Damn, the “Know the Face” Remix was Pretty Disappointing

cb on March 27, 2017 - 9:50 am in Latest, Soca, Songs

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Remixes can be hit or miss. Sometimes that reinterpretation can enhance the source material; giving it more legs after another artist or producer puts their spin on it. But it can also be a bland reimagination – at worse, a complete mess – that can leave a blemish on the legacy of the OG version. The remix of Marvay’s “Know the Face” is the latter.

The lovelorn earworm dominated Crop Over, and with Trinidad carnival nigh, it was obvious it was going to do the same. Watch how the Trini jocks from 96.1wefm gush over it in his interview. It’s a beautifully written and wonderfully sung song. Everyone who has vague familiarity with a face, but at a loss for words with regards to a name, can connect to it. But alas, someone had the bright idea that they could make it better.

When I first came across it, my reaction was, “Why?” But after seeing Patrice Roberts as the featured voice, I decided to reserve my judgement. I’m a fan of Patrice. She has strong vocals, and I admire her continued connection with BIM musically. “On the Low” is a jam.

After the fist-pumping electronic intro that lets you know that this is a remix, De Red Boyz’s original instrumentation is given some foot-stomping juice. Typical fare. But then… nothing. It’s the musical equivalent of sprinkling maggi cube on leftovers you just warmed up in the microwave. Outside of the added embellishments, it’s basically the same thing. What was the point again?

Patrice sounds uninspired, unconvincing; bored even. Listen to how disinterested she sounds on the bridge when it calls for a bit of gusto. This sounds like an obligation, a favor, and she would rather be doing something else. It’s a bland cover. Patrice just harmonizes with Marvay’s original accapella and changes up a lyric here or there to speak from the POV of the forgotten face. She comes off disappointed she was even found at all. (I know men can be annoying, ladies)

This would’ve worked better as a full “answer” record that Aunty Alison is so fond of making. Just leave the original beat untouched, make the man play the background, and completely rewrite the song from a woman’s perspective.

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