All-brother band Four Kornerz are to release their new single Superstar on Monday 2 May, 2011.

This is the band’s first officially release since their ground-breaking independent album release Soulectric (2007) which included the hit singles Clap Clap and Gonna Make It. This latest masterpiece from the London based-quartet dons the familiar leads from Deji, the eldest of the four brothers.

Known for their inspirational lyrics, Four Kornerz once again adopt the same stance but unusually from a female’s perspective. “The song was inspired by a lot of things. A large part of the story behind this song is based on the unrealistic body-type expectations mounted us in today’s popular culture,” says Deji. “The lyrics are more specific to women as I think the pressures on them are more extreme from things like size zero, cellulite and botox to perfect skin and teeth. However, both men and women can embrace the universal message in the song; Celebrating how awesome and wonderful you are!”

Superstar is produced by Scsi, part of the Four Kornerz production team, and draws influences from the Soul artists of the Motown era as well more modern chart toppers like Bruno Mars and Jamiroquai.

The band will feature the new song alongside sneak-peeks at other material from a forth-coming project at their first major London concert since 2007 on Wednesday 27 April 2011. Support will be from songstress Dionne Reid and popular Electro-Grime artist Guvna B. On the night, fans will also be given the opportunity to download a free exclusive Four Kornerz track.

“We are taking a different approach towards the Four Kornerz brand. It’s not just music but a whole creative process which will see us enter into other fields like a digital graphic novel which will accompany the Superstar release. More on that little venture soon,” hints Deji.

+ Superstar will be available as a digital download release from Monday 2 May 2011. preview now on  www.fourkornerz.com

+ “Four Kornerz live in Concert” is on Wednesday 27 April at 229 The Venue, 229 Great Portland Street, London W1W 5PN. Starts 7pm. Tickets £10 (+ booking fee) in advance, more on the door. For more information and to book tickets, visit: www.fourkornerz.com

There is just something about Mary – her fans have always found her charismatic because she epitomizes the triumph of hope over despair after suffering drug abuse and abusive relationships.  But now she’s calmed down – her marriage to Kendu Isaacs has grounded her and brought the stability and happiness she has been desperately looking for. Blige’s career has spanned 18 years and she has dropped nine albums with an impressive backlog to share with her live audiences.

With two animated male backing dancers and a full live band, Blige’s show opened with her version of The Game’s Hate It Or Love It and The One that accelerated the feel-good mood. Her songs document her spiritual journey and it was clear to see as she was performing in a sequinned black all in one catsuit with 5 inch high heel boots, that the memories were burning her. Her voice choked with emotion while Mary sermonized her male fans about absent fathers and broken homes.

The crowd pleasers were sung: the soulful Real Love, the heartbreaking Not Gon’ Cry, the dance popping  Family Affair, All Night Long, the gutsy I’m Going Down, and the stomping melody of Love Is All We Need, as well a powerful unplugged rendition of Take Me As I Am, with Mary accompanied only by a guitarist and her musical director Omar on the piano.

With her blonde bob and swagger Blige jumped up and down the stage in her slinky boots, pumping up that frenzy of ghetto love from her fans. I envied her energy and yet I am several years younger! What was striking about her concert is the power of her persona – there were no distracting glitzy special effects or dance brigade, Blige is all about her voice, her streetwise sensibilities, and her connection to her fan base.

The two hour performance left the crowd wanting more, confirming that she’s not an R&B diva for nothing, especially as she’s paid her dues – Mary J Blige is doing just fine.

This sassy and sexy quartet, which were one of the most prominent bands in the early 90s, are celebrating a 20th year music anniversary collection later this month. They have sold a staggering eight million albums worldwide and sung their top hits such as My Lovin and Whatta Man. More could have been done to twist up this last number, which was originally a duet with hip hop queens Salt N’ Pepa when it was first released.

Dressed in black and silver outfits, En Vogue looked phenomenal with their slick hair pieces, toned arms, and hot legs  – these women who are clocking their 40s brought their sharp spunk to a full house that showed much love in singing their songs and bopping to their beats. Initially their performance was distorted by technical microphone hitches, which thankfully were overcome by the end of the night.  Dawn sang her Lucy Pearl hit Don’t Mess with My Man, which roused the ladies in particular. And there was a boisterous crowd that shouted everyone should Free Your Mind – a rock-tinged r&b style number. This group are not natural dancers – at times their routines felt slightly contrived, but boy can they sing!

Featuring the original line up of Dawn Robinson, Terry Ellis, Maxine Jones, and Cindy Herron-Braggs, they played tribute to their old skool influences from the 60s and 70s. We were treated to complex harmonies of Ain’t No Mountain High Enough Supreme-style, Lady Marmalade, Tell Me Something Good and Ring My Bell doused with a Tina Turner and the Ikettes impersonation, with hair pieces tossing and turning to the infamous dance moves. It crystallized how seamless musical influences and traditions can be as En Vogue has subsequently set a standard for today’s female r&b and pop acts such as Destiny’s Child and Pussy Cat Dolls.

Considering today’s mediocre female groups, what is striking about En Vogue is that all of these ladies can sing – yes, you read right. All of them can sing. Too many of their counterparts today rely on one lead vocalist to carry the rest of the group through coupled with snazzy dance routines and threadbare clothing to distract from the key question on whether they can actually deliver timeless music.

My only quibbles were the omissions of tunes like Runaway Love, Whatever and Give It Up, Turn It Loose, which they were billed to sing and what happened to the encore after they ended with their number one hit Hold On?

The last time En Vogue was in London was eighteen years ago and it was fabulous to see the original line up take us back to the 90′s all over again! This hiatus really signifies an extremity in “black time”: ladies, what took you sooooooo long? Hope your UK fan base has given you something you can feel – come back soon!

Written off as a single young mum, King surpassed all expectations to become living proof that despite obstacles and naysayers, dreams can be realised. Adding a number of other strings to her bow throughout her career, she is a consultant to many government initiatives for disadvantaged youth including the Home Office Task Force to reduce gun violence, a patron of the Horniman Museum, and founder member of Net Women, an influential body of high profile women in the media. In the lead up to MOBO’s 15th show, Catch a Vibe caught up with this high-powered businesswoman to find out a bit more about the mother of the MOBOs.

