As promised, I am going to take a look at Timeless, Volume 1 by Alan Cave. If you missed the Kreyolicious review of Volume 2, CLICK HERE.

CD Image via HMI PIX

The song sequence strategy on this volume is very strong.

Sa Wap Fè Avè’m [Whatcha Gonna Do With Me?]

I truly like the vulnerability on this one. Whatcha gonna do with me…the singer’s delivery is flawless on this track. And, so much begging and pleading. Definitely my type of song.

About time a man is suffering! God knows that women go through so much when it comes to love.

But you almost feel sorry (slightly) for the narrator, when he howls, “Map mande’w ki sa wap fè avè’m. M’pèdi lanmou” in this super-pathetic voice.

Whappen [What Happened]

Two things can happen with the song that opens an album. Scenario one: it’s really boring and plain and its just there as a filler. Scenario two: it’s going to end up being one of the best tracks on the album, and is placed strategically at the beginning of the record to make you anticipate even better tracks. Which category does “Whappen” belong to? The second. The production is very rowdy, and I guess it’s meant to corroborate with the narrator’s tumultuous feelings.

I love how he does a syllable-by-syllable delivery at the lyrics towards the beginning, like a little kindergartener who’s learning to pronounce words for the first time. A great way to practice your Creole and enhance your vocabulary. Check out the lyrics:

Lan-mou sa bèl kon lakansyèl
Li pa ka re-te kon-fi-dan-syèl…

Wout kè mwen ekri nan pla men’w
Lavi mwen trase anba pye ou
Lanmou sa se yon pòt san seri
San bato li travèse lanmè
San paspò, li fè tout latè

This love is stunning like a rainbow
It can’t possibly be kept on the hush-hush

The roadways of my heart are written in the palms of your hand
My life’s roadmap is etched under the soles of your feet
This love is like a door without a lock
It travels the world’s waters without a boat
Without as much as a passport, it tours the whole planet

My goodness! That’s some serious infatuation. No word on how the girl who inspires the “Whappen” feels about this and whether the obsession is requited. Let’s hope she feels this way as well. Otherwise, that’s a whole waste of beautiful emotions.

Café Au Lait [Milk in the Coffee]

This one is sung in French. It’s cutesie-pie and romantic sounding. The arrangements are nice, and the melody sweet as ripe pears.

Jouk Nan Zo

“Fanm sa renmen mwen jis nan zo/Sa’w tande a tèt mwen cho”—-This girl loves me down to my bones/She sends my mind reeling. So begins this song, that features Mikaben.

I like how this strong is structured. Hook first, then bridge, then body. This production on this track is very bouncy. An attention-catcher on Volume, 1.

Lil Mama

I didn’t find this song to be especially memorable. It’s an ideal track to liven up things…you know when you’re having a homey get-together, and the host is less than interesting, and the DJ tries to spruce up things…The singer decided to add a dance version of “Lil Mama”, sequenced towards the end of the album. This time around, it’s livened up by an artist who goes by the name Johnzo.

San Ou M’Se [Without You, I’m—]

Do you realize that half of the love songs we’re served with fall along the line of co-dependence? Well, this song is one of those and I rather liked it. For some reason, it called to mind another of this singer’s songs…”Ou Se”. Kinda of like a reversal of it—so to speak. On “San Ou M’Se”, Alan Cave/the narrator has a whole laundry list of how life will be for him without the woman he loves.

San ou M’se
Yon twoudabdou san tanbou
Yon inosan ki kondane
Yon batiman san fondasyon
Yon gita nèf ak kòd kase
Yon finisman san kòmansman

Without you
I’m a street musician without his drums
An innocent who’s been found guilty
A boat without a platform
A brand new guitar with broken chords
A conclusion without a beginning

I truly loved those similes. Just when you thought man had run out of words to express himself and his love.

Ou Pap Pi Bon

After having listened to “San Ou M’Se”, this song sounded just standard. I like the guitar that comes in around 1:53, but other than that, it didn’t stand out too much for me. It’s not a bad song…it’s not a blah track or anything. It was just plain.

Good Thing

There are two versions of this song, including a world version that incorporates pop.

Grave Sou Kè’m [Etched On My Heart]

Alan Cave’s voice is the highlight of “Grave Sou Kè’m”. It can shush you to pleasant sleep if you’re feeling depressed with its verses about romantic love.

Si lanmou aprann pale
Se pa de koze ki tap tonbe
Tout fèy papye ap pran dife
Inspirasyon mwen pap manke

If this loved learned to talk
Only God knows what it would say
All the paper in the world would get on fire
There wouldn’t be a lack for inspiration

Mon Seul Regret [My Only Regret]

On this track, Cave is joined by two other singers Jim Rama and Fabrice Singer. I rather like this collabo. The music is more French Caribbean than Haiti Caribbean.

Bispidida (feat. Kimberly) [Dismissed]

Alan Cave enters this song at the 1:10 and what an entrance. I’m going to go ahead and say that the singing he does from 1:10 to 1:31. Oh, Alan Cave. Apparently, the song’s title is a distortion of the word “despedida” (Dismissed) in Spanish, or what? Check out all the desperation and lovesickness in the lyrics:

San ou mwen pa tap ka respire
Kelkeswa tan mwen fè deyò, map retounen
Kwè mwen, trezò

Without you, it’s hard to breathe
Don’t matter how long I stay away, I’ll eventually come back
I’ll always love you treasure of mine

Ooh, lala! The Kimberly girl has some really sensuous vocals. Maybe it’s because they’re singing in different languages (she in Spanish and in French, and he in Creole), but you know how when there’s a duet, you can feel this unity between the male-female leads? I didn’t get that from this singing team. This isn’t to say that they don’t have chemistry—they have plenty.

