are things that I want to start that I’m embarking on that need a little more time. So, I had to make my exit to start some other ventures.

KR: What are some of those ventures?

GF: I’m in the middle of planning the next year where the career is concerned. I am working on my album. I have more time to do that and also I’m embarking on [party] promotion a little bit. I just did my first little promotion [in May] which was really good. We go under the name Celebrity Events.
I’m known for doing collaborations with artistes here, which is something that wasn’t very popular in soca. And I am looking to stretch out to de international. I actually started working with a couple of international artists. I think soca has become very adaptable. Well music on a whole has become very adaptable. Everything is mixing, so I think it’s the perfect time to try and get it out. I’m doing some projects with international artists. I have some Canadian artists under my wing and plus some American artists.
I’m presently working with Studio 53 [recording reggae]. I’ve already started. That has always been a love for me. Being partly responsible for ragga soca, I feel responsible to be there ensuring that they move to the next step in developing our own reggae artists, which I think is a good thing. People may say that it’s not our culture, but I think reggae music is Caribbean culture. Trinidad does listen to a lot of dancehall and reggae, so it would be even better if we could listen to our own. So, I’m gonna to a couple of those too.


KR: I have heard rumours that you are starting your own band. Can you confirm that?

GF: Eventually that is what I’m heading to, but that wouldn’t be immediate because that takes some time and planning. That’s the reason I took the time. People might think that I just left the band to form muh own band. It’s not a matter of that. First, I have to develop myself as an artist again, as an individual artist and then, that would be the ending result then. That is what it will lead to.

KR: In regards to your personal performance, how would you say the 2007 season has been?

GF: It was fair. The band does a lot of the events in Trinidad. I think being in a band you don’t get time to develop personally. Remember you’re doing a lot of covers, and always on de road, which is not a bad thing financial-wise. But looking at personal growth, there wasn’t much time for that as such.

KR: Which of your musical contributions would you say best exemplifies your niche in soca?

GF: There’s no particular best song as such. I think it’s the overall personality, if I say that myself! Not wanting to be conceited or anything…de whole package. I would say I appeal to a broad audience from kids to mothers. I don’t want to say pop-oriented where soca is concerned, but I was responsible for the evolution of ragga soca.

KR: In your opinion, what is the greatest accomplishment of your career thus far?

GF: I think the main accomplishment is staying in de soca arena without having a major major hit every year. People look at de overall package, de performances, de songs. I did a lot of collaborations. I created a new kinda sound; Wine and Bend Over, Rock Your Body. These are songs that I was doing almost nine, ten years ago. And people still see interest in it, which I think is important because it shows longevity. The music lasts. I concentrate on making music that lasts. Not just a hit for this year. Daiz my main advantage. I can’t say anything until it’s done. Sorry.

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WE Spotlight - All In-na ‘Tizzy’

by Susan Noyce


(photo by Ken Maguire)

Island diva Tanzania “Tizzy” Sebastian had better hold on tight, because her star is rising fast.

This vivacious Antiguan cocktail mix had music and movement swirling through her veins long before she took to the stage, and her fans are reaping the benefits.

The echoes of 2006’s “Expose” are still throbbing worldwide, and they’re pushing Tizzy towards what she says will be her ultimate performance this year at the 2007 Antigua Carnival Party Monarch Finals being held August 4th.

“So far, people have been pleased with the music that we’ve brought out, and of course the performances that we’ve put down, and it’s only going to get better from here,” she said. “Come Party Monarch, it’s going to be crazy, because there’s been a lot of crazy things going on so far, and we’re only looking forward to the best,” she added.

‘Crazy’ might describe the see-sawing of reigning Party Monarch Claudette “CP” Peters, who shocked fans when she announced that she would not be defending her title. Two days later, she recanted, saying 2007 would be her final year. Controversy swelled last year after CP didn’t sing her entire song, and was instead carried down from the stage into a frenzied audience. Tizzy’s fans screamed, “robbery”.

Nonetheless, the El-A-Kru lead singer, Tizzy, says there’s no rivalry, and that she’s aiming to do more than just produce Carnival hits.

“I feel that I have a product to put out there, a product to market, and I’m gonna do the best I can to do that,” she said. “Last year, after Antigua Carnival, Expose wasn’t really finished. It led on to Trinidad Carnival, we’ve put it on Tempo, and I’ve been getting calls from all over the world to come and perform. We just came back from St Lucia’s ‘Colour Me Red,’ and it was fantastic. All the DJ had to say was “X” and you could hear the crowd start singing o, o, o, o, oooo (the song’s hook).”

The thirst for stardom has many fuels, but Tizzy insists it’s love of country that drives her performances. Her band’s name, El A Kru, stands for “Little Antigua Crew,” and Tizzy is hoping to catapult this year’s offerings into the stratosphere, right beside to her last hit.

“People are loving all the songs on the album, and it really shows how much they appreciate the hard work that we’ve put into the music to get it out there. When we make music, we try and show people our feelings about the music, about Carnival, about the industry - about life. All of this is incorporated into the lyrics, and this is how we come up with the substance of the songs, and the music for the songs, and when the people latch on to it, it really shows us that they appreciate the hard work we put into it,” she says.

Many say it’s already crowded at the Soca top, but this artist is steering a parallel course, instead of masterminding a collision.

“I can’t be anybody else but Tizzy. I’ve heard so many things… how I can’t do this or that, but from the first performance I did at Party Monarch in 2004, I took it to a level people had not seen in Antigua for a while. In 2006, I took it to another level. 2007 is going to be even hotter… even greater. So whenever I come out… whenever ‘Tizzy’ comes out, it’s a standard, it’s quality, it’s style, it’s class. There is no other Tizzy around; nobody can say I am like this person or the next. I am Tizzy, I can only be Tizzy: T-I-Z-Z-Y!”