Cach a Vibe: 14 years deep and the MOBO brand is still growing. What do you feel has changed on the black UK music landscape over that period, and have the awards achieved what you envisioned for them from the start?

Kanya King: Wow, yes…. This year is our 15th birthday. Seems amazing to think that when we started back in the nineties, there was an obvious musical divide. While music like r&b and hip hop was enjoyed by large groups of fans in clubs and at concerts across the UK, this type of music wasn’t getting radio airplay and wasn’t shifting the units it would go on to achieve 10 years later. It was seen as underground or too ‘niche’. Our aim back then was to elevate the music to mainstream status. We knew that if the masses could get to hear this great music then radio would pick up on it and record sales would increase.

MOBO has certainly helped urban music make the transition from niche music to mainstream and was the first televised event of its kind to bring urban music to the masses. It still remains the largest, most highly publicized urban music event on the European music calendar. It is great to know that the success of the awards has set the stage for the likes of many other urban music channels. There has always been a broader purpose to the awards.

What was the ‘tipping point’ for you in terms of taking the leap into entrepreneurship? And how has that journey been for you?

I’ve been an entrepreneur from a young age as I needed to be responsible in order to be to support my family.  From selling whistles at Notting Hill Carnival at the age of about 11 to getting the very first MOBO Awards show off the ground. I wouldn’t describe it as a ‘tipping point’ but the catalyst was definitely the passion I channeled into the first show. Realizing that my parents never had the same opportunities available to them and whatever sacrifices I needed to make it was never going to be as difficult as it was to my parents who came over here at the age of 18 to pursue their dreams.

As one of the UK’s leading businesswomen you are an inspirational figure to many, including other black women. What do you think of the business support available out there for entrepreneurs from diverse demographics?

It is better now than it was when I started as there are many networking groups where you can exchange thoughts. As this is very close to my heart, this is one of the areas where we are looking at launching something to support other entrepreneurs, particularly in the creative industries. We have a new social platform that we are launching which is about peer to peer networking and promoting the work you are doing, getting guidance from people who have been there and done it before.

You have sat on numerous advisory panels for business. What are some of your other business endeavours beyond the MOBO brand?

Business interests that I have are in property, which I love doing, but I have several other interests for example I’m on the board of The London Entrepreneurial Exchange, and I’ve been involved in several social and educational initiatives. I’m also a board member of the National Skills Academy for the creative industry sector.

What has been the proudest moment of your career so far?

I can honestly say that I have been lucky enough to have had numerous proud MOBO moments, but one that stands out for me both professionally and personally has to be my honorary degree from Goldsmiths. I attended Goldsmiths and after leaving school and at the time I was a working, single mother and due to the fact that I was simply spreading myself too thinly I was politely asked to leave. So to be recognised, several years later was truly an honour.

What has been the most important lesson have you learned since starting out in business?

That you are only as good as the people you rely on. It is imperative that you have a good, dedicated, committed team behind you in all you do.

The 15th anniversary MOBO Awards, in association with Lebara Mobile is being held at Liverpool’s Echo Arena on October 20. Visit www.mobo.com

Aloe Blacc: I started out in the music business as an emcee making songs for fun with my friend DJ Exile. It was really just a hobby for me because my main focus was school and getting good grades, which paid off because I ended up receiving a full-tuition academic scholarship to a private university. Exile and I would make mixtapes that eventually made their way around the world, which is similar to how music travels today but it was a bit slower without the speed of the internet. When I graduated from university I went on a European tour and met producer/emcee, OHNO, who was on Stones Throw Records. We recorded an album together and the label heard the music. They liked the songs on which I was singing best and asked me to record as a vocalist, so I delivered Shine Through, which is a mix of genres but mainly songs on which I am singing.

CAV: Your whole musical style and fashion sense has glimpses of the past – What inspires such things?

Aloe Blacc: The music on my new album, Good Things, is what I like to call “brand new old soul” because it sounds classic but it is contemporary music. I like to wear a style of clothing that suggests the rich history of soul music and honour the great musicians and singers who paved the way for me to be a soul artist today. My style also is a bit of nostalgia from the photos of my father’s youth because some of the items I’m wearing remind me of his old clothes.

CAV: There have been a couple of videos recently of you recording live in the studio. Studio or touring, which one do you look forward to more?

Aloe Blacc: I enjoy recording in the studio the most. My favourite part about being a musician is making music. I also enjoy performing, but the creative process is the most fun for me and when I am in the studio. When in the studio, my goal is to process an emotion or a feeling thoroughly and create a piece of art that is attractive from beginning to end. When I am on stage, the goal is to create the ultimate entertainment experience. I always feel as though the stage is where songs become complete. Often times the studio recordings are like rough drafts that were turned in to meet a deadline, but in a live performance, the songs can grow and change and have the full representation they deserve.

CAV: You have had a heavy hand in your career and always have. Now with Stones Throw, do you still have that control?

Aloe Blacc: I always want to be in control of my creativity. I am an artist and my goal is to deliver messages to people. It is important to keep the message pure between myself and the audience without too much interference from the business side of music. I encourage all artists to really be aware of how their art is being distributed to the masses and to be aware of how the method of delivery can affect the message.

CAV: Now onto your second album with Stones Throw backing you, what can we expect from Good Things and your European tour dates?

Aloe Blacc: Good Things is an album that focuses strictly on soul music. The music and my performance is being compared to classic soul artists of the 60s and 70s, which is fine with me because I respect the greats and am honoured to be mentioned in the same breath. My band, The Grand Scheme, and I are going to give Europe a taste of authentic soul music with some outfits from the past as well. I am styled by Via Davia Vintage in Los Angeles, and they have an impressive stock of suits and accessories that fit the look I want for the stage. In all, you can expect great things from the show!

Aloe Blacc is performing at the Jazz Cafe on Tuesday 19 October
BOOK TICKETS

Gilles Peterson’s Worldwide | BBE | Out 11 October 2010
Buy Worldwide

Gilles Peterson is a busy boy.  Fresh from releasing a remix album for his 2009 Cuban project Havana Cultura earlier this summer and touring the globe to promote it, he’s back in early Autumn with another double CD compilation Worldwide described as ‘a celebration  of his syndicated Radio Show’.  And quite a celebration it is, of the universal nature of Peterson’s taste more than anything else.  Whilst other mainstream DJs strive to find quick and easy labels to reflect the kind of music they play or opt for a hodgepodge playlist in hopes of instant credibility, Gilles, as did the late John Peel before him, simply and unpretentiously spins the music he enjoys. As a result his name is synonymous with eclecticism.

