Tanya Stephens: Strength Pon Di Mic!

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Tanya Stephens got a young start in the music business so it seems like she might have been around for longer than it she actually has, but in her time she has left a large footprint on the reggae dancehall -- within Jamaica and without.

Bored with school and yearning for something more interesting to do, Tanya Stephens dropped out at 16 and began moving with some music minded friends. By 1994 she had issued "Big Things A Gwan" and by '97 and '98 she had issued the albums "Too Hype" and "Ruff Ryder". It was immediately obvious that Tanya Stephens had no intention of being intimidated by the overpowering testosterone and ethos of the Jamaican Dancehall scene. In fact, any woman engaging in this world had better come strong or not at all with the inherent hype and male braggadocio that pervades this music -- all the jokes, wisecracks and insults aimed towards any perceived personal or professional weakness in skill or presentation can be lethal...just ask Shabba Ranks.

The difference with Tanya Stephens was that it was obvious from her lyrics that she was no 'babe in the woods', no innocent disabused and misused by the world and now wallowing in regrets, self pity or remorseful hindsight -- no, here was a woman clearly empowered by her disappointments and experiences and not ashamed to share them with the world. She had strength and insight and she had no desire to shrink from the world with it (See her version of Helen Reddy's 70s classic "I am woman" at the top of the page). Her sexuality had a raw energy to it that must be shocking to many: it did not pander to stereotypes, it did not ask to be pandered to. Here was a woman who knew what she wanted from a man and was not shy to tell the world how often and in great detail how she had been disappointed!! Witness "Draw Fi Mi Finger" from her 1998 release, "Ruff Ryder" -- here is a song that outlines how the men in here life are all talk and not enough action when it comes to her satisfaction, and how she is isn't afraid to get the job done herself and on her terms...and not feel any particular way about it.

By the new millennium Tanya had continued in her progression forward but needed something to distinguish her from her colleagues -- as strong as her songwriting might be, the riddims and the production that she was working with was not setting her apart in a way that any original artist craves. Until 2004. Working with the so called Doctor's Darling riddim -- amid homegrown critics who thought that using a european reggae riddim spoke of a lack of "artikkle" culture -- Stephens recorded a smash hit called "Its a Pity" -- a touching and heartfelt story of impossible love between two people already committed to other relationships. Again, free of all naivete, innocence or even guile, it is an incredibly honest, heart rending depiction of practicality in the face of passion.

The follow up album, "Gangsta Blues" did not disappoint -- full of varied, rich and deep life experiences, Stephens put herself out there much like Steve Miller's "Gangster of Love" type of personality. Though she refuses to take full credit for all the content of the songs saying that some are borrowed from other peoples' experiences, she touchingly tells the stories of a young woman making her way in post millennial world -- on her own terms and within her own expectations. She is brutally honest about the state of the music industry and the state of man and woman. "Gangsta Blues" is a landmark album in today's reggae scene which has so often been fraught with criticism for its lack of originality and for its obsession with themes such as homophobia, materialism, consumerism and for its lack of "culture" -- that is, a bona fide roots reggae disposition a la Bob Marley, Burning Spear or even Buju Banton. While no one paintbrush can accurately paint a music scene as diverse as reggae as a whole, it is myopic to say that much of the criticism of dancehall is unwarranted. Even Tanya herself says that she has to close her ears to the lyrics sometimes to enjoy a song that might be otherwise rhythmically nice.

But this is precisely what Tanya brings to the table with "Gangsta Blues" and its awesome 2006 follow up effort, "Rebelution" -- intelligent, well thought out stories and lyrics produced with infectious and equally original riddims. She has managed to distance herself from many in the industry and stand alone with strength and vitality in a crowded field that is full of talented performers, in a music scene that produces an incredible volume of talent on a yearly basis. To do it with integrity and independence speaks volumes of the strength of her character and determination.

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Here are some excellent interviews with Tanya Stephens that can provide you with further insights into this dynamic performer

http://www.jahworks.org/music/interview/tanya_stephens.htm

http://www.bbc.co.uk/1xtra/dancehall/xtra/tanya.shtml

http://www.miaminewtimes.com/2006-09-14/music/viva-la-rebelution/

http://micapam.innariddim.com/music/tanya-stephens-interview