Album Review Daan Junior


Album Review Daan Junior:: The minute I heard the Rock n’ Roll drumming in the fifteen second intro, my expectations shot right up. The transition to Kompa is pretty smooth. Now, I normally do not care for keyboard solos in our genre, but the forty-five second one here feels like that first sip of that Starbucks coffee in the morning. It just hits the spot! I love the fact that, other than an occasional “yeah-yeah-yeah” from the backup singers, Daan just shuts the hell up and let his fingers do the talking.

1. Cherie’m kolé [5m25s]
Highs: The minute I heard the Rock n’ Roll drumming in the fifteen second intro, my expectations shot right up. The transition to Kompa is pretty smooth. Now, I normally do not care for keyboard solos in our genre, but the forty-five second one here feels like that first sip of that Starbucks coffee in the morning. It just hits the spot! I love the fact that, other than an occasional “yeah-yeah-yeah” from the backup singers, Daan just shuts the hell up and let his fingers do the talking.
Lows: There’s a synth line introduced at the 0m36s that goes on for the remainder of this 5m25s track. Mind you, it’s a sweet little sound which I don’t mind, but I think the listener could have used a break from it, especially during the keyboard solo. Also Daan seems to be struggling to hit a couple of high notes.
The Score: With Thierry Delannay’s stellar guitar work and Richard Richie’s marvellous drumming, this song definitely earned the right to occupy the opening spot on this CD. It’s a pleasant Kopma track without the typical clichés. You won’t find any siwel, fake brass, rap, or any shout-outs.

2. Moin santi’m béni [4m59s]
Highs: The guitar strumming and piano on which this tune is built are about the only things worth paying special attention to. The background vocals are nicely put together as well. Not even Georgie Métélus’ [sic]presence could ruin them.
Lows: The synth bells used throughout are too 1980s for my taste. This type of sound is already Arly Lariviere’s favourite. If that isn’t reason enough to make Daan stay away from it, I don’t know what is. There’s a decent solo around 3m35s, but unfortunately, the guitar sounds more like it’s coming from a rompler than the real instrument.
The Score: If you like Daan’s voice, you’ll have no problems keeping your iPod earbuds on since he seems to have quite a bit to say here. Otherwise, this is just another average Kompa Love track.

3. J’ai soif de toi [5m59s]
Highs: “De montay pa janm kontré; men nou de n’ka kwazé; si’w tandé vwa’m kap chanté, pansé ankor m’ekzisté.” That’s the one passage that seems to stick in my head. The rest is way too sappy for me to repeat in public. Hm, I’m sure they’ll make the young girls out there feel a little “funny” in some places. Musically, the synth swirls, acoustic guitar, ethereal voices, fat analogue synth bass, Daan’s smooth vocals and melody all make for a wonderful aural experience.
Lows: I’m not crazy about the use of three languages to get the message across. How many languages does a man need to tell a woman he wants to get in her undies? Gee whiz! Having the guitar solo so rudely cut off by the piano leaves a bad taste in my mouth. Those strings during the second verse and chorus just don’t do it for me. Perhaps they sound a bit too authentic for this very electronic track. Lastly, for a six minute song, the drum programming could have used a little more life; it’s too mechanical as is.
The Score: This is probably one of the better Zouk Love songs to come from a Haitian artist. Some of the ladies are describing it as “baby making music.” All I can tell them is to give me a call when they’re ready and I’ll hop on right over so we can “listen” together.