How does Volume 1 compare to Volume 2? Watch out for the second part of the Kreyolicious review of this double album. In the meantime, CLICK HERE TO CHECK OUT OTHER KREYOLICIOUS MUSIC ARTICLES.

CLICK TO VISIT ALAN CAVE’S WEBSITE | CHECK OUT ALAN CAVE’S MUSIC ON AMAZON | ALAN CAVE’S MUSIC ON CDBABY

Song: Triye. Artist: Kreyol La

According to the relationship coach Bruce Muzik, relationships have 5 stages. The song “Triye”, by this band named Kreyol La reflects the second stage—the power struggle stage. According to Mr. Bruce Muzik (interesting that this should be his last name), couples going through that particular stage tend to try to change their partners. And, when the change they try to impose on their partner doesn’t happen, they punish their partners. At which point, there’s all sort of havoc. What’s more, contends Bruce Muzik, couples in the second stage resort to focusing on a partner’s flaws and shortcomings and begin to withdraw emotionally from the relationship.

This song “Triye”, credited to singer-songwriter Joe Zenny, Jr., practically describes this stage word for word.

The first couple of times I listened to “Triye”, I thought it was preaching that people should settle and put up with a partner’s crap (infidelity, physical abuse, etc). But that isn’t what the song is saying. It’s not encouraging anyone to stay in a toxic relationship (I think). What it’s saying is that nowadays folks give up too easily when difficulties arise. The idea of starting over with someone else seems much more appealing, than trying to work things out with the current partner. But as the singer says in the song, it’s best to smooth out the creases in a wrinkled relationship, then going out there in search of lawns where the grass is greener. For, to go in search of greener grass…well…who knows if you won’t get hit by some serious pesticide…Who knows if there aren’t any broken glass buried in that greener grass, or some nails…or some other toxin, just sitting there and waiting for the bottom of your feet…and before you know it…So, as Kreyol La contends in “Triye”, it’s best if you stay put, and try to rekindle the passion and work out the problems. Triye!

Pa vinn di mwen
Ke ou ka leve kite yon relasyon
Pou ninpòt stipidite
Pa vinn di mwen
Ke li fasil pou rekòmanse
San menm eseye
Jwen mwayen pou sa mache
Mounn yo telman chanje
Lanmou tèlman chanje
Mounn yo tèlman chanje

Don’t come telling me
That you can just get up and leave a relationship
For just any petty reason
Don’t come telling me
That’s it’s easy to start over
Without even giving a second go at it
Folks nowadays have changed so drastically
Find a way to make it work
Love nowadays isn’t the way it used to be
People have changed so drastically

Gade bien
Gade lari a bien
Dim si-w gen chwa
Fèm wèw fon chwa
Fanm pa bezwen gason
Gason pa bezwen fanm se tout vis kap devlope
On dirait tout mounn deraye
Gade lari a bien
Dim si’w gen chwa
fem wew fonw chwa Gason kou fanm nan tout sak pa bon
youn twonpe lòt san rezon
on sosyete san moralite
au nom de la modernite

Take a good look
Take a look at what’s out there
Does it look like you have a choice
Let me see you pick someone else out
Women swear they don’t need men
Men claim they don’t need women
It’s like the whole world’s gone haywire
Look at what’s out there, and look at it good
Does it look like you have a choice
Let me see you pick someone else out
Men and women are all up to no good
They creep on each other for no reason
It’s truly a world without scruples
All in the name of being with the times

Triye, triye pouw jwen on bon grenn
Pour la nuit li fasil
Pour la vie li difisil
Triye

Pick and choose, pick and choose so you can land a good one
One night stands are easy to come by
But the “Til death do us apart” is another matter
Pick and choose

Bon grenn yo deja gen mèt
All the good ones are already taken

Fow triye pouw jwen on bon grenn
Pick and choose, pick and choose so you can land a good one

Viv a saw genyen an
Rete a saw genyen an
Si wak on mounn ki renmenw e ki chwazi respekte w
Pa pran defol sou preteks ke ou ka jwen pi bon pasel
Lari a telman pieje ke chwa nou vrèman limite
Si’w pral chachonw mennaj,
Ki pa gen mennaj,
on ti mounn ki saj,
Ki pap tounonw loraj fow triye

Live with the one you’re with
Stay with the one you’re with
If you’re sharing your life with someone who loves you and respects you
Don’t take their little weaknesses as an alibi that there’s someone better otu there
It’s dangerous out there
You don’t really have any good picks
If you’re going to get someone
Who’s not already attached
Someone who has sanity of the mind
That’s not gonna turn into a thorn in your flesh
You gotta pick and choose

Triye, triye pouw jwenn on bon grenn
Jwenn yon bon pa fasil
Fòk ou chache anpil, triye

Pick and choose, so you can get hold of someone good
Finding a good one ain’t easy You’ve got to search a whole lot
Be picky

Ret a saw genyen an eh eh
Viv a saw genyen an eh eh….

Stay with the one you’re with, hey, hey
Get along with the one you’re with, he-hey

Lyrics (c) Kreyol La/Joe Zenny. Transl: K
CLICK HERE TO VISIT THE KREYOL LA WEBSITE |

Chris Brown and Lil Wayne in Haiti?

The news of these two pop stars performing a concert in Haiti was the talk of the e-parlors of #TeamHaiti.