Disc one gets off to a majestic start with Nitin Sawhney’s sublime piano-based instrumental Tides.  The record gradually gets more hip-hoppy around the edges with tracks from UK veteran Roots Manuva and addictive jazz/soul-tinged J Dilla-produced cuts such as Q-Tips Let’s Ride and Rico Suave Bossa Nova.  In fact the compilation should have been subtitled ‘Classics by J Dilla’ given that a fair bit of the late production genius’ work features on Worldwide. And why not?  His is always a welcome contribution and Peterson is unabashedly a big fan.

Erykah Badu’s epic Green Eyes segues into Disc One’s more soulful excursion.  Other highlights include Matthew Herbert’s The Audience and Gotan Project’s Latin House tune Triptico.  Disc one however suffers from a lack of cohesion and sometimes even commitment.  The inclusion of Amy Winehouse’s Take the Box for instance, seems a rather routine, nay, mundane choice.  Quasimoto’s Come on Feet is obscure to the point of irritation.  The mix also loses its way somewhat towards the end with Dizzy Rascal’s I Luv U and the ludicrously overrated M.I.A’s Galang.  These lightweight selections sound better suited for an aerobics class than a sophisticated collection of soul/r&b, jazz, hip-hop and house classics.

Diversity-wise the second disc is an improvement on the first whilst managing to be more consistent.  It is certainly the most satisfactory listen of the two.  There’s the politically-conscious afro-groove of Seun Kuti on Many Things, the deliciously sinister funk of the (again) J Dilla-produced Dollar by Spacek and perennial party favourite 1 Thing by Amerie, a song so infectious and imaginatively produced it almost distracts from how unremarkable her voice really is…almost.  The eerily beautiful Twice by Little Dragon is yet another gem as are two-step bangers Just a Lil’ Lovin’(Outlines) and Aidy’s Girl Is a Computer (Darkstar) and many more delights in between.

As is so often the case with Gilles Peterson compilations, Worldwide is an educational listening experience.   So yes, as folks are given to pointing out, all DJs really do traditionally is put records on turntables.  Nevertheless Peterson doesn’t overestimate his place or forget his role; that is to use his platform to bring quality music from across the globe to the listener’s attention.  More power to him.
Tola Ositelu

Bilal: Airtight’s Revenge | Plug Research Music | Out Now
Buy Airtight’s Revenge

Go buy it. If you’ve never heard of Bilal before, stop reading and go; Bilal is better than your favourite male soul singer. Bilal is so sick he makes your favourite soul singer feel like mild indigestion. His first album, 1st Born Second, should have won an Grammy. Whoever beat him that day cheated, swear down. His second album, the criminally unreleased Love for Sale, (that somehow found its way onto the loving arms of the internet…. 21st Century irony for you) should have won an Oscar for existing at all, and being so ahead of its time and peers. Hell, if it got a proper release it may have, just may have somehow led to peace on earth. Airtight’s Revenge is Bilal at his formidable best, with a collection of the most moving soul this side of the millennium. Now off with you, the rest of the review is for long term Bilal fans.

If you are a long term fan of Bilal, well… It’s difficult to begrudge an artist whose best work still remains officially canned. In some other universe, Bilal is wealthier than the Catholic church off the success of Love for Sale, probably. I don’t know what putting your heart and soul into a piece of work and having your label refuse to release does to a person but all praise to him; he’s bothered to soldier on.

Airtight’s Revenge has a slightly more cynical dress-code compared to Bilal previous efforts. Standout track Flying is, to effect, Hubert Selby Jr’s Requiem for a Dream made into song; a piano-led tale of a girl’s unfortunate descent into despair. Bilal’s writing is a masterclass in observation and empathy, his voice, often bouncing between both ends of the scale with seeming ease, is capable of elevating the simplest of lines unto the higher platform of poignancy. If there’s anything I can hold against this body of work; it wears the nature of a man holding back. All the parts to a fast and furious vehicle are present and correct, but it feels like the inventive and fearless driver has decided to leisurely stroll. Cake and Eat it Too, Restart are like wonderful B-Sides from Love for Sale, nothing not heard before, from him at least. Robots, a delicious piece of socio-economical commentary, could have done with a bit longer in the jam session. The Dollar is slightly let down by an unadventurous melody. And for the first time, Bilal has managed a bonafide dud: Little One, well meaning as it is, comes off bland. Mediocre poetry and genuine feeling, indeed.

Black spot aside, there is nothing on the album that isn’t top quality material. Such is the tyranny of consistency; after two genre defining albums you start expecting your heroes always push the envelope. But it seems like Bilal went for comfortable win rather than spectacular finish, and if it still results in one of the best soul albums of the year, then it’s seems petty to begrudge him.
Ehi Joshua Idehen

Soweto Kinch: The New Emancipation | Soweto Kinch | Out now
Buy The New Emancipation

Classic jazz instrumentals and gritty hip-hop lyrics coming from the same lips are an usual enough mix; add to that politics, satire, comedy, social commentary and history, then you will begin to understand how unique Soweto Kinch really is. This album is head-bobbing, toe-tapping, air-drums-and-sax-playing throughout, but equally important it is stimulating, interesting and enriching.

As someone who works closely with young aspiring musicians and rappers, Soweto Kinch is an oasis of consciousness and depth in a desert landscape. He strikes that rare and beautiful chord between authentic, respected rap credentials and intelligent, searing statements on society. The New Emancipation tackles themes like debt/wage slavery to creative oppression in the music industry and ideas of race in a post-Obama age.

The stirring, instrumental second track A People With No Past is a dizzying display of bristling bop. This is flanked in typical Kinch style by the beautifully contrasting Trying to be a Star (which tackles the emptiness of chasing “celebrity”) and the witty, timely and highly entertaining Paris Heights (a scorching observation on capitalism via recession-age debt collectors).

Check the forums – the buzz around this album is unprecedented. Hot on the heels of the War in a Rack EP, which marked his emergence as an independent artist and signifies his material breaking free both from his old record label, and the industry’s obsession with categorising creativity. His first album Conversations With the Unseen earned him both a Mercury Music Prize for An Album Of The Year 2003 and the MOBO Award for Best Jazz Act in the same year. His groundbreaking second album A Life In The Day of B19 grossed another MOBO, a gong at the British Jazz awards 2007 and Everybody Raps from the B19 album earned Kinch Twin B’s ‘Record of the Weekend’, BBC 1-xtra.