4. Ti bouton malè [5m25s]
Highs: We’re graced with yet another splendid performance by Richard Richie on drums. I just love his kick breaks and fills. Claudine Pennont and Carolyn’ are the two ladies credited with backup singing on this track. Their “woyo, woyowoyo,” “Ah, ah, ah, ah” and “oh na-na-na-na-na” [during the keyboard solo]give the track a very sexy appeal. I especially like when one of them seductively says, “Relax bébé, nou pa presse…” Although Jean Eude has no solos, he drops some brutal guitar licks.
Lows: Had a different sound been used for the keyboard solo, I would have put the performance under “highs.” I really don’t understand why our musicians like using the same silly sounds already heard on every other Kompa song. Have you guys ever thought of layering different synth patches to get your own unique sounds? The fake brass makes an appearance for the first time. And that electric piano solo at 3m24s can only be described as what we call in Creole “téké not.”
The Score: A decent Kompa track made much more fun by the female backup singers.

5. Mété’m alèze [5m02s]
Highs: When the supporting piano isn’t buried under all the other instruments, things sound somewhat less dull. With the exception of a short organ passage after the bridge, I’d be lying if I told you there was anything else here that I consider memorable.
Lows: What’s the story with the tape hiss during this intro. I also noticed this same hiss on the previous three tracks. In this day and age when you can download freeware from the Net to clean up sound files, it’s unacceptable for anyone to release a song or disc with such flaw. Stuff like that really gets under my skin, as thick as it may be. In any case, a little voice is telling me to “let it go.”The Score: Daan uses his staple acoustic guitar and piano with the help of some lush strings and other synth noises to put this Zouk Love piece together. Since it’s slow tempo with heart wrenching lyrics, I can see a lot of babies being conceived with this track playing in the background.

6. Kité’m allé [4m57s]
Highs: “Jou pa mwen gen pou’l vini; sé chans pa’m ki poko rivé; tro ta bare’w; men jounen yan fini; nuit la fèk komancé.” For the synth junkies out there, that growling bass line is definitely a keeper.
Lows: I wish the electronic kick were pitched down a cent or two so it could sit better with the bass. Re-re-re-repetitive! Repetitive! Repetitive! Oh and, one more thing: REPETITIVE! They could have shaven off half the song and we wouldn’t miss anything.
The Score: You know how you start losing touch with your surroundings when you’re about to fall asleep? That’s how it feels like while listening to this tune. No matter how hard I try to hang in there until the end, I find my consciousness [yawn]simply drift………

7. Ne pouvant dormir [4m59s]
Highs: Those of you who shamelessly cry at the movies will like the melody as well as Daan’s vocals, and the Francophones will dig the French lyrics. I personally like the line, “Les désirs sont parfois trop grands pour être exaucés.” Okay, tékitizi fréro! If my life were on the line, I’d try really hard to dig for something musically interesting on this track. Since that is not the case, let’s move on; shall we?
Lows: Quite often, you hear something on a piece of music and can’t help but ask why. Such is the case here with the string solo at 2m55s. It fails on two fronts – choice of sound and lack of substance.
The Score: As a whole, listening to this track is like French kissing a pretty girl with halitosis. When you find yourself in the situation, you go through with it, but that doesn’t mean you’ll be looking forward to the next occasion.

8. Yon ti moment [5m10s]
Highs: It’s good to see Daan finally finding a string sound that sits well in an arrangement. With the support of backup vocalist Marie Céline Chroné, he continues to do a spiffy job with his harmonies. Lows: It is said that no matter what fancy restaurant you take some Haitian men to, they always expect their meal to end with a big plate of “diri kolé ak pwa.” I think I may have found another disturbing truth about those same guys. It seems that no matter the Kompa song, some Haitian men won’t be happy unless it has the obligatory siwel. For those types of men, you can get your siwel right here at 3m12s.
The Score: Again, if you’re the type that likes walking around humming sweet little melodies, then ou lan bol pwa’w with this song.