It all started when this little flyer started coming up in posts on Instagram, showing the elevated faces of Chris Brown and Lil Wayne.

Then it spread on Twitter and Facebook. “It”—as in the news that Chris Brown and Lil Wayne would actually be performing for the first time in Haiti.

Now, with the repatriation of Haitians and Dominican-Haitians having been of great concern, some wondered if the concert was a good idea. Yet others argued that in spite of problems, life must go on—and the concert should be held—regardless of the opinions of some.

Big O Productions—the concert promoter responsible for the concert—took to the pages of Haiti’s daily Le Nouvelliste to clarify several misconceptions/misunderstandings about the pending concert. First and foremost, it was revealed that it was Kasseem Dean, better known to us folks as Swizz Beatz, who was the co-mastermind of the concert, and that well, said concert would be free to attendees. Swizz Beatz also got on social media to reassure fans that it would be a free concert.

As the days counted down, there was some skepticism expressed by some on Twitter about whether the concert would even take place. Would Chris Brown and Lil Wayne perform in Haiti or not…Well, the skeptics watched until the very connected Karen Civil added credence by tweeting about the concert.

Remembering the time during the Haiti earthquake, when Chris had shown his support, several fans reposted the Haiti photo of him…you know the one of him wearing the “Don’t Hate On Haiti” shirt.

Breezy posted this photo on Instagram of his landing….

And….

…this photo of his farewell.

On concert night, fans came out to see Breezy and Weezy perform. There were some local acts who performed that night as well: T-Micky, Boukman Eksperyans, RoodyRood Boy, Barikad Crew, TPO, and DRZ.

I bet Chris didn’t think that he had that many fans in Port-au-Prince. He held out the microphone so that they could sing along with him.

Here is Lil Wayne, as captured by photographer Jumenes “Dezobri” Coreus

…and Chris Brown as captured by Dezobri/Dezobri Photography for Chokarella.

At last, Haiti had its Chris Brow-Won and its Lay-toe Win. Hooray.

Kreyolicious Music…in which…in which I review a kreyolicious album—

Album: Invictus, Kreyol La,
Lead Vocals: Joseph Zenny, Jr
Musicians: Joseph Zenny Jr (lead singer) Stanley Herisse ( Bassist) Lhoman Jean ( Guitarist) Theophile Jadotte ( Bass) Antonio Guillaume ( Drums) Edler St Cyr ( Gongs). Information Credit: Band’s Facebook page

The first thing you want to know about Invictus from the band Kreyol La isn’t whether the album is decent or not…it’s what Invictus means exactly. It probably has something to do with the Roman Empire, I tell myself. So up to the ‘pedias I go. So, it turns out that in the 19th Century, British poet William Ernest Henley wrote a poem that was included in The Oxford Book of English Verse. Nowhere in the poem does the word “invictus” appear.

So, here I am as a person living in the 21st Century, trying to see if there’s a connection, a bridge of sorts between a poem written in 1892 by a British poet and a musical album released in the mid-2010s by a Haitian band.

In the last two verses of the poem, Henley wrote:

My head is bloody, but unbowed.
Beyond this place of wrath and tears
Looms but the Horror of the shade,
And yet the menace of the years
Finds, and shall find me, unafraid.

It matters not how strait the gate,
How charged with punishments the scroll,
I am the master of my fate:
I am the captain of my soul

So, “Invictus” is about being invincible, and taking responsibility for one’s life. Well, that’s the poem…let’s see about the album.

Kreyol La’s Invictus album introductory song “Men Jazz La” (There Goes The Band) sets the tone. Further down the line, there’s yet another song entitled “Tout Mounn Suiv Mwen” (“Errrbody Follow Me”)…more bragging and horn-tooting.

“Before And After” got me from its very first verses with that speed-talking-singing that the lead singer does. “Before” and “after” are words that are often used to describe makeovers and welcomed changes, and sometimes negative development over time. The song “Before and After” paints two paintings before us. The first is of a couple’s relationship when they’ve first going at it. Each person tries to depict themselves as the ideal mate, and tries to conceal all their shortcomings. Total misrepresentation of one’s personalities, wishes, and tendencies! The second painting is the aftermath of when all the misrepresentations have come undone.

There’s a telling part from Mikaelle Cartwright, Zenny’s duet partner in the bridge of the song:

I don’t know why these other girls be trippin’
Calling their men the whole night
I don’t even go out…so…you don’t have to worry about a thing
And I trust you
Baby, I’m yours…one-hundred-percent

Then…it’s the 180—

Suddenly the patient boyfriend-candidate has become the impatient husband.

Fòm tann ou abiye
Makiye
Pa bliye pafime
Apre sa pou ou change lide

So wait, I have to wait for you to dress up
Put on makeup
And let’s not forget the perfuming
And you to keep changing your mind

Gee, whatever happened to the patience you displayed in the beginning? And what about the non-jealous attitude? And the controlling begins too…

Ou veye sa’m mete
Ou veye sa’m depanse
Ou pa vle wè zanmi’m
Kòmsi yo te nwi’w

You stay watching what I wear
You keep close watch on my spending
You can’t stand my friends
You act like they bother you

Ou bonbade’m avèk kout fil…

You keep blowing up my phone…

Cheri, ou jalou twòp
Depi telefonn mwen sonnen
Ou plenyen
Ou sispèk
Ou pale tenten

Ugh, you’re so freaking jealous
The minute my phone rings
You start complaining
You get all suspicious
You talk trash

Cheri, ou chanje
Se pa konsa’w te ye

Honeykins, you done changed
That’s not how you used to be

In the last verses, the song advises us all to show our cards at the beginning of a relationship, so that we don’t get unpleasant—very unpleasant surprises—in the end. How ironic, then, that the song that follows “Before and After” is a track called “Triye” that counsels men and women to be excessively picky when choosing—and exhorts them to try hard to work at things before throwing the towel. If “Triye” does it job, there will be less divorces, but a whole lot less new relationships since folks will be making better “chwa”.

