Undeniably regarded as one of Trinibad’s most shining inovators, Kyle George, aka Rebel Sixx, was one of the country’s most rapidly rising stars. In a budding genre gaining definition day by day, methodically-driven talents steady on the path of constant self-reinvention rarely go unnoticed. These qualities, coupled with Rebel’s determination and conviction for the progression of his craft, resulted in the Bompton resident’s swift ascent to the helm of the Trinibad movement alongside the likes of fellow deceased trailblazer, K-Lion, a fact later to be acknowledged by many.
As Rebel’s team has begun releasing the highly anticipated music left in his archives, it has become increasingly evident that even since the self proclaimed Last Son of Pharaoh’s untimely demise, his legacy continues to make waves within the genre and its community.
The ten-track album (released on January 8, 2021 ) is Rebel’s first, and contains all the elements of the artist’s beloved character, as well as some insight into the young star’s aspirations.
‘Midas Touch’ serves as a short introduction and opening sample, a description of his influence over the body of work about to be witnessed: “Ah me got da Midas touch/ Any way the King turn ah turn gold…Ask St. Paul, ask Bompton, whole ah me hand/Me only write hit songs.”
Immediately following this, Rebel dives into ‘Winning’, where his clever refrain rivals ‘gate-keepers’ of the genre and industry on a whole, inviting his listeners to “come play fi the winning team”. He compares his time within the industry (in relation to his rapid upward trajectory) to that of those who oppose him. His claim to the throne is explicitly justified throughout the pulsing baseline, tropical production quality, and intelligent lyrical strings which include cunning lines such as: “Baddest set ah man get da most fight/ Yuh do good, ah evil dem ah try/ Keep muh killer dem close even if dem try/ Dem ah go lose first like ah relegation side.”
‘Tour Bus’ details the singer’s aspirations and hopes of touring the world and “living the star life” despite never having entertained dreams as big as these as a youth. Rebel sings of his support system in the form of his prayerful mother and aunt, progression as an artist, and the process of avoiding ‘badmind’ and jealous people who attempted to hinder his opportunities for success (“Rewind back to last year, the same time we did ah shine/ Them still na give me no crown but the throne is mine/ All the records done set, all the setta ah badmind/ Wa take me outta me drive but the goal in mind/ Me make me studio, what ah golden mine/ Bomboclxxt, bare hits man find.”) Through the use of lyrics containing matters such as these in combination with a flow that comes off effortlessly, this song has an impact that Rebel had no inkling of at the time of its recording, hitting extra hard and allowing fans to experience the dreams of a man whose life was just beginning when it was brought to an end.
Rebel then inquires of the ladies with ‘How?’, a tune which lays out the particulars of his varying conquests, his status, and the nature of their relations to him singing, “Stop gwan like ya nuh know me ah criminal/ Yeah me love you, me love she, me love each and every gyal.” A remastered version of single ‘Heavenly’ joins the gyal tune segment of the line-up, with an accompanying music video on YouTube. This song was the second to last single released by Rebel prior to his passing, and was a hit due to its catchiness, explicit lyrics, and overt content which includes vivid allusions to both literal and figurative ‘heavenly bodies’.
With infectious beats and undeniable lyrical flow, ‘Kriss’ is of the catchy, storytelling, badman tune wheelhouse in which Rebel has been known to thrive. His cool delivery of lyrics such as “Me see ten man drop when me fling one shot/ Ah so me know me on top when everybody listening/ Couldn’t reach the church before me gun christen him” renders the content of the song to be indescribably digestible, taking the aggressive edge off of lyrics that are, albeit, abrasive to some, and replacing it with a more laid-back approach.
‘K Go Off’ follows in a similar fashion of delivery, however with increasingly gruesome lyrics intended to deter members of the opposition from meddling and to remind them that “D scheme hot, G City nuh laugh.” Rebel lists various different weapons in his possession and methods of bringing harm to those who dare to cross his team, with chiding lyrics to the likes of: “Bad in yuh dream, we bad inna real life.”
In ‘Big 40’ , Rebel’s distinctive voice can be heard delivering reproachful lyrics with admonishing pace and ominously-styled backing vocals as he flows with ease over a ‘reverse sampled’ beat produced by 47: “Don’t pass ya place, don’t pass ya place/ Big 40 ah beat off son, fly away/ No joke,” he sings before a precursive fade and the start of ‘March Out’.
Appearing to be a song of retaliation in response to a rivalry, ‘March Out’s foreboding violin in between hooks sets the undertone of a pre-battle ballad. Rebel, seeming to incite a movement of patrol in this song with thrumming beats, calls members of “BI6” to action, daring opponents to attempt to come into their territory. A drumline is heard in the final moments of the song, setting a soundtrack to the incumbent contention.
‘Twisted Thoughts’ is the final song in the 29-minute compilation, with Rebel’s blunt admittance to his darkest thoughts and actions. In characteristic storytelling style, he tells of his quests; explaining why he should be feared, advising that the life of badness is no game: “No yuh want war with us/ 6ixx gun na rust.”
Impressively laid out, with intentional placement and a continuous concept, the quality of this body of work is a testament to Rebel’s dedication. For a first full album and beyond, The Uncrowned King’s meticulous devotion and commitment ensure that his music and legacy live on as a result of his efforts.
Last Son of Pharaoh is mixed and mastered by Noble Touch, and executively produced by Bompton Sixx Records.