9. Lévé campé [5m33s]
Highs: Have you ever heard the Creole expression “bat dlo fè bè?” I probably would be more successful at that than at finding any high points in this song. Really! Okay, I found something. I’m giving Daan credit for stepping away from his bread and butter topic, love, to pen this one. But then again, one could also argue that patriotism is love for one’s country. Never mind then! The synth horns don’t sound too bad, but they still leave me yearning for the real thing.
Lows: We need another Kompa song about Haiti like that country needs another presidential candidate. But hey, if you want to be the one-millionth Haitian musician to write one, knock yourself out. But, how about trying to be a little creative in the process, eh? “Sonjé koté n’sorti; pa blié ké n’gen yon passé; konnen ké n’gen yon histwa; zanset nou yo soti lafrik…” Gee Daan, how long did it take you to come up with that? My fifteen year old niece could write better material. Mind you, she can hardly speak Creole and is definitely not a musician. The musical arrangement itself just leaves me rolling my eyes.
The Score: Is this an attempt to reach hardcore Kompa fans? The piece is a full two minutes too long. I’m not impressed! What else do you want me to tell you?

10. Style D’5 [7m02]
Highs: Daan isn’t making this part of my job any easier. Trust me when I tell you, there’s nothing of substance here. Basically, it all boils down to the last fifty-four seconds of the song where he does some sweet “ivory tickling” while the backup guys are singing “bye bye bébé, bye bye manman.” If you find anything else, drop me e-mail.
Lows: There’s no redeeming value in either these lyrics or music. This happens to be Daan’s worst vocal performance as welll. He should stick to singing love ditties; he’s not an “animateur.”
The Score: This is a crappy Kompa tune where Daan Junior is trying to simulate a bal by yapping on and on about Kompa, his band D’5 and supposedly introducing the instruments in the process. Terrible stuff, I tell ya! I’d like to describe this track in one word: [totally]pointless.

Versions Accoustiques: [I have no idea why that word is spelled with two “c.” In any event, he’s the one who lives in France, not me.]
1. Moin santi’m béni [5m02s]

2. J’ai soif de toi [5m32s]

3. Mété’ m alèze [4m43s]

4. Ne pouvant dormir [5m00s]

When I saw those four extra tracks listed, I thought, “Ooh, nice touch, Daan!” I was looking forward to hearing them; I was under the impression that he’d take the opportunity to give us different versions and showcase some versatility, improvisation and other interesting stuff. Too bad, that wasn’t to be! As it turns out, his production crew simply hit the mute button on the drum, bass, synth tracks and kept the ones for vocals, piano, and guitar. Call them “acoustic” if you must, but I’d rather use the term “stripped down.” Between you and me, the only time I like hearing the word “stripped” is when a wom… Never miiiind! Nevertheless, they’re still very much listenable and enjoyable; it’s just that I was expecting a wee bit more in terms of creativity and “musical freedom.” In fact, I dig the stripped down version of “Ne pouvant dormir” a lot more than the “fully clothed” one. Even the string solo that I complained about earlier fits much better.

Kité’m Palé:
There’s no doubt that Daan Junior spent a lot of time writing his romantic words and melodies, but I’m left wondering if that isn’t more of a weakness than strength. I find that, once you’re past those two elements, the tunes take a quick downward spiral. They lack depth, become repetitive/monotonous and force Daan to oversing at times in order to cover it up. Once he lays down the main theme of a tune, he rarely strays from it. He’ll hold on to it tighter than a frightened little boy holding on to his mom’s skirt in a crowded shopping mall. This inflexibility in his arrangements doesn’t even allow Daan to write a decent coda for any of the ten songs. As a result, they all end the same way, the good old “fade out.” His writing formula may work for the twenty-something year old girls who faint at his shows or for the guys who are in touch with their feminine side, but won’t appeal much to the more cerebral listeners amongst us. Take some chances, young man!