The song “Fòk Ou Kwe” (You Gotta Believe) might as well as been called “Invictus”. Its motivating lyrics about being courageous and adapting to life’s difficulties with grace certainly makes it “invictus” material.

The track “Lanmou Engra” (Ungrateful Love) takes the prize for best song—lyrically speaking on Invictus. Ahem, “Triye” and “Before and After” can share the honorary prize in that category. I don’t know. It seems like the songwriter behind “Lanmou Engra” song has attention for details when it comes to love and emotions. “Lanmou Engra” addresses how we tend to forget all the great things about love when there’s a breakup or a major disagreement.

Ou pap menm sonje tout bon moman nou pase
Ou pap menm sonje menm ki jan mwen rele

You’ll have amnesia about our best moments
You probably won’t remember my name

Once this song concludes, it’s clear that a mid-way verdict can be made regarding Invictus. This whole album is like a course in love psychology with music in the background. Really. The lyrics of most of the songs are rather fresh. No corny and trite lyrics here, barely. In a song like “Rendevou”, the games men play is center stage. A known man whore is trying to charm the newest addition to his harem. He’s barely trying to avoid places where he’ll be recognized. I always have a problem with these player songs. They’re made out to be funny, but it’s hard to find them amusing…women are getting played and emotions are being played with. Featuring Michel Dulix, the song “Turn Me On” proves to be one of the most upbeat track on Invictus. I definitely can see it doing considerable damage on the dance floor. And is that a bit of/ a close cousin of autotune towards the beginning? Those sound effects are totally unnecessary.

Nap fèl an kachèt
Moun pa bezwen konnen
Ki jan nou renmen

We’re going to do it on the down-low
Nobody needs to know
The degree that we do our loving

Fanm nan mete sou sa
Sou sa o sou sa

This chick puts me in the mood
In the mood…in the mood

“Cheri Map File’w” completes the huge flirt/man-whore trilogy. This song differs from “Rendevou” and “Turn Me On” in that the girl is somewhat in on the antics.

Invictus is nearly all ballads with some few exceptions. “Peyi Cho Pa Pou Mwen” could be a great workout song…if you can do 12 steps at a time on a treadmill. Would you be able to keep up? Goodness! I call it the “Stay Awake” song on the album. If you have to pull an all-night to study for a test or a certification exam, this song should be on your playlist. That singer Mikaelle Cartwright that’s featured on the song “Before and After”…I wonder what she would be capable of if she were given songs of her own. Her voice has this jazzy feel.

William Ernest Henley’s “Invictus” was about being unconquerable. Being emotionally bulletproof in love is the theme that permeates Kreyol La’s Invictus . I suppose that the British poet and scribe of the 1800s, and the album of the 2010s demonstrate that over time, over the centuries little has changed. There’s still a need for one to gather up emotional courage in order to conquer life’s and love’s biggest hurdles.

Let’s do our best to support Haitian music. CLICK HERE to purchase Invictus from Amazon | On CD BABY | ON iTunes|
CLICK HERE to visit the KREYOL LA WEBSITE | KREYOL LA ON FACEBOOK

There’s love, and then there’s the kind of love described in the song Pou Lanmou on Darline Desca’s album A Plein Temps. Take a listen:

Mwen te toujou kwè avèk ou vi’m ta pi bèl
Pou mwen ou se yon limyè ki soti
Anyen pa ekziste lè ou pran kote’m
Sa yo di…mwen pa ekziste san ou
E ou wè
Mwen pap jan fè anyen kont ou…
Pou lanmou mwen gen nan kè’m pou ou

Have always thought that you’re pretty much the highlight of my life
To me, you’re a bright light lighting up my life
Nothing else matters when you’re next to me
What they say…
Without you, there’s no me
And you see,
We’re always going to be on the same page
Loving you the way I do.

Oh, goodness, gracious. Co-dependent love at its worst. Mutual acquaintances are shaking their heads. This lanmou just might careen off to something really dangerous. Dangerously in love!

Zanmi di fò nou fè atansyon
Pou yo se yon foli
Nou renmen ak twòp pasyon

To them this love is pure craziness
We love too hard

But, lookee, lookee here….there’s a reason for that…..

Lanmou ak la rezon pat janm bon zanmi.
Pouki poze kesyon?
An nou pran plezi

Love and reasoning were never bosom buddies.
Why ask questions?
Let’s stay turnt up.

Aha! This is an illicit relationship. Whenever folks are afraid to ask questions, it’s usually because they’re afraid of the answer they’ll get, and if they’re afraid of the answer they’ll get, it’s usually because it’s not too pleasant. And if it’s not too pleasant….well, it’s usually because both must be doing something terribly wrong…say adultery. Oh dear, let me move on to the next song!

But wait a minute. I have to admit that I really like that line about love and reason never being friends. According to David Dasalvo in an article in Psychology Today magazine, when we’re falling in love, the brain releases less serotonin…and serotonin activates self-control…so…it’s understandable why the couple in the song “Pou Lanmou” act the way they do. Did I mention how soothing this song is? As if the listening is lying in a bright-colored canoe in a summer void of tropical storms…just vibing with some silk pillow cases in said canoe.

