Calypso Lyrics and Melody Part One

Calypso Lyrics and Melody

(RISE UP FROM THE JUDGING PITS) PART ONE

by Gregory Rabess

Calypso competitions usually engender controversy. Calypso itself is controversial. Like chanté mas in which it is rooted, it addresses controversy. Calypso is often a controversial take on already controversial issues and this in turn adds to the controversy. A key element of competition controversy has to do with judging decisions; who get pitjé as we say in cricket parlance. Often the pubic, pundits and commentators alike go through a range of emotions, reactions and even expletives when certain songs, that are presented and performed reasonably well, do not make it past various rounds. Accusations of bias are hurled at calypso judges. The job of judging calypso competitions is no easy task and can be a thankless job. Judging is an immense responsibility indeed. Poor judging decisions can seriously demoralize good artistes and writers who then opt out of competitions. The competition suffers as a result. Given the high stakes and high prizes involved in calypso competitions, it is imperative that the quality of judging be impeccable.

Recently the calypso Rise Up Again penned by me and performed by Jerd Dorsette (the Genius) did not find favour with judges to the surprise of many. Some commentators were not altogether flattering either. However, as the song rises again and again and continues to grow on the public, some are now admitting that a judging travesty may have occurred. In Rise up Again I sought to push the boundaries of melody and lyrics and apparently lost the judges and some commentators in the process. Should writers faced with such situations switch gears and write to appeal to the lowest common denominator in terms of lyrics and melody or should they continue to push the boundaries of the same. Should they write to win local crowns or should they write to win over a wider regional or global audience. This is the key dilemma faced by calypsonians and writers alike here in Dominica. My own approach, as reflected in my calypso and song recordings, is to push the boundaries, give the song (melody and lyrics) an edge. But back to the competition and judging issue, it would appear that there may be some misconceptions about what constitutes a good lyric and melody in calypso. To help clear some of these misconceptions, I share the following thoughts on what constitutes a good lyric and melody and in so doing, assist in improving the understanding and judging of calypso.

Calypso is derived from the African storytelling tradition. As a result, calypso lyrics often tell a story. In more modern times, calypsoes, especially those designed for radio and competitions, are limited by time to between four and seven minutes on average. Calypsoes thus tend to have three verses, four at best. The calypsonian or writer has to tell that story within this time frame and verse limits. Language economy is thus vital. He or she has to get the story and message across in as few words as possible. Great calypso hits such as Sparrow’s Jean and Dinah are minimalist from a lyric viewpoint but immensely effective. In Rise Up Again there is a great deal of language economy in terms of number of words per line...two or three in some cases. Some calypsoes tend have too many words per line and the calypsonian has to race the delivery such lines especially in fast tempo songs. Lyrics should be trimmed; get rid of the fat, get rid of unnecessary words. Lyrics should leave room for imagination, double entendre and for people to interpret and decode the hidden meanings. Of course this must not be overplayed otherwise one ends up losing the listener and the judges totally.

Just as a story has two sides, there is more than one way to tell a story. In telling stories, the storyteller usually adopts a chronological and linear approach i.e. one thing follows the other in terms of time frame or 1-2-3, a-b-c-d etc. It is wrong to conclude that this approach is the only way to structure a story or calypso. One can in fact begin with the current situation in verse one and go back to previous situations or antecedents in verse two or three as is done using flashbacks in films and movies. This is pushing the boundaries but it can be done. And this should not warrant punishment from the judges.

Another approach in calypso lyrics is the use of various scenarios, even mini stories or anecdotes to highlight an issue. In this case, the verses do not need to flow in a linear or chronological manner as is often done in calypso. In fact each verse may address a different scenario or anecdote. How does the writer then link these verses to complete the story, to have the calypso make sense? This is where the chorus comes in. The role of the chorus in any song is to highlight the main message, the key take away message or lyric line. In another approach, one can link the scenarios or mini stories to the central message of the chorus within the lyrics of the verse itself, somewhat like a pre-chorus. In Rise Up Again, both approaches are actually used. If a judge is constrained in his or her thinking by a linear approach in terms of calypso verses, then a song such as Rise Up Again will not curry favour and will lose points in the lyric category.