Kité’m Allé:
Alan Cave comparisons notwithstanding, Daan Junior has a decent and pleasant singing voice when he stays within his range. [The few falsettos he tried didn’t sit too well.] In addition, he does seem to have a knack for writing nice love songs, which make up the bulk of “J’ai soif de toi.” All niggles aside, this package is a very good value. In this Kompa age, it’s really tough to sit and listen to an hour and fifteen minutes worth of music and not be tempted to hit the skip button at least a couple of times. Although this isn’t the sort of CD that I’d call all my music friends and brag about, I’ll have no problems recommending it to some people. Now, the question is to whom. Based on what I heard, most women will enjoy this disc. [Yeah, yeah, InKonu is being sexist! If you know a good lawyer, feel free to sue me.] On the male front, well, I do believe there are some guys out there who are even sappier than most women. Yeah, those types will definitely dig this compact disc too.

[If you found any typos, blame Ti-Fy for not catching them all. I heard something about being busy watching that phone swinging genius Russell Crowe in Gladiator.]

©2006 InKonu



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Rutshelle Guillaume

Biography of Rutshelle Guillaume …
Born in Port-au-Prince on July 28, a family of three children, Rutshelle GUILLAUME is the only daughter of her Father. At the age of five, she began to sing at the church of God of Boulard directed by Pastor Louis DESTINVAL. His passion for music takes him to 19 years, in the group “REL”, a musical formation composed for the most part of young musicians of the National School of … Arts (ENARTS). She was able to meet her husband, Walner O. Registre (Doc wor) band leader of the group Rèl, father of her beloved daughter (Ruth-Warly O. Registre). Rutshelle is one of the most listening and charming women’s voices on the air today. Her opus “KITE M KRIYE” is asked and asked again in the shows to which she is invited to produce. This song, according to her, comes out of the particular to reach the social. Rutshelle, Philosopher of formation, joined the Ecole Normale Supérieure (ENS) of the State University of Haiti (U.E.H) in 2008. After completing her studies, she is currently completing her research in order to obtain her degree in philosophy. – Former Professor of Grammar and Philosophy at New Bird College. Rutshelle Guillaume currently works as: Protocol Officer attached to the Kiosk of the Ministry of Haitians Living Abroad (MHAVE) at TOUSSAINT LOUVERTURE International Airport. – During a training on vocal techniques organized by James Germain, Emmeline Michel and Stevenson Théodore at the Fokal in 2011, his performance on stage enabled him to surprise Yole DEROSE, in search of young female talents for his project “Haiti Heart of Women “. She chose to be part of her project. While awaiting the release of her album, she presents to the public the opportunity to discover it in her song titled “KITEM KRIYE” which is video-clip. In addition, Rutshelle had already participated on numerous projects with several artists and musical groups, such as: – Roosevelt SAILLANT, known as BIC Tizon dife: “Mesi ti cheri doudou” a song from his latest album entitled “Kreyòl sings Kreyòl Konpran” . Doc Filah: “Trèv pou amoni”, a song from his album “Akrilik sou twal rezon” – Eunide Edouarin dit (Eud) and Aristor Oberson says (Dad Crazy): “Fòk mwen fete”, a song of their album “Limyè wouj” – Jean Bernard Félicien dit (Hurricane) and Valkency Décembre dit (K-lib): “yon lide”, a song from their album “Knock Out” – Barikad crew , konplèks, bafon plafon “, songs from the album” RED “. To name but a few



Neefah Song

Prior to launching her musical career, Neefah got her start by auditioning for the Brooklyn High School of the Arts; a specialized arts school where she majored in vocal music. In addition, she took Music Theory for she believes reading and writing music should be a very important factor in any musicians training.

Neefah excelled in the program and later attended the AMDA College and Conservatory of the Performing Arts where she graduated in 2006 with a degree in Musical Theater. She also graduated from the Barbizon School of Modeling the same year. Upon both graduations, Neefah began pursuing music full-time.

Stephanie “Neefah” Fontus was born on February 21st in Brooklyn, NY to a Haitian mother and a Haitian and Bahamian father. Her father, a professional bassist didn’t give her much support or encouragement when it came to music and her mother supported his decision because they didn’t want their daughter to make a career in music instead they encouraged her to complete her studies and have a normal and stable life and career. Neefah heeded her parents’ advice however it was in school where she actually found the drive and necessary encouragement that she needed and it came from her music teacher. Through her teaching and mentoring, Neefah finally felt secure enough to pursue her dream in entertainment.