Sequenced much later on A Plein Temps is this song “M’Anvi”, which sounds like “Pou Lanmou” at a codependent level you didn’t think possible. Even less serotonin…barely a drop.

Manvi solèy la monte sou nou
Jis nou antre nan tè

I want the sun to go down on us
Til we get swallowed up by the earth

Oh, my! You know what would have been just torrid? Had “Ou Brase’m” followed “M’Anvi” on the record, as opposed to being the first track. The situation, captain, would have been dire. On that track, the songstress sounds like she’s going to give way to insanity any minute now.

The track “Mon Konpè” has a world-beat vibe to it. You ever see cereal slowly softening in a bowl? Well, that’s how it is with this song…the album’s jazz influences are muted out, and this roots-rock beat comes on as the songstress sings about the cultural and economic value of those who work the land.

On “Mon Konpè”, the lyrics jeer at those who flaunt French, while the folks in the mountains are basically running things. In Pwofesi, the singer goes to the next level on her exprobating, promising a more than calamitous apocalypse.

The chorus in “Sa Mwen Ye” makes the song so worthwhile. A song about empowerment, it’s easily one of the best tracks on A Plein Temps. On the title track “A Plein Temps”, it almost sounds like Macy Gray is singing in French…I wonder if she’s influenced by her at all. The song delineates the lonely life of an artist, and could as well be sung by an Ella Fitzgerald, a Corinne Rae Bailey, or…a Darline Desca.

The album closes off with “Pa Lage”, a track that’s even more empowering than “Sa Mwen Ye”. Okay, maybe not necessarily more empowering….”Sa Mwen Ye” is personal empowerment, whereas “Pa Lage” is community empowerment.

A Plein Temps is singer Darline Desca’s musical dispatch to the world. There are love signals (” Pa Dòmi San W Pa Bo M”), life lessons (“Love Is Blind”), but the best part of the dispatch is her golden voice.
CLICK HERE TO BUY DARLINE DESCA’S A PLEIN TEMPS ON AMAZON | A PLEIN TEMPS ON CDBABY

Kreyolicious Music…in which…in which I review a record by a band, group or artist.

Album: Verdict
Group/Artist: Dat7
Musicians: Lead vocalist: Olivier Duret. Congas and Maestro: Ricot Amazan. Eddy Viau: Percussions. Vladimir Alexis: Drums. Michael Keyboards: Michael Junior Bellevue. Bass: Ramenshy Fausin. Guitar: Telusma Morizio.

Guest Musicians: Nickenson Prudhome, Gerald Kebreau, Harold St. Louis, Ralph Menelas, Sanders Solon, Rivenson Louissaint, James Monplaisir, Valery Lezin, Jeff Medelus, Dukens Pierre-Louis, Alain Fleurine, Duval Hummer, Guy Brisse, Jude Severe, Michael Benjamin, Jean Levelt Vital, Fantom Barikad.

Sa w Tap Fè

I like the frenetic pace at which lead singer Olivier Duret belts out this track. What would you have done? We judge others everyday, especially when they make decisions we don’t agree with—as if we were walking in their shoes. In reality, we don’t really know how we would react and counteract…unless we were actually in said position.

Verdict: Some serious moralizing going on in this song…Sure, I can dig.

Why

What’s happening in “Why”? A gent is calling out his girl on the interference of her girlfriend in their relationship. From his point of view, the bestie has gone past reasonable boundaries with her meddling and counseling. She’s out to destroy him, her…them…and their relationship. I remember once, the writer JasFly (was it?), had written something about what she termed “bad weather friends”, and these so-called weather friends are the sort who bask and rejoice when you’re in a woeful situation. They do this, not because they get some sick pleasure in seeing you through “bad weather”, but I guess because it gives them some purpose. This said, there’s this rather interesting line in this song:

Pouki yon fanm pa janm vle wè lè yon lòt fanm ap fè siksè
Li vle toujou wè ou toujou ap viv nan bezwen

How come a girl never wants to see another woman have a successful relationship
She wants to see you needy

Excuse me, Dat7 boys, but surely this isn’t your business. This is a matter for the sisterhood to discuss privately. Yes, there are some, er, issues within some members of the sisterhood. But, we’ll wash the sisterhood’s laundry in our own washers. We don’t need ya’ll to point it out to us. [Whispering in the ears of the sisterhood] Ladies, we have to get our acts together, okay? Now, we have Dat7 squawking our business in their lyrics. Ladies, we have to do better.

Verdict: Your honor, objection, based on the mere fact that the sisterhood’s issues do not concern Dat7.

Tribunal Lanmou

I really like the concept of this song, “Tribunal Lanmou”—the whole idea of a court system where people are judged based on crimes they’ve committed against a relationship, and against love. Senseless and heartless players would finally get their comeuppance. Those who love passionately and genuinely would cease to suffer at the hands of their less-than-noble companions. Sounds good to me!

“Tribunal Lanmou” can be viewed as the companion song for another song on the album entitled “Se Konsa”. Everyone who fails to adhere to the “Se Konsa” principles and statutes will be subpoenaed to “Tribunal Lanmou”. Even if they were to get Gloria Alred as their attorney, they won’t be able to escape the final verdict.

Verdict: Your honor, I’d like to recommend that all participants—that is to say the defendants, not the plaintiffs—in “Tribunal Lanmou” be given 120 hours of mediation, coupled with counseling by a high-performing specialist, after which they can attend a therapy session to sort out their problems. Wait, the plaintiffs should also be treated accordingly. It’s not all the times that defendants are in the right.

