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Search Results: reginald-cange
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 any good 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
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