Neefah went on to perform at some very prestigious events and places such as the United Nations, FAME on 42nd Street (Broadway Musical), VH1 Hop Hop Honors where she opened the show, she sang the national anthem at the Yankees’ stadium for the Mets twice to name a few.

With her career looking bright Neefah still felt the need to please her parents and obtain a degree in criminal justice but her heart still remains in music.

Neefah’s musical training and experience may be outside of the Haitian Music Industry’s (HMI) realm, she is no novice to the industry. Neefah’s collaborations include Dola Mizik, Clinton Benoit, Madman JP and Charlot Maitre on lead vocals.

Neefah’s new single entitled “Nobody but you” is officially released and Neefah is currently in the studio adding the finishing touches to her album slated for a Summer release.

Written by Cheyna Pierre



Yves Joseph

Yves Joseph

Background vocal

A Native of Petion-Ville, Yves Joseph, better known as Fanfan, is one of the original members of the band. Fanfan started with the band in 1968 playing the congas. In the 80’s, he moved to the front as an additional vocalist in support of Shoubou. The two have formed an impressive singing duo for the last 45 years. Fanfan is, undoubtedly, one of the most important and versatile members of Tabou Combo. Apart from being the band background vocalist, he’s also the band’s manager and main songwriter. Fanfan is a graduate (Cum Laude) from City College with a major in International Relations and a minor in Education. In the Summer of 2000, Fanfan became the first Haitian artist to land an endorsement deal with a major U.S. company when he signed with LATIN PERCUSSION (LP). Fanfan said his most positive experience with Tabou Combo was when the hit single NEW YORK CITY was released. ‘It is a good feeling to hear your songs everywhere you go in Europe, in jukeboxes, major radio stations, and Clubs,’ said Fanfan. ‘The attention you get, the pampering and the fame is unbelievable…’



Yvon Andre

Yvon Andre


It was in 1968 when then fifteen year old percussionist Yvon Andre, known to all as Kapi, became a member of Tabou Combo. Back then the young musician had to sneak out of his family’s home in Petion-Ville to play with the band due to the fact that his parents were determined not to let their son become a musician. However, his love for music was too strong to be stopped. Kapi said he could have become anything, but he chose to be a musician because he loves music. It is that love that has motivated him to stay with Tabou Combo for so many years. Kapi is not just a mere percussionist; he’s also a pianist, vocalist, and songwriter. Kapi has penned many of Tabou’s hit songs. He has also written most of the band’s Spanish songs including FIESTA and PANAMA QUERIDA. The latter he co-wrote with Fanfan. Kapi said his most memorable moments as a member of Tabou was in 1998 when he traveled to the Ivory Coast to receive a lifetime achievement award on behalf of Tabou Combo, and again when RFO (French radio/television) honored Tabou Combo in Martinique; those, he said, were historical moments.



Tabou Combo


“Rhythm is the essence of Tabou Combo,” says Tabou Combo’s co-founder and ex-drummer Herman Nau. The infectious rhythm of Haiti’s national dance music, Konpa (con-pah), has propelled the country’s preeminent dance band around the world. The 12 members of the band have covered many territories since leaving Haiti and relocating to New York City in 1971. By that time, Tabou had already established itself as Haiti’s number one group, and as the “Ambassadors of Konpa.” Tabou Combo now has worldwide fans and followers from London to Paris, Holland, Switzerland, Japan, South America, throughout the Caribbean and in North America.