No Need to be Fancy

Thought this was going to be a relationship song, but it’s about camaderie and challenges of the brotherhood in a band.

Verdict: Yes, there is the need to be fancy.

Je Veux M’enVoler

This song right here…this song right here, and that’s all I’ll say about it. No, I need to say more. This song is delivered so beautifully. Would have been nice for it to have been recorded in Creole. You know when all the elements of a song from vocals to arrangements and delivery are well-done…well, this track is a great example of that.

Verdict: Your honor, do you think this song could be played in the courthouse whenever divorce court cases are being argued Bet it’ll make both plaintiffs and defendants think about the time they first fell in love. And the Clerk of Courts will have to file less divorces. What do you say to that, your honor?

Jwe Wòl Ou

The philosophy behind this song is rather faulty. The whole idea is that if only we play “our roles”, and we do “our duties”, all will go well. Are you sure about that Mr. Amazan and Mr. Duret? What’s that maxim? The one about how it doesn’t matter how good a relationship is, someone who’s a heel and a douche bag will find a way to violate the rules, whether it’s taking part in infidelity, or verbal and/or physical abuse. And what’s the reverse of that maxim? That it matters not how bad and destructive a relationship is, a person who’s in love will find a reason to stay in it.

“Jwe Wòl Ou” tries to explain away why men stray.

We’re like little babies
Where the attention is, that’s where we going to play ball

Wow, interesting take on the male psyche, Dat7. The thing about “Jwe Wòl Ou” is that it places all the responsibilities at the woman’s door for everything…even if it professes to be addressing “Madan Marye” and “Mesye Marye”.

Verdict: Great job on the track’s vocal and musical arrangement by James Monplaisir and Olivier Duret. Please with that “Jwe Wòl Ou” mess. Why? Because in Tribunal Lamou, there’s no need to be fancy, okay? You’re responsible for your own Depozit okay? Experience has shown “Saw Tap Fe” will depend on your moral values. Pafwa se pa nou menm ki vle non/Sometimes it’s not us who wanna. Negroes, please. Yeah, it’s you, and it’s because you want to. Cheaters and philanderers! Ugh! The song tries to play things Both Ways…on one hand, it’s trying to excuse philanderers, and on the other hand, it’s also trying to dictate the “Se Konsa” principles. So contradictory!

Thus far, the verdict on Verdict is that…well…they’re tackling a lot of heavy subjects and topics. This Ricot Amazan person, who writes or nearly co-writes the majority of the songs on Verdict is quite a piece of work…Scramble the letters around in his name a little bit, and you get Rico Amazon…as in rich amazon…this dude has quite a lot of things going on mentally…looks like. Are all these songs based on his personal experiences? How old is this guy to have gone through all these things? Overactive creative imagination? Or perhaps, he hangs around under people’s beds, and on roof tops, and eavesdrops on people’s conversations and then runs home to write his songs? Goodness only knows.

But what of the second half album…what does it hold for us? The answer…next time.

This concludes Part 1 of the review of Dat7’s Verdict. Stay tuned for Part 2.

Meanwhile…

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Kreyolicious Music…in which…in which I review a record by a band, group or artist. This time around, I am going to be exploring the second half of…(CLICK HERE if you missed PART 1 of the review.)

Album: Verdict
Group/Artist: Dat7
Musicians: Lead vocalist: Olivier Duret. Congas and Maestro: Ricot Amazan. Eddy Viau: Percussions. Vladimir Alexis: Drums. Michael Keyboards: Michael Junior Bellevue. Bass: Ramenshy Fausin. Guitar: Telusma Morizio.

Guest Musicians: Nickenson Prudhome, Gerald Kebreau, Harold St. Louis, Ralph Menelas, Sanders Solon, Rivenson Louissaint, James Monplaisir, Valery Lezin, Jeff Medelus, Dukens Pierre-Louis, Alain Fleurine, Duval Hummer, Guy Brisse, Jude Severe, Michael Benjamin, Jean Levelt Vital, Fantom Barikad.

Depozit
Motivational in nature, this track inculcates that we will only get what we put in, in life. And if we put in nothing, we shall reap nothing.

Verdict: Your honor, this song ought to be played for the participants in the juvenile delinquency program. Needless to say, it’ll give some incentive to our youths to excel and to persevere.

Experience
There’s nothing like hard-earned life lessons. Throughout the verses of “Experience”, one thing is emphasized over and over, sometimes directly, and sometimes indirectly: some experiences are overly disagreeable, but we’re better off having them.

Verdict: A song about working hard to get desired results and perseverance is always welcomed.

Both Ways
What to make of this song? It’s daring for one thing, especially for that genre. A man finds himself in a predicament. He loves a woman, who loves him, but loves other women too.

Verdict: Well, this song is definitely…different.

Se Konsa
Oh, that song again. How nice. It warrants listens after listens. “Se Konsa” preaches without coming across as self-righteous, and it proposes fundamentals for stable, nourishing love without being patronizing.

Verdict: Your honor, I wish to recommend that this song be played as part of every case seen by this court, pertaining to domestic violence. Some men just weren’t taught how to treat a woman, and “Se Konsa” can be their tutorial. Better late, than never.

Danre Ra
I could listen to soft, romantic jams like “Danre Ra” all day, hours at a time. I’ve written about this song before on the site, and the lyrics haven’t lost one ounce of their original impact. The melody by Guy Brisse and Ricot Amazan mesh well with the lyrics about love—true love’s ability to circumvent obstacles thrown in its way—whether palisades thrown in the form of disapproving friends, personal issues faced by a couple in the form of tides, and storms that come in the shape of distance .