Believe the hype- this album will be huge! Buy you copy now so that you can smugly announce you had it before it really reached.
Gabrielle Tierney

Lost Where I Belong
Andreya Triana
Ninja Tune – 23 Aug 2010
Buy from Amazon UK

Since performing on the BBC Introducing stage at Glastonbury in 2009, Andreya Triana has been busy releasing her first single and is currently promoting her debut album Lost Where I Belong. Originally from South East London, but based in Brighton, Andreya’s album is released on Ninja Tune Records featuring tracks produced by Simon Green aka Bonobo.

Mixing soul & folk music, Andreya has created a smooth yet relaxed vibe in her music which has a warm summery feel. Watching her performance in Jazz Café earlier this year demonstrated her calm yet confident manner in which she appeared comfortable and at ease on stage.

The track Lost Where I Belong uses catchy acoustic sounds that complement Andreya’s vocals, whilst allowing listeners the opportunity to hear her stunningly strong voice.

The album features more acoustic inspired tracks Darker Than Blue, Daydreamers,  Up In Fire and A Town Called Obsolete which has a slightly more up-tempo rhythm with the frequent use of drums and cymbals.

Draw The Stars creates a mystical vibe as triangles and various percussions are used for a magical theme. Andreya’s vocals are prominently in the foreground with her use of imagery in her lyrics “I lie awake, encased in dreams that carry me….I hold on tighter and draw the stars”.

More music like this in our Amazon store

As she currently tours the UK and Europe, Andreya’s talent will become widely well known, as this album can not be ignored with its use of folk/soul inspired themes and more importantly Andreya’s soulful vocals.

Recruiting the aid of heavyweights and veterans such as Carl Cox, MJ Cole and Louie Vega, Peterson couldn’t really go wrong with this album.  Listening to it makes you wish the summer would never end; or better still, to hit Cuban shores at the nearest opportunity.  And the term ‘remix’ is not taken lightly by the contributors.  Leaving no room for complacent, lazy production, new sonic entities have been birthed from the originals.  Skinner’s Owiney Sigoma Mix of rap duo Ogguere’s La Revolucion del Cuerpo for instance, takes the vague menace of its predecessor and raises it a few notches, the bassline rumbling away like the thunder of an impending storm.  The result is a highly atmospheric as well as irresistibly groove-worthy tune. Nonetheless some mixes, although listenable, don’t actually improve on the prototype; the various versions of Chekere Son come to mind. Michel Cleis’ take on Rezando borders on boring.

The most successful remixes simply capture and enhance the undeniable funk of the original, evolving into an even more glorious listening experience.  The Edgaro el Productor en Jefe Tropicalia Remix of Mami, the album opener, is a prime example.  So also is Vega’s EOL mix of Roforofo Fight, which adds a delicious new chord progression whilst remaining true to- even celebrating- the fantastic horn section and infectious refrain.  Nearly 10 minutes long compared to the original’s already lengthy six, the urge to dance throughout makes this epic soulful house number fly by.

Another highlight is 4Hero’s transformation of Gilles & Co’s cover of J Dilla and Dwele’s Think Twice; truly an instance of the new overtaking the old.  Lead vocalists Carina and Danay bring a feminine finesse to proceedings that lends a sincerity to the lyrics missing from Dwele’s vocal.  Plus the instrumentation and vocal arrangements on this interpretation are so very lush, emphasised by the track being split into three sublime movements; a joy to listen to.

With the lovely weather the Capital has been experiencing and albums like Havana Cultura: Remixed making for the ideal soundtrack, saying goodbye to summer 2010 will be very tough indeed.

Tessanne Chin
myspace.com/tessannechin

It’s not every day that a vocal talent such as Tessanne Chin comes along. You may be forgiven for believing that she is a ‘newbie’ to the music industry, but having been a backing singer for the legendary Jimmy Cliff as well as working with several musical talents from Diana King, Wayne Marshall and even her sister, Tami Chynn, she is definitely not new on the scene. Back in 2007, music lovers were forced to stop and take note when the track Hideaway was released and played on heavy rotation on radio stations in the Caribbean. The fusion of reggae music with a rock twist became a signature sound for the 24-year-old whose songs have been seducing many crowds with her strong vocals and powerful pitch.

Currently working on her debut album, Tessanne has released a collaboration track Loving You with lead singer Kees Dieffenthaller of Trinidadian group Kes the Band. It was after hearing the reggae-rock mix which Tessanne had previously done, that gave Kees the idea of working together. With their music video already on youtube and surpassing 50,000 hits, this track looks set to be another successful mix of music genres soca and reggae.

When she went to live in the UK at the age of 12, Tessanne experienced cultural differences which inspired her to write her songs. Upon returning to her birthplace Jamaica, she worked on improving her talents by joining the Jamaican Rock Band Mile High where she performed at various concerts.

Messenger is another track which features poignant and thoughtful words, again using the reggae-rock mix which suits Tessanne perfectly. These songs will be included on the album which is due for release this year.

Farmer Nappy
myspace.com/1farmernappy

Trinidadian singer/songwriter Farmer Nappy has been part of the soca band Xtatic for over 20 years, until 2007 when he made the decision to become a solo artist. After working with the band and most importantly lead singer Machel Montano, he went on to create several songs for the Carnival such as this year’s Pavement and 2009’s Chippin (With Me Own Woman).

At the age of seven, Nappy  had joined a band called Pranasonic Express with Machel where he played percussion. It was this same band which would later be highly regarded and known as Xtatic.

Producing hit songs with highly-charged performances, lyrical content and energized rhythms often led to venues being sold out across the Caribbean. Whilst with the band, Farmer wrote a series of songs such as Big Truck, ‘ayee Ayee and ‘No Carnival’ which are still considered great soca tunes today. Having won an award for best songwriter for writing the track Footsteps’ Farmer’s popularity increased as word began to spread regarding his writing talent.

On deciding to head to Barbados, Farmer was given the opportunity to work with producers De Red Boyz, who had already worked with reggae artist Biggie Irie on Nah Goin’ Home which won the International Groovy Soca Monarch in 2007. The duo also went on to produce two albums and had several hit songs.