It is easy to understand why Tabou Combo’s relentless and high-energy style of Compas dance beat knows no language barrier. Singing in English, Spanish, French or their native Creole, Tabou serves a hot mix of grooves and textures with roots from around the world. You will hear a strong dose of the Dominican Republic’s national dance music, meringue. In addition, there is Haiti’s dance-till-you-drop carnival music, rara, the hypnotic drums of Haitian voodoo rituals. Add to that quadrilles and contra-dances from Haiti’s French colonizers and funk from the American soul era to James Brown for good measure. The mixture of all these influences makes for a serious bass line that brings new meaning to the word bottom; layer upon layer of accents courtesy of drums, percussion and congas; the constant intertwining of two guitars with the feel of West African Soukous topped with bright piano riff and the brassy sound of a 3-man horn section.

Tabou Combo got started in 1968 in Petion-Ville, a town just outside Port-au-Prince, by Albert Chancy and Herman Nau and some friends, all in their teens. They began by naming themselves “Los Incognitos” because they were unknown at that time. They changed to Tabou Combo in 1969, in order to bear a name closer to the Haitian culture. That year, the band won first prize in a televised talent contest, gaining a national reputation in Haiti, and by 1970 it was one of the island’s leading bands. Then the Chancy’s parents stepped in, and Albert, the band’s guitarist, and original, leader was sent to college in Montreal and gave up music. The band dissolved and its members drifted to the United States. Early in 1971, however, an unexpected meeting led to a Tabou reunion with rhythm guitarist Jean-Claude Jean as the leader and the band has been together, with a few changes, ever since.

Employing the repetition and breaks of Afro-American gospel music, TABOU COMBO entices the listener to become listener and dancer. Almost four decades after TABOU COMBO’s establishment, the band has audiences dancing everywhere from concert halls to the streets and in nightclubs around the world. Says Fanfan, the band’s background vocalist and main songwriter, “We want people to dance and forget their sorrows.”

There is no doubt, the music is made for dancing, but Tabou also features lyrics that focus on social issues of the day. For example, the lyrics from the title cut of the group’s 1991 release ZAP ZAP deal with uplifting the image of Haitian people in the wake of bad press connected to the AIDS epidemic.

It was 1974 when the band captured Europe’s attention with its million-selling hit single NEW YORK CITY. Tabou steadily has been building its international followers ever since. The 1989 release, AUX ANTILLES (The Antilles), topped European and Caribbean charts for six consecutive weeks. AUX ANTILLES also won Best Album for Haitian Dance Music at the 1991 1st Annual Caribbean Music Awards at New York City’s famed Apollo Theater. Tabou’s release, KITEM FE ZAFEM (Let Me Do My Things), was voted among Beat Magazine’s Best of 1988. In 1989, KITEM FE ZAFEM, along with ZAP ZAP were used by the film director Jonathan Demme in his movie MYSTERY DATE. The song JUICY LUCY was chosen by French movie maker Maurice Pialat for his movie POLICE (1985). In 2002, world known guitarist Carlos Santana recorded the song MABOUYA (Foo Foo) on his album SHAMAN.

After traveling around the world with Tabou, Fanfan says he has found that people everywhere are all the same and they all love music. TABOU COMBO seduces the people with rhythm that does not let go. Konpa’s unrelenting dance beat is contagious and there are plenty of witnesses. Many of the thousands of TABOU COMBO fans around the world eagerly will testify… that is if they can stop dancing long enough to talk!





Based out of Hollywood, Florida, Dat7 is a Haitian band with a style deeply rooted in the finest tradition of Compas Direct with Zouk and R&B influences. Dat7 came into existence in late 2014 when former bandmates and longtime friends, Ricot Amazan (conga drums), and Eddy Viau (percussionist), join forces and created the band. They were later joined by Vladimir Alexis (drums), and Olivier Duret (vocalist), to complete the ensemble. Dat7 has created quite a stir since releasing their debut album VERDICT in October of 2015. Having been awarded the “Revelation de L’année 2015” award and the Haitian Academy Award in 2017, Dat7 continues to position itself as one of the most notable new bands, especially for their superb live performances.




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