Following the triumph of their first album, Fè’l Vini Avan, three years later Klass releases Fè’l Ak Tout Kè’w, asserting it’s still their moment. The anticipation of this eleven track Compas album has caused outstanding distraction in the Compas world. Jean Herard Richard, the band’s maestro, kept it safe on this album; something that most Compas connoisseurs would call brilliant. Richie didn’t need to take any risks. Why change something that’s working? What more can one expect of the band’s lead singer, Pipo, in terms of delivery, right? All he has to do is sing. He’s a seasoned singer who just needed a producer of Richie’s caliber to give the sound that best suits his delivery style. Fè’l Ak Tout Kè’w, lives up to its title. When we think of the way Konpa Direct should sound like, Klass sets the standards.
“Map Marye” is a record that defines Klass. The melody, concept, the lyrics, the beat, and Pipo’s massive vocal performance all stand out strong. It has the potential to be a mega Compas hit. The arrangement of this song shows Maestro Richie’s brilliance and once again proves he is a master in this genre. The song speaks of a common issue in the Haitian community where Haitian parents seldom support their children’s marriages due to family background or social class. Parents are obligated to express concern of the people their children are choosing to be involved with romantically; however, they should never try to hand pick lovers for their children. They have to learn how to respect their children’s choices when it comes to picking a partner. This song is a very well-written song. It offers the best language for one to pledge for the support of his or her parents in case a situation like this was to come up.
Following the tremendous success of “Pitit Deyò,” “I’m Sorry ” is the most profound and heartfelt song on the latest album. The song adds to the “pro-life” and “pro-choice” debate. This is a song that can overwhelm someone with emotion who has made such mistake. So many people can relate to this song. This is probably the most important song on the album. The lyrics will make people think twice about aborting a child. Richie sang this song for so many people who would be so ashamed to talk about a similar experience. This is a good forewarning song where many people can thank Richie. Too many young men are making that mistake of having unprotected sex, then bow out when the cycle of pregnancy occurs and they’re trying to convince or pressure the young women to have abortion. How can one say “I’m Sorry” to a woman in a situation like this, especially if the woman can never get pregnant again?
Fè’l Ak Tout Kè’w’s beats are very light compared to previous heavy productions of Richie’s Konpa Dirèk albums, but the horns are a bit too convoluted through the whole album. LOL (Pa Bliye), for example will be difficult to dance to until El Poze comes in with his guitar groves in about one minute and thirty seven seconds. Without the guitar and keyboard solos carrying the song, a dancer would give up waiting for those simple groovy parts to come in and out. Pipo keeps up with the twists and turns of the instrumentation the song challenges.
In “Lajan Sere”, a song penned by renowned songwriter, Dener Ceide, Pipo displays a massive vocal performance with deep emotional density. This is a minor cord song that will have to grow on people. “Ou tankou yon lajan sere / Ke m te m fin bliye/ Sanzatann m al twouve,” these lines can be used as a metaphor; the way the fans will receive this song as the more instant hits like “Map Marye” and “I’m Sorry” start to fade.
“Il Est Friday” is the Fè’l Ak Tout Kè’w album’s most surprising record. Richie in his raspy voice introduces the track: “It’s a brand new thing. We’re going global.” This is the best party track on the album and the best song to perform at festivals, especially to a crowd that’s not too familiar with Compas rhythms. Pipo sings beautifully in Spanish then switches to English and Haitian Creole. He displays his colorful range thoroughly and offers one of his best vocal performances.
At this point, a Richie album can only compete with his other albums. Looking at all his albums: his five with Zenglen, his two solo albums, and Fè’l Ak Tout Kè’w, which makes his number 9th studio albums, are all great Compas albums that are in competition with themselves. This album is another great Richie studio album. It will not outdo “Fè’l Vini Avan”, but it’s solid enough to keep Klass on top unless bands like DISIP and Carimi both drop exquisite tracks. Maestro Richie can do what he does for another twenty years and still be on top of his game. It is every producer’s dream to find a formula that works; his formula has been working for more than 15 years. His influence on Compas is outstanding. This second Klass album has put Richie on a different level that only a few others are in; he is definitely one of the best Compas producers of all time.
Written by Rodly Madeus
Edited by Natasha Placide