So as Farmer Nappy prepares to release more songs for the following year, we will wait for the next set of instructions that will captivate the listeners and soca junkies around the world.

Farmer Nappy Feat Kerwin Du Bois
‘Pavement’
Trinidad & Tobago
Since leaving Xtatic family and deciding to go solo, Farmer Nappy’s career has been on the rise with his assault of catchy songs and playful lyrics. Having written and contributed to several hit songs like Big Truck, ‘No Carnival’, ‘Music Farm’ and ‘Tayee Ayee’, the Trinidadian singer has diverted his talents to another hit song called ‘Pavement’. Last year he told us he was “chipping down the road with his own woman”, so now he’s decided to instruct us to “left foot, right foot, stomp” and “to chip down de pavement”.

Faye-Ann Lyons-Alvarez,
‘Ah Something’
Trinidad & Tobago
Faye-Ann made history last year when she became the first female to win International Soca Monarch in 2009. This year, she has come back with her commanding lyrics and sassy vocals, so this time you will need elbows at the ready to “push somebody” and “bounce somebody”. A great song to get you in the mood for some serious partying!

Donaeo feat. Problem Child Remix
‘Party Hard’
St Vincent
This is a tricky one, as we know Donaeo released this track a couple of years ago and was remixed for 2009 by Problem Child, but it has been one of the most popular songs in the Caribbean thus far. Fantastic if you love funky house and even better if you adore soca, so you actually get the best of both worlds. It still keeps to the original beat with the familiar “party hard” anthem in the background.

Tallpree
‘Wicked Jab’
Grenada
He created a dance years ago which has become the iconic movement for all jab jab songs which again involve the use of elbows, so this year Tallpree hits the spot again with his tune ‘Wicked Jab’. Having made Grenadians proud coming 4th in the International Soca Monarch 2010, Grenada corner will surely be playing this one all day.

Zoelah
‘More Water’
St Vincent & the Grenadines
Since the arrival of Zoelah, there have been many to follow her vocal sounds but she continues to rise ahead. ‘More Water’ is designed for the couples who don’t want to whine too fast as its slow tempo and smooth grooves involve no flag waving.

JW & Blaze
‘Palance’
Trinidad & Tobago
Winners of International Soca 2010, singing duo JW & Blaze will have the whole of Ladbroke Grove jumping from side to side once this song is played on the sound systems. It’s guaranteed to get you moving with its lyrical content “We don’t care about the recession, all we want to do is have fun” which is what many revellers will be thinking once it’s time to ‘PALANCE!’ Be aware that, this is not a song to stand still to, as you will be physically removed if you do not follow the dance rules.

Fadda Fox
‘Staggerah’
Barbados
“Drinking Johnny Walker it aint easy”. Comical lyrics from Fadda Fox whose song will have you chanting staggerah, even though you’ll probably have a bottle of Carib or some rum in your hand. A great carefree song symbolizing what Carnival is about: making your own fun if all else fails!

Sharlene: We were raised in the same church, House of Bread in New Cross.  Sacha’s dad and my dad were in a band.  We’ve known each other since we were born practically, about three, four.  We always sung in church for fun. We took it seriously, calling ourselves Divine Unity about the age of 16, 17, 18.  Then over the last two or so years, very seriously.

CAV: What are your various musical influences?

Sacha: All three of us, we’re all different.  So for example myself, although I was raised on a lot of traditional gospel I loved pop music.  Groups from the 80s like Madness, even people like Kylie Minogue, loved them and they really influenced my writing style.  That’s where a lot of that pop feel comes from.

Martina: I was different.   Yes I was brought up on gospel but I was [also] brought up on a lot of different things.  I listen to a lot of Frank Sinatra.  It’s just across the spectrum.

Sharlene: I was raised on traditional gospel.  But I do love Lauryn Hill, Kurt Elling, Floetry, different types of music.  When it comes together it’s like a fusion but it does come under the bracket of pop.   You can’t take the soulfulness away because of church, that’s our background.

CAV: You three all seem to have a slightly different vocal style; is that down to your varied influences?

Sacha: I always wished I could riff and do all the runs like Sharlene but my voice ain’t like that, my voice has got a much lighter sound.  Tina’s got this real deep soulful voice, she can just belt those notes.  It’s just how we are.

Sharlene:  All our harmonies are all split around.  That’s how our vocal tutor trained us.

CAV: You also share the lead vocals equally.  Was that a conscious decision at the outset of the band?

Sacha:  We’ve all got something different to add to the group.  So if it was just Tina singing all the time, there’d be something missing.  So yes it was a conscious decision.

CAV: How does songwriting work? Do you all write together, do you have a chief songwriter?

Sacha: We all write songs, all three of us.  Sometimes we come together and ideas just flow.

Sharlene: Sacha, if we’re honest, could write about this bottle!   We all write songs but Sacha loves writing songs.  I write songs purely on inspiration.  It could be something that’s happened today, a thought that someone gave me.  When you talk about a formula…we literally have a songwriting day from 11-5. We’ll have a lunch break but it’s like a work day.  We have a theme and we write songs.

Sacha: It’s not always like though, it just depends.  For me, I can be walking home from work and then a tune will just grab me.  And then months later I could go back to it and the whole idea will just come out.  Or we could be just together and just decide to write a song.  So there’s no formula.

CAV: Sharlene tell us about your acting?

Sharlene: Singing is my first love but acting is definitely a passion of mine.  I believe somehow the paths are going to cross, I’m not worried.  I’d love to be in The Lion King.

CAV: Divine Unity don’t fit into the stereotypical box, image and sound-wise, that some people might have of gospel music.  Do you find that people have particular reactions to this?

Martina:  I think we get good reactions to our music.  They don’t ever expect that from us especially.  Just thinking about Charlotte Street [Blues Bar, where Divine Unity recently had a weekly residency]; they called it a gospel brunch but when they heard our music it wasn’t what they were expecting.  So [we’re] moving that out of their mind; that it’s not the style, it’s the actual message behind it.  We’ve always had good responses, even in the places where we thought we wouldn’t.

Sharlene:  Charlotte St to be honest, we were nervous about.  We thought “OK, we’ve never done anything like this before, what are people going to think, how are they going to receive us?”  People loved it. I think the thing is everyone likes to put you into a bracket.  They want to label you.  Why? I’ve always said, and we’ll say it again and again- we happen to be Christians, we write about God but I wouldn’t necessarily say we are a gospel group.  We sing about life.