Verdict: Your honor, after hearing eleven pieces of evidence brought out by the defendant Dat7, I the sole jury member in this case, hereby find them guilty of releasing an album that touches on a sensitive subject (“Both Ways”), and features romantic ballads that go beyond the “I-love-you, I-love-you-so-much” template (“Tribunal Lanmou”, “Danre Ra”). With the court’s approval, I hereby recommend that “Je M’envoler”, “Tribunal Lanmou”, “Jwe Wòl Ou” be given video treatments immediately. I further state that “Why” be given the same consideration.
Next case!

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Joel Janis, the leader of the band world pop band Jjanice +, finds it hard to conceal his glee over the fact that the band has released a six-song EP entitled Pierrot Couleur. Janis’ musical bandmates include Sarah Mk (background vocals), Carl Bastien (on the omnichord and on keyboards) and Geneviève St. Pierre (on piano). Marie Cournoyer and Vox Sambou perform some harmonies on the EP. Patrice Agbokou plays bass and produced or co-produced a great number of the tracks.

Janis, who is Haiti-born and Montreal-based, fuses hip hop jazz, soft funk, and world pop to create a unique style for Jjanice +.

Undoubtedly one of the EP’s most dramatic tracks, “Fleur du désert” (Desert Flower) features Janis on lead vocals and Malika Tirolien in a breath-usurping chorus. If you are a world music lover who’s really into Zap Mama and Les Nubians, your musical goblet will runneth over with Jjanice +. The production on that track runs smoother than cream.

Janis contends that the track “Berceuse Remix”, was written in honor of his son, and was inspired by classic French author and poet Antoine de Saint-Exupéry’s The Little Prince.

Another ear-caressing track is “Kamonyèt” (Public Bus). It chronicles everyday life of people in Haiti through the vents and windows of a public bus. Its lyrics speak about faces on the vehicle, depleted of hope, and battering daily misery and pain. The bandleader called on the Haitian singer-guitarist Wesli for some guitar work on that track. He says he co-wrote the song with a poet by the name of Duccha.

Joel Janis answered Kreyolicious.com’s questions about the EP.

If you were introducing Jjanice to a new fan, what would you say in the introduction?

Jjanice+ is an eclectic artist, a soulful crooner and poet, blending different genres, bending musical conventions. The poetic content is an important part of the music. Born in Haiti, Carrefour, and raised in Canada, Jjanice uses different musical textures—Afro-Caribbean rhythms, soul, indie pop, etc—and colorful poetry—mostly in French—reflecting the creole language and his Haitian heritage. I’ve been working with the Canadian-Ghanian/Togolese producer Patrice Agbokou as well as a Montreal producer.

For the EP, Janis also worked with Sugarface Nene and Engone Endong, whom he playfully calls the Pierre and Marie Curie of music for their tendency to innovate.

How did the idea of the EP come about?

As artists, we are continuously working on new ideas. My first EP, titled Sonneur, was released in 2010. It was more of an experimental output, which was good because it allowed me to try different things and find myself a little more. Since then, I‘ve been working on Pierrot Couleur—originally titled Les Voiles [The Sails], but changed the concept at the last minute. For this one I wanted to work on creating great hooks and telling great stories. Tire kont. Making it almost cinematic. Pierrot, the popular pantomime character from the comedia del arte, is usually represented as naive, sensitive, as [well as] a sad clown. He is the archetype of an artist. He is also mostly represented as a black and white character. I wanted to bring the character, the artist and his stories to a different light. This is the reason why [the EP] is titled Pierrot Couleur.

Give us a musical tour of the record and how some of the tracks on it originated?

“Asteroides” [Asteroids] is a song inspired by a short story by Felix Morisseau Leroy, called “Vilbonè” [City of Joy], recalling the fictitious events surrounding the passage of the Halley comet in Haiti. My version extrapolates on someone born on that day and wanting to live as fast or as intensely as a comet.

“8mm” is a song about memories past, old boxes full of pictures and old films. Stuff that we sometime need to put aside in order to move on. It’s about the end of a story but also the celebration of new beginnings. A burial song, celebrating the passing of those memories that we desperately try to hold on to and that gets archived in our minds like old film footage. This musical procession eventually turns into a real fiesta celebrating the beginning of a new adventure, akin to an Haitian funeral parade

If you were to pin-point Jjanice’s influences to just three musical acts, who would you name? And what is it about them that influenced Jjanice’s style?

Serge Gainsbourg, for poetry and beauty—where beauty is not necessarily always found. David Bowie, for eclecticism and avant-guarde. Fela Kuti for presence, importance of message, and African roots. But there’s so much more Coupe Cloué, Sam Cooke, Ti Manno, D’angelo, Boukman Ekperyans, Depeche Mode, Nat King Cole etc…[Laughter]

Do you think it’s important for an artist to take part in the creative aspect of cutting a record?

It think it is most important if you want to convey your message, your own story. The word says it—Artist. We create art. Not only sound, not only words. We thrive to create something that’s inspired and inspires. Of course, I cannot do it alone, for this EP I’ve worked with my long time collaborator and producer Patrice Agbokou, also with producer HaigVerbatzian—[of] Muzion. The way we create is really by exchanging ideas

Now, most EPs are usually the prelude to an album. Is that part of Jjanice’s future?

Yes! I am currently working on a album for [this year]. As I said previously, we are always creating. I have a few songs that are already ready and some that were supposed to be on Pierrot Couleur but that did not make it. Music always changes, and creativity surprises us; it surprises me! Who knows what the future holds.

