Reginald Cange/ Fasil album review

A “true artist” is an artist that makes sacrifices and is willing to suffer, for ART to be what he should be, as that artist believes it should be. In order for that “true artist” to enjoy artistic freedom and to have creative control, he or she would walk away from spotlight and opportunities. While in the other hand, a “creative sell-out” or a “fake artist” would sacrifice artistic integrity in order to become more successful and popular; monetary gain and fame often motivate such artist more than anything else. Reginald Cange is a “true artist” who has demonstrated his undeniable art appreciation. He, like every other “true artist”, has made sacrifices to have artistic freedom and to have creative control. He embraces the fact that the artist shouldn’t be bigger than the ART itself; hence, he puts his faith in art instead of in an individual. No one has possession over art and art will continue to find expression in anyone who allows him or herself to be used.



He is one the most versatile singer that the HM’I’ ever had; he is singer who can sing effortlessly in all the three vocal registers (head voice, chest voice, and mix voice). Furthermore, his singing diction and tonality show his completeness as a singer. His “cry like” singing brings out the soulfulness in his voice and helps transfer the message of most of the songs he has sung effectively. Hence, only God could have made a singer such Reginald Cange; he is a naturally born “superstar” and a “superstar maker” could never birth a talent such as Reginald Cange unless that person is God himself/herself.



This album, “Zanmi”, is a must listened album. This is a very dynamic album, which replicates the experience of Reginald, but things are not spelled out. This album is not as artsy or experimental as one would expect from Reginald, but it captures range of style and content that qualify it to stand next to every great album that has come out this year.



The highlights of this album are the following songs.



“Par Amour et Resemblance” is a romantic ode to idolizing anything or anyone that “resembles” this girl- “mwen jire pou’m renmen tout sak sanble ak’w/ lonbraj ou/ foto’w se pa pale”. Musically, this song is an easy listening, but could have been a little lighter with less instruments playing at the same time as well as a catchier hook. It has a sizzling break that that reaches someone’s soul.



“A Woman to Love” tells a story of Cange meeting a girl in the subway. Despite her “look mad”, her beauty could be hidden. Cange finds a “woman to love”, a treasure he’s been looking for and wanting her to birth his child. This song could have had a strong hook- a simpler and a more repetitive kind of hook.



“Koze Fanm ak Gason” exposes contradictions that exist “nan koze gason ak fanm”. “Depi’m piti mwen tande y’ap di fanm pa bon, epi tout jounen nèg ap touye nèg pou fanm” ;“si kochon pat manje’l yo di se fanm ki tap fè’l, et nèg ki manje konchon an sa’l ye”?; nou pa ka viv ak fanm/nou pa ka viv san fanm. Nèg ki gen pi gwo vwa kon’l damou, li dou kon ti bebe”. “Depi’m piti mwen tande yap di pa gen fanm ki bon, epi Wa Salomon te gen 1000 fanm”, Canje “pa konprann”.



This Compas version of the 1984 number 1 hit “What Love is” shows Reginald’s versatility; he is one of the very few Compas artists who can sing in English without being a brutal torture to one’s ear. He did an incredible job enunciating and singing these lyrics: “ I gotta take a little time/ A little time to think things over /I better read between the lines /In case I need it when I'm older”. This song will do well in the club. The appealing bass blending with the kick is the backbone of this song along the strong and harmonious background vocals.



“Fanmi Lanmou” is a very interesting concept. The song has a monstrous bass line; the instrumentation is kind of funky. “Si sa’m santi a pa lanmou, se frè jimo’l li ye/ si si’m santi a pa lanmou, se tout se tonton’l ou byen kouzen’l/ se tout yon fanmi lanmou, y’abite nan kè mwen/y’ap ret tann ou pare/ wa deside lè ou vle”.



“Brase” is for people who have music appreciation. Cange explores Heavy metal Rock & Roll singing in French; heavy drums and electronic guitar put listener in a party mood.



“Ti Pouchon” is an adaptation of the everlasting hit of Toto Nesisite. “fiyè’l o pa kriye/ fiyèl o pa konsole’w/ fiyè’l o pran kouraj/ se lè’w nan male pou’w konn si’w gen bon zanmi”. This song gives a window to Reginald’s pain and courage; it also unveils uncomfortable truth. He uses this song to answer many critics and the people who have doubted him and counted him out. He throws some jabs at “zanmi”, perhaps Frerot.



Overall, this album is not what one would call a master piece, but an extremely sound and solid album. This album is an attempt challenge to the mediocrity that has been injected significantly in today’s Compas where an artist is considered more important the art itself. It’s also fun to listen to; Reginald has demonstrated his capability in terms of songwriting, arranging, and of course singing. Cange believes “se nèg ki pa ka fè’k dakò…epi Gason ak gason pa rekonsilye, yo bay akolad san vant kole”, which can be taken as jab towards Richie and Gracia; swete yo "jwen nouvèl la".Daprè li menm li ka fè; li pa oblije “dakò”. Li montre li ka sakrifye popilarite pou’l fè sa li santi ki bon pou li e art, ki se sa yon “vrè” atis sipoze fè.



Every true Compas lover should purchase this album and support a “true artist”.

Oz'mosis