CAV: What do you think of the distinction that labels such as Christian contemporary music  and gospel music carry, when they seem to be based more on ethnicity than content?  Is there still a place for them?

Sharlene:  I don’t think you can get away from it.  Wherever you go you’re going to get labelled.  We get called a gospel group all the time.  “No, we’re not a gospel group, we’re a pop group!”  It doesn’t matter; just know who you are.

CAV: What if anything, would Divine Unity like to do in changing people’s attitudes towards gospel music for the better?
Sharlene:  I have a friend and I asked him ‘Why don’t you listen to gospel music?’ First of all he said he doesn’t see the high standard that he sees in secular music and secondly he said he can’t relate to what they are saying.  With Divine Unity, as we said, we wouldn’t call ourselves a gospel group but we do sing about life and we do happen to be Christians.  That’ll be my answer to that. Don’t be so closed to it because you might just relate to something in it.  It’s about life and it’s about love because God is love and that’s what we’re really about.

CAV: With which artists would you like to collaborate?

Martina: We’ve always said Gary Barlow.  He’s a fantastic songwriter.

Sharlene:  I’d love to work with Lauryn Hill.  I think she’s great.

Sacha: I really like Mark Ronson.  He does some really good beats.

Martina:  I think at the moment there are a lot of diverse artists joining together, for instance Kanye and Mr Hudson.  The styles put together seem to somehow work.   I don’t have a particular person; just someone who is completely different from us.

CAV: What are Divine Unity’s plans for the rest of the year?
Sharlene: We just won the Cordless Show [competition] which is great. We’re going to be recording two songs at their studio and that gives us loads of exposure.  The EP is coming out at the end of the Summer if all things go to plan.  And just gigging, gigging, gigging the whole year.

Our country is renowned for holding some of the most famous festivals in the world and they are becoming more popular than ever amongst music lovers. If indie, dance, dubstep, drum & bass and electro are your thing, then you most likely would have attended at least one or more of those festivals.

For those of us who prefer our music with a little more soul, there are other alternatives: festivals where world music, reggae, jazz and soul artists are the headline acts and that attract thousands of people. We give you a rundown of the hottest alternative festivals to visit this summer.

WOMAD
The World of Music, Arts and Dance (WOMAD) festival has been going since 1982. WOMAD co-founder Peter Gabriel, has said that this festival allows “many different audiences to gain insight into cultures other than their own through the enjoyment of music”. WOMAD has held 160 festivals in 27 countries, including: Abu Dhabi, Singapore, Australia, Greece, the US, the UK and South Africa, and in 1993 it attained the biggest festival audience in the world with 98,000 people attending the event.

With the festivals being held in various countries across the globe, WOMAD’s audience can expect to be subjected to a wide range of cultures and glorious weather conditions. As well as being entertained by the seven stages of music, the event provides participatory workshops in which the families can be taught how to make music amongst other activities. In 2001, WOMAD’s success was finally recognised as it was entered into the Guinness Book of Records as the Biggest International Music Festival in the world.

WOMAD’s 2010 line-up includes Horace Andy, best known for his work with Massive Attack, and the legendary Rolf Harris and His Band.

Where:    Charlton Park, Wiltshire
When:       23rd-25th July
How:        www.womad.org

One Love
One Love has soared in popularity over the last three years and is now the UK’s no1 reggae dub event. This year is set to be even bigger than the previous as One Love is taking place during the weekend of Jamaica’s 48th Anniversary of Independence. Spread over three days, the line-up includes major reggae artists such as Natty, Gappy Ranks, David Rodigan, Robbo Ranx and Ras Kwame.

Where:    Hainault Forest Country Park, London
When:        6th-8th August
How:        www.onelovefestival.co.uk

Hampton Court and Beer Jazz Festival
Summer has definitely arrived at the 2010 Hampton Court and Beer Jazz Festival. Following last year’s success, the festival promises to be even bigger and better with a line-up that includes James Taylor Quartet, Tony Hadley and his swing band, and James Pearson Trio. If you are looking for a place to chill out to smooth jazz sounds with a Pimms in your hand, then the Beer Jazz Festival is perfect. From sitting on the fresh lawns to eating in the soul foods gardens, the festival has something for everyone. Don’t miss out!

Where:    Hampton Court Palace, Surrey
When:      27th-30th August
How:        www.hamptoncourtbeerandjazz.com

Notting Hill Carnival
London’s most famous festival, the Notting Hill Carnival – Europe’s largest street party has united and entertained the black community since 1966. Spanning over 20 miles, every year the streets of West London shake from the vibrant sound systems and become full of colourful and exaggerated costumes. Whether you are getting your face painted or eating spicy food from all over the world, you will find everyone embracing the unique atmosphere. Previous headliners have included Eddie Grant, Jamiroquai and Wyclef Jean, so expect to be entertained by world-class artists.

Where:    Notting Hill, London
When:     29th & 30th August
How:    More info about the carnival coming soon on catchavibe.co.uk

The London African Music Festival
Going since 2003, the London African Music Festival celebrates its 8th event this year. The festival will take place in 6 venues across London including: Southbank Centre, Stratford Circus and the Jazz Café. As well as featuring artists from 23 countries, the festival will provide workshops for people to learn about the craft of making African music. Headlining the event is popular rapper MC Solaar. The successful French artist has collaborated with the likes of Missy Elliott, and never fails to put on an electric performance. Other headliners include Cuban musician Omar Sosa, Dennis Bovell and the London Community Gospel Choir.

Where:    6 venues across London
When:      10th-25th September
How:        www.joyfulnoise.co.uk

So now that you are clued up on where to go this summer, will you be attending any alternative festivals? If you need one more little push, then think about this…Cheap tickets, a few days of good music, mouth-watering food, sun (hopefully) and a happy atmosphere. What more could you ask for? Grab your whistles and show your support for alternative music festivals.

The stage name Vocal Slender is a combination of Eric’s childhood nickname and an excerpt from a Bible passage. Growing up he was called “Slender” because of his slim frame, but as he began to make music he found additional inspiration for his stage name “In the Bible I found ‘The Voice of One Crying in the Wilderness’ (John 1:23), so that could be shortened to V-O-C-W.  I then changed Wilderness to Africa, so “The Voice of One Crying in the Africa”, V-O-C-A.” The film crew from the documentary suggested that he add L at the end creating the moniker Vocal Slender.

