T-Vice “Nou Tounen Pi Fo” Album Review


It has been a long wait for Vice2K since their Reloaded album two years ago. They just released new materials on this new CD titled: “Nou Tounen Pi Fo” meaning we are back in full force. Is that so? Let’s see!!!

1) Nou Tounen Pi Fo: We are back in full force.
At the beginning of this track, I wasn’t so sure if my ears would have been able to tolerate the entire five-plus minutes of my time. As the track progresses, the flammable orchestration of such a bang-up song curbs my curiosity. The fast paced track with some eclectic keyboard touches by Reynaldo, the trademark of Roberto using the high chords of his guitar, and yes the bass player is harmonically impressive. Thus, this song grows on me so I call this track a flashback and a bang for the buck. Hit # 1.

2) Ou poko Flanne la: You are not a cool guy yet.
Tvice fans must be elated when they hear their band savagely re-enter the cutthroat arena of the HMI with a solid track like this one. This one is a follow-up of Tounen pi fo, very rhythmic with the continuation of some defined work by Reynaldo. I am not sure who is on guitar # 2 but I am liking the trajectory of this band if this is the new Tvice model. This song is a pending hit song that will eventually make his way to the public at large. Roberto may not be one of the great vocalists, but he is a household name like those of past generations. He has been holding his own for over 20 years now. So stop the notion that the man can’t hold a note. Disclaimer: I am not a Tvice fan but I can appreciate talents.

3) Ou renmen sa: You like that.
This is a sensual story that encapsulates the intimacy of a couple exploring and exchanging their sweet spots of sexuality. Especially, the guy doing what any lover boy is supposed to do. This is very soothing and “Zouking” song. I like it a lot. This song is one repeat. Hit # 2.

4) Se pa sa: That’s not it.
This is a song for any generation. I like the club and the African flavor to it. JPerry is at it again. This track is cleverly executed to captivate the international market. Hit# 3.

5) This time it’s for real.
That’s my song. Please listen to this one carefully. The great guitar work and the horns section make my day. OhOh. Mwen jwen tout bon. This is hands down a great track that has been written with a melomane in mind like myself. It would have been really nice to have a female vocal doing a duet with Roberto. That being said, Hit # 4, on my playlist and on repeat.

6) Voye Monte: Talk is cheap.
Another sweet and savourous track for the clubbers. Anpil yayad. This is a very sexy song with an option to cause havoc in the Zouk world. I am not a fan of the zouk genre but I am getting to appreciate the world of 5lan and others.

7) J’en ai marre. I have enough.
Although this is a song about a guy tired of his girl being a nag all the time, the flip side of that, I and others get to enjoy the vicissitudes of the story because of the inspiration that embodies the beautiful melodies and the volatile harmony of the song. The delivery by Roberto is vocally appreciative as well as the sound of the high chords on his guitar which becomes his trademark. The work of the second guitar is truly a complementary. Good orchestration. Like I said the new era of the 5lan is getting to me, Damnit. Hit # 5.

8) Konfli: Conflict.
No disrespect Tvice, but those are the songs that lyrically I am so tired of. Even an election our people are incapable of instituting. Nonetheless, the sad part is that I and others will dance to the track and forget the dire situation of our brothers and sisters because the song is on point. Reynaldo is at the helm as the music director continues to hit the right notes, as well as the bass player and the drummer. On the other hand, as an artist or a citizen, I can’t argue with the fact that someone has to echo the plague of our people but enough is enough. We need to get our house in order. Great song.

9) Moving on.
This is a great subject matter that becomes the costly distraction of a family unit. A divorce is truly mischievous for those who have been to it or who is going through it. This is a great song with grit and eloquence and the video is also superb . Bravo for a song that can speak to all of us at one point or another.

10) Eske ou renmen mwen: Do you love me?
If that song was playing on a radio and I didn’t know it was Tvice, I would have a hard time recognizing it as Tvice. Then again, when I hear the quick fingers of guitar player then it’s no brainer. This young singer Reginald Toussaint delivers that song with grace. The talent is raw but captivating. This song needs just a little bit of zest then it will grow on the public pretty soon.

11) Back to the Groove.
WOW, beginning to end. This is back to the future Konpa Direk. These guys are on fire, seriously? Tvice you guys are killing me here. I salute you for this track. Hit # 6. This is what Konpa Direk was meant to sound like. This a reload of the Vice of yesteryears. WOW.

As we all know by now, 2016 is the year that konpa Direk has seen a resurgence due to great albums, notably Klass, Dissip, Kreyola, Djakout, Mass Konpa, Nulook etc.
The issue is which one of these bands will lose their spot in the HMI due to this new materials by the Vice? All I know is that Tvice just gives us a great CD that will captivate and bring the fans out. With this album, Tvice is certainly on the verge of stirring the pile of HMI bands. Confidence will rein. Great Job Vice2K keep up the good work.
Konpa Direk Devan!!!

Written by Jason Accime/Shah.



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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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