What advice would you like to give to others about having and maintaining a band?

Nothing that hasn’t already been said: Perseverance and creativity are the keys for me. Perseverance—as it is not always easy and it is still not easy to be a musician. I guess it never will [be]. Even the creative process is sometimes a battle with yourself. Creativity [and] ideas rule the world. And that’s what makes it fun. To see the effect your work has on you and on other people.

Be sure to check out the band’s music BY CLICKING HERE. You can purchase all eight tracks BY CLICKING HERE. Visit the band’s website HERE.

Around here in these parts, we just love social commentary. And when social commentary is somehow embedded in a movie, so much the better. So, when we came across the trailer for the Jean-Claude Fayolle movie Pataswèl (best translation we could think of for the movie’s title: Pimp slapped), we were so excited.

The movie’s trailer was enticing enough: a 60ish (or perhaps even 70ish) man, living in Montreal, Canada gets himself a 40-something wife. If you’ve read Michel S. Laguerre’s book American Odyssey, which is a social study of Haitians living in New York in the 1970s-1980s era, you probably have had a preview of this sort of social dynamic. Haitians living abroad, especially Haitian men, see a photo of a particularly attractive relative of a neighbor, or a friend, then they get hit by the Caribbean love cupid, and have to go to Haiti to marry. Usually the swept-over-her-feet bride is usually a stunning woman, who, if it had not been for the groom’s overseas-living status, would never have fathomed being with the groom. Money, or the illusion of money, and status, changes everything.

Filémon Marc Antoine—played by the quite capable actor Numa Innocent—is such a groom. A long-time resident of Montreal, he marries Mireille (Maggie Volant). Apparently, Mireille just wanted to move out from the Haiti’s sun and do a quick exchange for life in Montreal. Why else would she marry a man who’s nearly twice her age (or at least looks it), and a man who she feels is her intellectual and social inferior? But her obvious contempt for Filémon makes a turn for the worst, and transforms to abuse.

A long-time female friend of Filémon’s (Yanick Dutelly) tries to mold some sense into Filémon (perhaps she’s silently been burning for his love), but he’s too smitten with Mireille to be reasoned with. Meanwhile, Mireille’s equally pretentious friends are pressuring her from all corners and egging on her deplorable actions. Not surprisingly, Mireille is repulsed by the hefty, hippopotamus-like Filémon, and has a side thing going on with the notorious neighborhood daddy mack/mack daddy Brando (Marlon Charles), but he’s got a surprise of his own for her.

Fayolle is the director of the well-celebrated Ti Lòm a L’etranger (alternative title: Ti Lòm aletranje), a movie that explores the assimilation of an illiterate Haitian immigrant in Montréal, and that is recognized by some as the first known full-length feature film made by a Haitian out of Canada, so he is certainly venturing into familiar territory with this film. The movie leaves a lot to be desired in some areas, especially in terms of cinematography. But the acting is convincing (Fayolle himself has a long history in the theatre in Canada), and the subject matter very well handled. The music by Marco L. Volcy gives the movie a certain atmosphere and the script, which Fayolle co-wrote with Naika Pigniat is very astute, and literate.

The last Moise Kharmeliaud movie that I saw was so terrible, so horrendous, that I, one of the most patient, let-me-give-them-the-benefit-of-a-doubt movie fans hit the stop button within 12 minutes. Not satisfied with doing just that, I subsequently hit the EJECT button to get that monstrosity out of my DVD player. The movie was called Le Onzième Commandment (The 11th Commandment), and let me tell you, calling it a bomb (not the bomb, but a bomb), would be well a compliment.

So glad, though, that Mr. Moise is staying away from action fare, and decided to direct a simple little story with the film Les Aventures de Boss Djo

It’s a nice little movie. Heavy on simplicity. The acting is surprisingly not sub par. Guyto Beauduy, who we previously saw on the screen as part of the Demele trio, plays Boss Djo (government name: Joseph Bossilas), an unemployed, married father of three (played smartly by a little band of junior actors Stefica Lafaille, Eli Beauduy, and Glymy Beauduy), who handles life’s hurdles with a dimpled smile and humor. Beauduy has great comedic timing, and knows what it takes to steal a scene. Mirlande Edouard is very effective in her brief appearances on the screen as Beauduy’s screen wife.

The movie is episodic at times, but the story solid. Boss Djo, the protagonist is such a simpleton that he doesn’t realize that the neighbors next door Kenol and Beatrice (Wheeler J. Mackens and Danielle Jacques) have diabolical designs on him. As he battles everything and everyone from his landlord (Ashley Jean-Baptiste) to a drug-dealing denizen , to a voodoo priest (Leon Fanel), to a deportee head of a kidnapping cartel (Wislet Pierre-Louis) and babysits a ditzy, and neurotic 60ish socialite (Ultide Morriset), hilarity ensues.

Kharmeliaud’s Moise has grown more skillful with the camera since his last movie, varying shots and angles. He’s joined by a collaborator who’s billed simply as J. Boy. Other collaborators include Stéphane Baptiste, who did a rather decent job handling the sound, and Laurent Lamy, who took charge of the movie’s lighting. “Kite la Vi Roule”, the movie’s theme sung by folk singer Berthony Pierre-Louis really lends some authenticity and charm to the movie.

Les Adventures de Boss Djo is about how perseverance and faith can triumph over all human misfortunes. If you don’t get at least one genuine laugh, out of the movie, see your local neurosurgeon.