Eric’s life took a similar twist of fate last year when what seemed like an ordinary day hanging out with friends turned into an offer from the film crew to be a part of the documentary. “I come in that day and—we are not working that day— I was entertaining some few friends and they were listening to me. Then I just look at them and say ‘who the white man watching me, why?’” The production crew explained to him that they were filming a documentary about the rubbish dump and the people who lived and worked there.

It was only after a friend introduced him to the “dump” four years before this encounter that Eric began working there to fund his recording sessions at a studio in Lagos without his family and friends knowing. He was reluctant to work there at first “I was really shocked. I was really surprised but I just give up to it if I have to do it. But God have a way of doing something. The first day I work I made 600 naira (£2.66), he’s great, all this money. That’s the way the spirit used to call me to the job. I forget about the smell. I forget seeing myself as a dump worker.” Eric focused on his dream and found a way to make working on the dump tolerable: “I will just transform myself and forget about the situation. Working on the dump I just change myself. Well, let me work this work at least working this work is to get money for my recording studio.”

Eventually Eric invited the production team to come to the studio as he recorded his popular single Owo Yapa. The production crew assured him the documentary would not be shown in Nigeria so he gave them permission to record him working on the dump. However, after the documentary aired here in April word soon spread about Vocal Slender and his music. “The documentary really open a lot of doors for me and Coko Bar brought me from Nigeria to London and did a video for me here in London.”

What’s most endearing about Eric is his humility. He’s extremely optimistic and thankful for the support of his fans here in the UK “I feel great and privileged by God. It’s not that I’m the best it’s like God loves me.” He is a firm believer in destiny and doesn’t feel like his path in life is by chance “Everything has been destined by God. A lot of people say accident, no, nothing is accident. Everything has a divine intervention.” He’s very level-headed and fully aware that where there is good there is also bad. He continues on to say “That doesn’t mean that there’s no negative aspect of it that’s trying to counter you from making it to the top. The divine aspect of it is when God is trying to push you forward there’s always a negative aspect. It’s left for the man or woman to look inward and shun the voice of the negative aspect and try to be more positive.”

Eric’s positivity gives him the confidence needed to succeed in a tough industry “My goal as a musician is to win the Grammy award but I don’t know the song I will use to win, but I have the vision before I leave the earth I will win it. I know that. I’m working on it.”

Vocal Slender’s single Owo Yapa is available on iTunes

Vocal Slender on myspace

CAV: Tell me about the band, you and Musa are the vocalists but who are the musicians and how did such an eclectic group come together?
Joshua: There were five of us when we finished our last EP Invisible Cake and now there are seven members of Benin City. We have a drummer named Theo Buckingham; two saxophonists Duncan and Sam Eagles; a trombonist called Faye Treacy; Jon Cottle plays the electric cello and finally two vocalists Musa Okwonga and myself Joshua Ehimwenma Idehen.

Musa and I met at the Poetry Cafe in 2005 or 2006; we went on tour as poets supporting people like Scroobius Pip, Laura Marling and Razorlight. At the end of 2007 Musa and I felt that performing with just a DJ (like your typical hip-hop set) wasn’t working for our live performances. It was particularly difficult to find a DJ that could cope with the way we delivered our material as it wasn’t metered rhythm but more free-flowing.  It was a chore trying to find a DJ who could match our sound and create something that was ambitious and open so we decided to opt for a live band to make our performances more dynamic.  I run a poetry jazz night called “Poejazzi” which is where I met Jon Cottle; Theo joined the group by way of an audition and the other band members we met either through friends or other musicians, which brings us to exactly where we are today.

CAV: The band is called Benin City, which is the capital of Edo State in Southern Nigeria, being that the group is multicultural why was this name chosen?
Joshua: Benin City is actually my hometown, when we first started the band, the collective of musicians was myself, Musa, Inua Ellams and Suren Seneviratne. So, one day we met and I said, “Let’s call the band Electricity and everybody was like “Electricity? That’s sh*t”. So then I said “Okay what about Benin City?” and naturally Benin City sounded like a much better idea than Electricity (laughs) and they all jumped for it and I feel quite smug about that.  As you can see there wasn’t really a grand ethos towards selecting a name for the band.

CAV:  I listened to your last EP Invisible Cake and the first word that sprung to mind was “fusion”.  It features a spectrum of different musical styles and speaks on a variety of themes.  First and foremost what on earth is Invisible Cake and what was the intention behind the EP?
Joshua: Invisible Cake actually comes from two things; firstly a video game called Portal, where you are trapped in a laboratory and you receive cake for solving puzzles and on the wall appear the words “The Cake is a Lie”.  Secondly, when I was recording the track Snake Pit, there is an extended edit where I go into a rant and say “I can see through you like invisible cake”, everybody laughed and we agreed that we should call the EP “Invisible Cake”.

Benin City isn’t a commercial band so we aren’t forced to define ourselves. As a band we are constantly chasing the idea of a good sound regardless of how near or far it might be from what we should sound like.  I personally don’t like being pigeonholed into any one genre, I like the freedom of being able to belt out some classical and then go straight into death metal (laughs) not that I would do that but I like the idea that I could if I wanted to.

CAV:  Are you going to package your new material into an EP or an album anytime soon?
Joshua: First and foremost we are a live band and as good as the EP is I think we sound even more amazing live.  Our majesty and our brilliance and grace (laughs) cannot be captured in any form of recorded media.  It would be stupid of us to sit twiddling our thumbs waiting for someone to come and say “Here is some money; I’m going to make you sound absolutely fantastic”.  We want to create a live album with brand new material, so the plan for the rest of the year is to work on at least three songs a month and from that create the best live, brass, bass, hip-hop album in the UK ever.  There has never really been a good one; for some reason other bands don’t capture the horns right and the funk is too tame.  When you listen to something like the Menahan Street Band they are amazing, the horns are like claws and the sound literally chews on your ears.

