Nigel Lewis

Ever timely on many levels, Nigel Lewis’ latest release “Unlock the Block”, boldly speaks of the injustice of our nation’s disenfranchisement laws. Breaking through the stigma of religion and politics in music, Nigel Lewis is not afraid to sing chants that encourage our government to restore the voting rights of ex-felons.

Many political representatives have joined the host of voices insisting that ex-felons are now reinstated as free citizens and should therefore have the right to vote once again. There are nearly 5 million ex-felons in America who are not allowed to vote. This is an issue being addressed nationwide and could help make ex-felons become a part of their community once again. In true Bob Marley fashion, Nigel stands out as a global artist who speaks freely about political issues.

The song “Unlock the Block” depicts an ex-felon declaring the price of his consequence paid for and demanding the release to vote. In traditional Trinidadian storytelling style, the lyrics display political injustice on a bed of strong Reggae chords. The vibrancy of this single track reflects on the strength of the rest of the album which is not common within its circles. Undoubtedly, this album will appeal to a wide audience of listeners.

“Unlock the Block” is undeniably the theme song for a well-deserved and long awaited movement of ex-felons attempting to restore their right to vote. As a number of state bills head to government authorities, the voice of ex-convicts applauds. One more chapter of injustice begins to close.

Please visit www.nigellewis.com to hear the complete “Unlock the Block” album.
- Res' House Records, Inc.

July 27, 2006
From one of Trinidad’s underrated secrets, Nigel Lewis returns to Unlock The Block, his latest full-length since The Art Of Christ Book I from 2002. The Res House Records release is chock full of dance jams while sending shares of praises, unapologetic messages, as well as addressing voting rights.

His parents, a dancer and jazz musician respectively, definitely influenced the Tobago-born singer/songwriter/musician in many ways. Lewis taught himself to play numerous instruments without formal classroom training and his clairvoyant lyrics have confronted issues, such as out-of-control poverty in his homeland. He continues on behalf of important causes on ‘Block’s’ title track. Throughout his career, Lewis has worked with several internationally acclaimed artists such as Beenie Man, Lauryn Hill and Shaggy.

Beginning the block in a roots reggae frame of mind, I Need U, co-written and produced by veteran reggaemeister Bobby ‘Digital’ Dixon (Capleton, Sizzla) looks at the Bible for our dependence on Him: “Everytime I read your Word, I realize Your love I don’t deserve.”

So Much Trouble delivers a wicked rap via Ockydoc P revealing the pretenders: “This conversation to the races, smiling in your faces, tearing this nation down.”

I Just Wanna reunites Lewis with Beenie Man, as both take jabs at the devil left and right, yet also making a plea to “consider my meditation.” (Psalm 5:1).

With mass respect to Bobby McFerrin, it’s time to “don’t worry, be happy.” Pop/R&B hybrid, Don’t Worry, starts out with a near hush, until co-lead vocalist Glacia Robinson (Helen Baylor) unleashes her heart to shun doubts and fears.

Lewis lends a word on the title track for those in prison, stating “over 5 million former felons are disenfranchised” and need their rights and responsibilities: “Release the vote, I’ve paid my debt to society.”

He Is revs up the drum line and recognizes Who sacrificed all for our freedom. “Good God” follows right on its heels, making a great companion for a Christian Soca mix tape.

Giving it up for our future, I Can Be preaches to the youth, “stay in school and make it your business.” While Vital provides the rap, The New Birth Kids take care of business on the chorus and breakdown.

Movin II moves vigorously, urging folks to take sincere action in uniting people of all nations: “Let’s think fast, no time to waste.”

B.B. Jay along with Bright Star, Dwayne Bennett, and Lewis sum it all up for the laid back hip-hop joint, Talk To U, declaring “one God, one faith, one Jesus.”

Fellow Trinidad singer/songwriter Eddy Grant’s classic, War Party , talks about refusing invitations towards unnecessary bloodshed: “You killed off all the Indians,…all the slaves.” Lewis drops more advice about conscience decisions: “Let God be your guide.”

