MY TIME NuLook CD Review by Shah.


After a 3 year hiatus, the gifted Nulook group finally grants us new materials: My Time. After listening to the first three singles, I wasn’t that impressed until I got to listen to the entire album over and over. I attentively listened with no prejudice to not erroneously grade it unfairly. This album is an attribute to all compa lovers and konpa nuts like myself. That being said let me begin to cumulatively and fairly analyze every song of My Time.

Nulook Time:
This is one of the reasons why I despise the “joure type of song”. Why a well balanced, fresh, very groovy uptempo, well-constructed song like this one has to contain words that pertain to an individual or whoever? Not because others do it why Nulook has to follow the lead. To stay above the fray, Nulook has to be unique. Apparently, maestro Arly feels otherwise. Aside from the personal attacks, this uptempo song has what it takes to get a crowd on their feet, catchy chorus, great horn arrangements. What happened to Laporte? Nonetheless, this is a well-composed hardcore konpa direk that I can say for certain is one of the many great songs on this album.

Great love song. Nice work by Laporte. This is is an everlasting real konpa direk rhythm as we know it, and very gouyad like. The vocal challenge that Arly Lariviere has been subject to has finally been put to rest. I attentively listen to the high and low keys of Arly’s voice to detect the imperfection, to no avail. He seems to adhere to the formula of a natural born singer. The switch is an automatic hit song on this CD. I like it a lot. Hit # 1.

Pa Swete Male on lot:
Another uptempo song addressing the enemy. This one has great potential to create a buzz. If Nulook decides next year to enter the MardiGras arena, just speed it up and this is as good as a merengue song. Not bad at all.

A great duet by the legendary Kassav front man Jean-Philippe Marthely and Arly Lariviere. In addition, there is clearly a thunderstorm of great horn sections. This is by far the best song on this cd. Arly holds his own vis-a-vis of Jean-Philippe Marthely. The orchestration is impeccable. The ban deye did justice to that song with the combination of the horns. Good job Nulook. Hit # 2.

Ton anniversaire:
Nice mid-tempo song. Smooth, fresh, qualitative and seductive. However, there is a reminder of “Ain’t got no worries” in the chorus line. Other than that, This song is well put together. It has a potential to become hit # 3.

Daddy’s little girl:
This is a smooth song that applies to all fathers who love their little princesses. This song reminds me of the great Charles Aznavour in:” Ma fille”. Laporte should have used an acoustic guitar for his solo. The king of plenyin has reason to cry out loud in that song for his little girl. Superb and beautifully done. I gracefully appreciate the lyrics because of my own little princess.

Haiti, quel espoir:
Nothing new here, this is the plague of a nation that has been addressed over and over by so many others artists in the HMI. After a while, this becomes boring and redundant. Frankly, I am tired of the social complaint. Something has to be done. Period. Nothing personal Nulook. Great passage by the icon Dejean on the trumpet. Nicely orchestrated.

C’est complique:
I like the guitar underneath Arly’s voice and the continuous silky sound of it as the song progresses. The infatuation of the keyboard solo is also calibrated measurably to the rhythm of a well-balanced konpa love song. I think lyrically, Arly is very gifted with words. This composition is a reflection of an engaged artist with an eternal gift.

Until when:
Subliminally superb. This is an Arly’s signature of konpa love. Rayi chin yan min dil dan blan. I believe this is a song for a man, woman or whoever someone is in love with who tends to take for granted the love and the emotions of the other. This is somewhat complicated due to personal sentiments also sad and melancholic to listen but as far as dancing, bon konpa. Plenyin or not this is what Arly does best. Hit # 4.

Rien que toi:

This is a song with grit for lovers. Arly is singing and speaking directly to the women who are also his greatest audience and fans. I can foresee the ladies pulling him off stage just to get a piece of him. I declare this one Hit # 5.

M’Bezwen on zanmi:
I am confused here because the previous album “I got this”, Arly was burned by friends as he clearly enumerated on” I got This CD”. I guess some friends are pretenders but those names cited on this song are his true friends. This is a song just written to pay homage to his core soldiers who always out taking the fight to the enemy camps. This is not a song for the general public. The Nulook seals are rewarded for their insults on others. SMH!!!

That Girl:
Hmmm!!! I guess when someone is doing business on a large scale one has to target different market segments to bring the $$$$$. Other than that, this is a song for the DJ market. Not much of real a konpa song, not Nulook like. And then again to each his own, too weak for my taste.

Thank you NuLook for adding another cd to my collection. I know it takes time, money and countless takes to produce and record 12 songs. I expected the crescendo of this CD to have been more symbolic than it is. Nonetheless, the ingenuity and the inspiration of MY TIME are great values that I intend to listen and I will cherish for a long time. I hope that my analysis of this project is fair and nondiscriminatory.

Good luck Nulook and be well. Konpa Direk devan.

Written by Jason Accime aka Shah



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  1. Amazura c koegrafi nu look la q t pi bon si c pou konpa li pat jwe pac klass Arly vini ak yn fotèy kp vire’ klass vini ak yn kbann ke piblik t pi r1m1 pa nu look la

  2. Klass tout jan nou palayi nou palaya albòm moman an rele fè’l ak tout kèw nou k fè’l e nou knn fè’l Richie c ansiklopedi mizik ayisyèn nan li bay sipò’l tout kote man2 tvice rapkreyòl rapameriken epi al tan2 sipèsta mekè zenglen an nap wè sak rele pwofèsè a yn ansyen siksè

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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