CAV:  What inspires the lyrical content?
Joshua: Social issues are the main focus and our material is based on the day-to-day things people have to deal with.  For instance, the track Boogieman was inspired by Taking Liberties, a documentary about the erosion of civil liberties in the UK after 9/11 and 7/7.  The track discusses the things the government has been allowed to get away with since these events.  The idea of ID cards terrifies me; the notion that a police officer can stop me at any time just based on the fact that he doesn’t like the look of me, is an erosion of my civil rights.  The way I see it, the establishment is trying to generate a culture of fear.  Look at how Swine Flu was reported; it doesn’t kill any more than Cholera in the world per day but we all know how the media loves a new disease.

It’s a whole culture of bad information and bad news and that boils down to, if you don’t do what we say the Boogieman will get you.  We take on a lot of serious topics but there is a tongue-in-cheek-ness to us, we don’t take ourselves too seriously.  We enjoy having fun with the material and this is best reflected in our live shows, there’s a lot more fun to be had when performing live.

CAV:  What’s Benin City’s five year plan?
Joshua: That is hard to say as the music industry has demolished all clear paths, so we have to constantly change our outlook in order to fit in with the times and take advantage of all the opportunities that are available to us.  I’d like the band to work on soundtracks; I’d love us to create a concept album; I’d like to make our performances more theatrical for example better costumes; big visual displays and I would really love to perform with an orchestra, in particular a twelve piece horn section. Ideally in five years I would like us to be a world touring band with at least three albums under our belts.  I want us to be braver than we are now and to keep on pushing ourselves musically.  To quote our bassist Jon Cottle, “everything else will come if you just make good music”.

Benin City is electric(ity), defiant and bold; their sound is a head on collision of funk, jazz, hip-hop and fill in the blank.  If you miss their next show you’ll probably never forgive yourself.  As you lay on your death bed you’ll recall the summer of 2010 and remember how you missed Benin City’s break through performance, the performance that shaped the future and eradicated war from the planet.  Okay maybe I watched “Bill & Ted’s Excellent Adventure” one too many times as a child but seriously check out the YouTube click and I guarantee you’ll want to see Benin City live; if not for the music then to see what crazy outfit Josh wears this time round.

Download The Invisible Cake EP from Benin City myspace

Miriam Makeba – South Africa’s Skylark
Nascente Records -
Out on 21 June 2010

If you know anything about the late Miriam Makeba you may know The Click Song or Pata Pata; perhaps the commanding Amampondo from Leon Gast’s 1996 Oscar-winning documentary When We Were Kings.  The other tracks on this double CD collection show just why Makeba—who died in 2008—was regarded as the voice of Africa.

The tracks listed in this momentous compilation album were for the most part recorded whilst South Africa faced a worldwide cultural boycott due to its racist policy of apartheid.

CD1 is a perfect showcase of the early period in Makeba’s career with its distinctive South African mbube vocal style influenced by gospel, jazz and ragtime. Well-known tracks such as The Naughty Little Flea, sit alongside multi-lingual folk songs and ballads with perfectly fitting harmonies and the versatile voice of Makeba. On Liwaechi, sparse yet powerful Nyabinghi drums compliment Makeba’s mournful Marley-like vocals.

CD1 stands the test of time in a way that the more slowed down, funky and darker beats of CD2 do not. Whilst these politically driven and lyrically astute songs showcase Makeba’s powerful and expressive vocal range to good effect her voice is in some cases overpowered by the music.

Having lived and recorded in the United States in the 1960s Miriam Makeba sympathised strongly with Black America’s Civil Rights struggle and its evolution into a global Black Power movement. This period of her life is reflected in CD2 which has Makeba’s voice and observations on social issues and world politics delivered with distinct music, all soulful and many in South African styles.  The highlights are Murtala, Quit it, Malcolm X, and U Shaka . Covers of Gilberto Gil’s Mas Que Nada and Buffalo Springfield’s For What It’s Worth demonstrate an artist who, whilst promoting the culture of her homeland was not at all unaware of the music around her.

As a progressive and politically aware performer producing meaningful music Makeba was in the front ranks alongside luminaries such as Aretha Franklin, Curtis Mayfield and Marvin Gaye. This excellent collection is a timely reminder of her status as an iconic artist. Shaun Hutchinson
Buy South Africa’s Skylark on Amazon

Ayobaness – The Sound of South African House
Out Here Records
Out now
Buy Ayobaness on Amazon

Ayoba is the phrase from the Rainbow Nation’s vibrant townships that sums up the anticipation and excitement of the moment.  With the World Cup about to shine a bright light on all aspects of South Africa’s culture it was intriguing to listen to this 13-track collection – an unexpected voice from the continent – featuring the vanguard of that country’s house music scene.

So forgive my possibly uneducated and probably one-dimensional approach; but to me house music is little more than background noise – a useful palette for rudimentary beats, nursery rhyme melodies, basic raps and Lil’ John style shout outs.

And although this CD is touted as a showcase of the African sounds, township culture, and global club trends that form the basis of a diverse house music scene, this introduction to the sounds of Johannesburg, Durban and other cities doesn’t change my mind.

The beats and melodies are at best ordinary and other than the raps in the native tongues of Zulu and Xhosa township English, nothing sets the collection apart from its global competitors.

Kwaito – which fused house, dancehall and r&b – was the soundtrack to the end days of formal apartheid and the foundation for the country’s developing music industry. The crisp production of each track shows how far it’s come since then.  Brief explanations of the lyrics and biographies of the DJs and producers who are driving the music forward are a useful addition to the glossy informative booklet, which comes with the CD.

The title track Ayobaness, all techno beats and heart vibrating bass line, does stand out – more for Pastor Mbhobho’s Flava Flav style delivery and persona. And DJ Sumthyn Black alongside Johannesburg poet Ntsiki Mazwai with Wena and its bittersweet lyrics (in English) of love and loss shouldn’t work in theory – but it does in practice. The intricate drumming patterns of Yes by Mgo; Stjwetla’s Survivor and DJ Steavy’s Kubi (meaning ugly, as in bad meaning good) also catch the attention. Mexican Girl by Aero Manyelo – a driving, trance like cut touches the spot, as do the vocals of Mampinsha in front of DJ Bongz on Bayakhuluma. SHANA (Simply Hot and Naturally African) blends the modern with the traditional on Iyo’londaba.

For the thousands heading to the continent for the World Cup these beats will play a part, but Afrobeat won’t have any problems in defending its crown as the music of the continent. Shaun Hutchinson
Buy Ayobaness on Amazon

Find more music like this in our Amazon store!