I Know thanks the Lord for taking our pain and shame when we feel low. Our time is oh so short in this world, so goes Naked U Come Naked U Go: “from dust we come, from dust we go” (Genesis 3:19). “I see the devil in the politician,…the policemen,…the preacher man”, a lesson to be taken from Slap Satan, in discerning persons in sheep’s’ clothing.

A Lewis trademark, the finale, Follow The Leader, should have everyone bouncing just like Tigger.

Through the hypnotic ‘party’ atmosphere, Lewis’ heartfelt angst vibrates and his lyrics radiate serious business. Lewis also has his hands in the production jar, with the exception of I Need U. Contributing musicians include co-writer/keyboardist Jacqueline Tammy Parks, drummer Tristan Henry, and guitarist Conroy Anglin. Unlock The Block should begin unlocking possibilities of more Caribbean-based gospel (Avion Blackman and Sheldon Blackman to name a few) in gaining worldwide notoriety.

For more information, visit www.nigellewis.com.

- Gospelcity.com

Once dubbed the "Party Vocalist of the Year" and a much respected musician on the carnival circuit, Tobago-born Nigel Lewis throws all his exuberance and gifts towards his first gospel CD appropriately titled, The Art of Christ, Book I. This is the latest effort from his company, Res House, after four other releases. His delivery may echo sounds of Shaggy and Shinehead, yet his musical savvy takes him to several destinations, including doo-wop and contemporary jazz. Before Lewis created Res House, he paid his dues internationally (France and Amsterdam) with groups and as a solo act opening for Beenie Man, Lauryn Hill, Wyclef Jean, and Shaggy. His career peak came in 1996 when Movin' (Moving To the Left) was the most played song on the road. Now Nigel Lewis is movin' to another venture - spreading the gospel in a worldwide manner.

The intro is the international hit, Rivers of Babylon (one version was recorded by Boney M). Lewis tosses in some wit as he starts Tell Jesus in an almost straightforward manner before busting out the dancehall rhythms. In Tell Jesus, we understand we can tell Him everything we need assistance with or just give Him a shout of thanks. In the chorus, Lewis lists some of the benefits of conversing with the Lord:

You have physical sickness,
You need forgiveness,
If you need accomplishment,
If you're ready to repent.


Nigel Lewis - The Art of Christ, Book I (page 2)

Nigel also declares: "He saved my life when he carried the cross." Displaying his vocal range flexibility, he raps one verse down towards the bass range.

His pastor, Wayne Lomax, gives an important message to open up I Love Jesus:

"On Wall Street to your street, the search is on for the edge. The Lord omnipotent will enlarge territories by giving light and darkness; strength to the weary, courage to the fearful, power to the weak, salvation to the world."

The hook on I Love Jesus is slightly reminiscent of a different song of the same name by veteran singer/songwriter Carman. On several selections, the background vocalists are in a call and response mode, a common thread at Lewis concerts. The thick and potent harmonies also bring another perspective beyond what most people hear from gospel choirs.

Be brave and get ready to shout His name on Shout. The more we praise and call upon Him, the easier it becomes. He's also our refuge and strength from the enemy for those who consistently pray. Just when you think the reggae/island flow is continuing, the tables turn sharply as we experience Jesus Blues. Filled with old-fashioned rockin'-the-house blues and a touch of doo-wop, Lewis hands us more mild novelty to kick it off:

"It was one of those nights when I was all alone, Just me and my guitar and my dog T-Bone."

From there, he asks the Lord, "tell me what you want me to do". As Jesus says we're not alone, and Lewis answers back, "right on…! and I'll take anything that comes my way." With the tone of the song, this testimony should strip your blues quickly away.







