Harmonik “Degaje” Cd Review by Shah!


10 songs plus the intro.

Harmonik “Degage” Cd Review by Shah!
My wish is that Harmonik stops that superficial intro which means absolutely nothing to the album as a whole. Get to the music will you?

That being said, let’s digest this CD one song at a time.

1- Cherie benyen’m: Babe give me a bath!
Wow! The sexual nature and the vibration of the entire song are truly voluptuous and harmonious. MacD crystallizes his artistic vibe that can tremble a woman to her core. The guy who we come to know as the “dwetceles la” or Godly fingers, does naturally lead the pack. Sanders’s contribution is fundamentally superb with his country touches harmonically contagious following MacD on the mic. An acoustic guitar sound would definitely do justice to this song. Nonetheless, it’s cleverly and harmonically done as in harmonik. If anyone hasn’t watched that video. Hmmm, MacD Jwenwi with that model. A lot of young guys wished they were Mac D on this video. Well done. “Hit”.

2- Imparfait: Imperfect!
That song does resemble Cherie benyen’m. This is the danger of konpa love song because of their slowness. Don’t get me wrong now. This is a very good song that has a potential to become a successful one that I can put on repeat. The lyrics are on point Mac D establishes himself as one of leading men in the business. The bass player gets my attention. No drum machine which is a plus and what happens to Sanders?

3-Men bon an: Harmonik is that good!
This is more like it. I envision that uptempo song moving a crowd in the club and in February on Champ-De-Mars. Mikaben to the rescue for sure. The rap lyrics kind of weak but the warmth was needed to wake me up. Sanders finally shows up.

4- Enpotans: Importance!
This is another song that has the propulsion to compete for its place in the world of great orchestration. The lead singer brings life to it. The horn section is flawless. This is what a great konpa song is supposed to sound like. Bravo Harmonik.

5- Pap negosye’w: I don’t negotiate my girl!
If one remembers how Harmonik becomes Harmonik, its because of a song like this one which reminds me of “Deception” by Nickenson Prud’Homme. If I haven’t declared a song a hit one yet on this CD then this is the one but I already did. Haha! Here how I describe this one: Beauty, silky, vibrant, colorful, harmoniously Harmonik. Furthermore, Nickenson shows all of us why he is the X-factor as a producer in the HMI. Sensibly done.

6- Fe mwenkonfyans: Trust me!
A well-known artist has explored a similar subject in a beautiful song but this time around, Sanders is describing a man who is in love with someone daughter and wants nothing but the blessing of her father. Sanders doesn’t show up as much as he did in prior Harmonik albums as far as guitar leads are concerned, however, vocally, he warms up the hearts of the ladies and his fans must be proud of his delivery.

7-Move tan: Bad time!
As we all know that Harmonik is known for their konpa love songs. Somehow, I come to appreciate their mid-tempo song as well. This song reveals their versatility. The sad thing is that the subject matter in this song by Harmonik and by other bands becomes so exploitative as if Haiti’s condition is a source of inspiration for negativity. Helas!!!

8- Simplicite: Simplicity!
I gracefully appreciate this song. The work by Sanders on the lead guitar and his majestic voice are frankly coherent and vivacious. It’s about time. This song can bring back to anyone in love some deep memory of completeness in a relationship. Simplicity is a virtue to all. This song is armed with beautiful melodies and the instrument arrangements are such an admirable attribute to Harmonik talents. The trademark of Nickenson and Sanders are remarkably inspirational. This is poetically done. This is a Hit song by all means. Love it. Bravo Harmonik.

9- Incroyable: Incredible!
The flavor of this song once again is a revelation of “Obsession” where deep emotions are nonchalant. The acoustic guitar touches by Sanders reveals the authentic prowess of the man. All three guys deliver this tender loving song with grit. Sanders on the guitar is who I come to hear and appreciate as a great rhythmic. The fingers of the man who changed the keyboardist game are surreal. This is a song for the loving ears, hearts, souls and lovers. A savourous and philharmonic konpa love song. This is a Hit song for sure. Magnificently done Harmonik.

10- Degaje: Let me try!
The intro of this song is kind of confusing but If an uptempo song is the missing-link for Harmonik, the more they engage the more they will fine tune that part of their repertoire. Sanders comes up a bit “siwel” as far ar as the lead guitar is concerned. MacD has full control of the uptempo mission. The bass player is collaboratively equipped to stir the band as required as well as the drummer. The title of this album should have been: “Benyenm” Cherie not “Degaje”. My complaint is that, when it’s necessary, the horn section is relative to studio recording but disappears completely in live performances. My guess is that the shortcut is convenient because of the economic factor of today’s market for certain konpa band format. Overall, this is a well-calibrated song with a hardcore Konpa motion which will enhance their music library for sure. Good job Harmonik.
The effort to bring a pristine album as a trademark by Nickenson and company is inarguably very important to Harmonik due to the saturated market of great albums in 2016. This album may not be as great as what started the Harmonik evolution but it has a strategic place in the market for a music lover like myself especially: Konpa Direk. Thank you Harmonik.

Written by Jason Accime



About Author


Comments are closed.

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.




error: Content is protected !!