KB over the years has been one of the driving forces behind the new Bahamian sound. The genre used in his compositions range from Rake 'n' Scrape, calypso, and various other hybrids and fusions of funk, junkanoo, rock, and a host of other influences. Like Dry Bread, it is at times very difficult to put a liable on the genre. I find that in this developmental process of the Bahamian sound, our being a tourist destination and being so heavily influenced by the music of the United States, it is near impossible not to have the feel emanating from some of these foreign neighbors.
One thing for sure, KB has followed the tradition of those like Ronnie Butler, Eddie Minnis, and some of the older composers from the Bahamas. This is evident in his lyrical content, melodic interpretation, but to a lesser extent, his stylistic approach. I believe that unlike other countries in the Caribbean, our music, especially music of the modern day composers place greater emphasis on the strong beats in the measure. This can be heard in the first song to be featured in this review. "She Fat" opened the doors for the resurgence in Bahamian music in the early nineties. Years prior to that, there was quite a dry spell in the recording of Bahamian music.
The moral got the composers, entertainers, and local club musicians were at an all time low around this period. With little Bahamian being played, artists in turn produced less recordings which sent the music industry in a downward spiral. KB however recorded a few songs which peaked the interest of the Bahamian public with his humor and dance grooves which led to others getting back into the studios. This first featured song borrows from funk, junkanoo, and a bit of soca in the keyboard rhythm.