Nigel Lewis - The Art of Christ, Book I (page 3)

Listeners of artists such as Shaggy may appreciate the treatment on When Somebody Loves You Back, from the pen of Kenny Gamble and Leon Huff of Philadelphia International old-school days. Caleb Daley's hooks are adequate, but Lewis keeps the praises afloat in an easy flowing manner. Towards the end, listen for the reassurance that there's no "7-11 or 60/40" when it comes to Jesus' unconditional love relationship.

Speaking of love, Love Is (The Art of Christ) is the key that should control us, and furthermore, our hearts need to open up and trust the goodness of His love. From a small quote inside the CD cover, Lewis states, "remember to be wise as a serpent and harmless as a dove." The carnival atmosphere, along with a bouncy horn section, highlights Say A Prayer. Sung in a soca style, Nigel asks for guidance in a righteous way for the whole family. To cap the song, he and male background voices reach back for a classic Christian anthem, Amen. Being a family man, Have Mercy shows Lewis' heart for the youth and the stresses that life can present quoting a biblical verse, "thou shalt not kill." Psalms 23 & 27 take center stage on My Salvation. Taking a unplugged approach with conga rolls and pure soprano sax playing by Curtis Lewis, the blending of two lead vocals is a great work of art as Nigel's edgier but soft tone and Marvin Lewis glossy voice never stray the course. Closing out the CD is another slow piece, Keep the Faith, continuing Nigel’s concern for the violence and strife that is part of the daily world agenda.

Lewis provided all the production, arrangements, writing (with the exception of When Somebody Loves You Back) and most instrumentation. Recording took place between Miami, Florida and his home base of Trinidad. Lewis' strongest asset is in the background vocal harmonies, in which he participates, and how his lead parts are tailor-made for the diffe - Gospelcity.com

After achieving success in the secular music world, followed by quite a dramatic drop in popularity, Trinidad native Nigel Lewis has released his first effort as a born-again Christian with "The Art Of Christ: Book 1." The results are quite superb. Have you ever bought an album because of that "one good song?" Well, on "The Art Of Christ" there are several such songs that would be worth buying the album for. Impossible to pigeon-hole, this body of work contains elements of R&B, reggae, soca, folk, pop, and blues, providing something for practically every listener to enjoy.

Though I'm a fan of different styles of music, deep within me there is an affinity for roots reggae that is unparalleled. Having said that, I was pleased to discover a few rootsy tracks among the bunch. "My Salvation," (featuring guest vocals from Marvin Lewis) is a comforting, deeply biblical, nyabinghi-flavoured track, which clocks in around six minutes and it's not a second too long. The mellow roots are nicely enhanced by the sax work of Curtis Lewis, as well as the tasteful percussion by Ricky Norville. "My Salvation" is sweet, melodic roots reggae at its best.

One impression that "The Art Of Christ" made on me is that many of its songs inspire participation from the listener as in the call-and-response style of "I Love Jesus" featuring remarks from Pastor Wayne Lomax. Combining gritty funk with a touch of soca, the tune combines praises with exhortation that is sure to get both children and adults singing along, "I love Jesus!."

"Tell Jesus," an infectiously funky song of encouragement, features a singjaying Lewis interacting with another catchy chorus that again lures in the listener to "tell Jesus" whatever it is that troubles or concerns him or her - be it the need for repentance, forgiveness or healing. Cleverly blending a reggae beat into the mix, "Tell Jesus" also includes some deejay chatting from Lewis that sounds like he called them in from a phone booth - pretty cool.

Showing his diversity, Lewis even takes a stab at blues rock ("Jesus Blues") and a smooth remake of the Gamble & Huff soul classic "When Somebody Loves You Back." Featuring the suave vocals of Caleb Daley, the song expounds upon the unconditional love of God in Christ and includes some Kirk Franklin-style vocal injections by Lewis. "When Somebody Loves You Back" has been making waves on gospel music charts and a positive impact on listeners everywhere.

