By: Lady English

Pull Quote: “I used to be one of those real closed mind Jamaican people who felt that anything that didn’t fit into my idea of what I am and what everyone around me should be, I should condemn it,” 

That diversion was from 1999 until 2002 when Tanya, born Vivienne Tanya Stephenson, set up home in Gnesta, 45 minutes outside of Stockholm, Sweden. “I got a record deal with Warner Sweden, and their take on recording was that the artist who is more available is the one who gets the most attention from the company,” she tells West Indian Times. “I moved there with my daughter and niece, who is like a second daughter to me and recorded the album Sintoxicated.”

Speaking in her thick accent, she is frank as she notes how her hiatus in Sweden was a revelation for her. “I used to be one of those real closed mind Jamaican people who felt that anything that didn’t fit into my idea of what I am and what everyone around me should be, I should condemn it,” reflects the petite singer. “I’m really appreciative that I got a chance to move outside of my little circle and realize that the world is much bigger than Jamaica.”

Up until that point, Tanya’s three album releases, Big Tings A Gwan, Hype Type, and Rough Rider, all comprised of songs on some of the toughest dancehall riddims and beats. Her earlier attempts to sing lover’s rock failed miserably when her career began in 1990, so she spiced up her lyrics with cutting edge subjects and brawny sexual topics. Anything ranging from what she looks for in a man to her reasons for masturbation was fair game to the singer who claims not to be a feminist. The first song that made waves was her 1995 release “Yuh Nuh Ready Fi Dis Yet,” - a song telling a man that he can’t test her female prowess. Other equally lighthearted men berating songs followed, launching her into the same spotlight as dancehall diva, Lady Saw, who had so far dominated this sexually charged arena.

Born in the parish of St. Mary in Jamaica, Tanya bases her gritty lyrics on her real life experiences and others around her. “I don’t write fiction. Apparently, a lot of people go through similar stuff and I’m grateful for that, as it means that I’m not so special. No one wants to be so special that it’s just them who have those bad experiences. You know how misery loves company,” she laughs.

Last year, “It’s A Pity” – “you already have a wife/an mi done have a man in a mi life” – floated on reggae airwaves worldwide, as listeners toyed with the poignant side of the illicit affair, and prompts the question, is the song aimed at someone specific considering that she is not a fictional songwriter? “I really didn’t know that so many people out there have those promiscuous thoughts, you all need therapy,” she chuckles. “It’s a case of seeing a man that she likes, and her conscience clicks in - boy I hate it when that happens, but I know that I can’t really do anything as I have my man already.” Her response neither admits nor denies her musical revelation, but does noticeably switch from ‘she’ to ‘me.’

Segue to her latest album, Gangsta Blues, which Tanya describes as her version of blues and not the old time ‘woe is me’ blues. The gangster in her is saying, “I’m gonna kick some you know what, and I’m going to sort out the situation. That’s how the Gangsta came in on the Blues.” Produced on her Tarantula Records label and being heavily promoted by VP Records, it includes several tracks from other producers to add multiplicity to the album already laced with much story telling and confessionals throughout. A duet with Wyclef Jean called “This Is Love,” and another effort with reggae deejay, Spragga Benz, is the limit for guest appearances. The sequel to “It’s A Pity” is “Little White Lie” – in the chain of events, temptation kicks in, the snake bites, and the result is a daughter that she passes off as her husbands. Ouch!

The acoustic “What a Day” adds the seldom heard introspective side of her to the mix, while “Good Ride” and “We A Lead,” deliver the fun-loving, naughty Tanya that still exists. The rhythms are varied with comical doo-wop background vocals, animated sound effects, and the “Damn” interlude that will make woman everywhere commiserate with the ‘ten seconds flat’ liaison. The rest of the lyrics simply beef up an already meaty Jamaican patty.