"Love Is" is a light and airy tune which seems to combine 60's-style folk (both musically and lyrically) with a subtle backbeat to encourage listeners to "spread love now" in a darkened world - the love of God. For all the talk of love, we would all do well to internalize the message of this song and truly make an impact on the world around us to the glory of God.

Another standout on "The Art Of Christ" is the chunky rhythm guitar driven soca of "Say A Prayer," which achieves a perfect balance of music and message. Undeniably catcy, it features the inspired vocals of Lewis, group vocals, punchy horn charts and reggae dub elements. Great teaching and admonishment over a beat which demands a replay. Lewis' "Dear Father, help me today/Guide me in the righteous way as I pray to thee/Watch over me and my whole family," took great effect on this tune which is sure to be a listeners favourite.

The anthemic "Keep The Faith" is imaginative roots reggae over a pulsing beat that documents the suffering in the world while encouraging the listener to keep the faith in the face of adversity. A beautiful track, "Keep The Faith" is a most fitting way to complete a collection of powerful songs.

Review by Mike Roots
"The Art Of Christ: Book 1" by Nigel Lewis deserves a space in the collection of lovers of Caribbean music everywhere as it incoporates the teachings of God's word, thoughtful observations and creative artistry for an album that is sure to be enjoyed for years to come.

- Lion of Zion

here might have been a small audience that turned up for Toronto’s top soca band Neu Jenarashun’s 6th anniversary celebration on April 31st
They were in for one helluva BIG show; one they will find great difficulty to forget at the Fortress North Banquet Hall.
A really superb group of musicians and vocalists, Neu Jenarashun were spectacular and scintillating, performing an extensive array of popular selections and pleasing their fans immeasurably. Frontliners Susan Grogan, Aubrey Moriah and group leader Seon Anthony were fine fettle exhibiting the band’s vocals versatility and producing some smooth harmonies. Neu Jenarashun’s horn-playing quintet which included a female saxophonist, is so unbelievably impressive; they are a show inside of another show. Their energetic and expertly crafted choreographed dance moves make them an eyeful, in addition to an earful.
Specials guests Roger George and Nigel Lewis who flew in from Miami for the occasion, treated patrons to a treasured evening of entertainment. For Lewis it was his first appearance on Canadian soil in nine years and he rose to the occasion. He sang all his hits including ‘Movin’, ‘Follow De Leader’, ‘Take Dat And Cool It’ and ‘The Urge’, pouring out his heart and voice, right up until the lights went on at 4:00 in the morning. Sporting much longer dreadlocks from when he was last seen on stage at a Soca concert in a few years, Lewis also unleashed a foretaste of some of his new work including ‘You Are My Girl’. His repertoire included snatches of Reggae, and a classic version of the old favourite ‘Play That Funky Music White Boy’; definitely one of the night’s peak points.
Lewis’s version ‘Play That Soca Music White Boy’ was recorded some time ago and featured Canadian keyboardist Jeremy “Hatcher” Ledbetter. Ledbetter, who is David Rudder’s musical director, was in the audience at the Fortress North and when Lewis invited him onstage, things exploded. Ledbetter, with Lewis, was singing the lines of the popular recording and later whipped out a harmonica and proceeded to mesmerize all present.
He played some exciting riffs and engaged the audience totally. Lewis then summoned George to the stage and gave him the harmonica. What happened next was unbelievably electric! George, known for his unmatchable vocal range, had earlier thrilled everyone with inimitable stylings on tracks like ‘Turn Me On’ ‘The World Needs Love’, ‘Sugar Island’ and ‘Trini To The Bone’. But with the invitation to join Lewis and Ledbetter on stage, Roger George shocked fans when he “ramajayed” on the harmonica with amazing proficiency.
It was a pity that a night, so rich in musicianship; (particularly the priceless, precisioned presentations of the Neu Jenarashun horn players which included a female saxophonist), vocals and general great entertainment, was played out to such a small gathering. Fortunately, there are plans to take the marvelous concert to other entertainment facilities; even in the Caribbean.

- Trinidadian Guardian