In creating lyrics, there is also the use of imagery, poetic devices, popular expressions and cliché. While it is advisable to avoid over-used expressions or cliché, this does mean that they should be avoided altogether. In the Dominican context, there is a tendency to use Kwéyòl expressions and imagery to spice up calypso lyrics. This approach is one I use and this is recommended. I used this technique in the 1994 road march winner Tiwé Yo. In Rise Again there is a clever use Kwéyol expressions such as wi fout, latè a k’ay bout, dékalé, malkadi, bazoudi, sa sé lavi, joujou, djiyon fanm mayé… all with the aim of making the song resonate with the Dominican (and St. Lucian) public in a bigger way, adding wit and humour in the process.

Once again this technique must not be over-worked to the extent that nonDominican or non-Kwéyòl speakers become lost and even worse, the message gets lost altogether. And even though the target audience may be mainstream English speakers, one can use this technique of including Kwéyòl or Kòkòy words or expressions in the lyrics. The calypso legend Mighty Sparrow uses this technique quite a bit. In the reggae genre, Bob Marley for example uses Jamaican expressions in his songs but the universality of his message is never lost. His tremendous global appeal and fan base speak to this. In making decisions on language in lyrics, on expressions and poetic devices in lyrics, one must consider the language of target audience and ensure that whatever language or combination thereof is used, the main message and its universal appeal is recognized, registered and not lost. In our multi-lingual context, calypso writers should seek to craft a universal message out of any local story or situation and reflect this clearly in the lyricks (usually withing the chourus). Even traditional stories end with a moral or message. Rise Up Again is a brilliant example of this approach, balancing the local with the global, the specific with the universal.

In crafting lyrics, there is also the question of point of view - first person (I), second person (you) or third person (he she, it) and the plural of these. It is generally advisable to stick to ‘one’ person but the writer can move from first person to second person or third person within the song. This however must be done very carefully in order not to confuse. This shift in viewpoint may work best in the non-linear approach, the painting of different scenarios, the juxtaposing of real-life experiences of the writer and the experiences of others, all leading to the central message as conveyed in the chorus. In Rise Up Again this approach is used but then again, this may have put the judges to the test (lol).

In some local calypsoes, the song structure can be problematic. Sometimes one cannot determine where the verse ends and the chorus begins. Some have two verses rolled into one, two choruses rolled into one. A calypso must have various parts but sometimes one ‘part’ sounds like an entire verse or chorus. When one thinks that the verse or chorus reaches its natural ending, the second part kicks in and it is so lengthy that it equates to being another verse or chorus. It is advisable that the distinction or differentiation between the verse and chorus is sufficiently clear. This applies to both lyrics and melody. There is also the there is the question of a bridge. In song, a bridge is an additional part, just a few bars long, which departs from the melody of the verse and chorus. A bridge normally brings a bit of variation to the overall melody especially if it may be monotonous. The road march winning calypso, Hammer by David Rudder of Trinidad and Tobago, makes excellent

use of a bridge. The bridge in Hammer adds to the mysticism and other-worldly context of the song. As such it is very appropriate and tremendously effective. The rules and time limitations on a song in calypso competitions may not allow for a bridge. And this is an example where the competition factor constitutes a negative element in the development of the calypso genre. Writers however should not shy away from a bridge if the inspiration so strikes.

Another issue in calypso lyrics has to do with blanket statements, erroneous and non-factual statements being promoted as fact, statements which smacks of racism and xenophobia. Calypso writers, especially those with a political chip on their shoulders or an axe to grind, do so blatantly in their compositions and justify it by saying “oh this is calypso” as if to say don’t take this seriously, it is just calypso. This in fact stereotypes calypso as a non-serious art form. Exaggeration in terms of lyrics is useful in satire, in ridicule as in the picong genre, in dramatizing a point or adding humour. But stretching or manufacturing facts, doing hatchet jobs on the truth, is another matter altogether. This is where artist and social responsibility comes in; artistic freedom and social responsibility. While lyrical mercenaries can’t be bothered with social responsibility, genuine writers and artistes should generally seek to represent the facts and reality faithfully, even if these may rile some persons. My own approach is that I must be able to defend my lyrics from a moral, factual, philosophical, ideological and political standpoint. If I can’t do so, I won’t write them. They won’t see the light of day. It is a form of self-censorship, nothing wrong with this because freedom comes with responsibility. There is nothing wrong in having a political viewpoint and agenda and represent these in calypso but making blanket statements not grounded in reality and truth is not helping the art form. It only contributes to the industry of misinformation and the perpetuation of hatred, division and discord in society. Writers and calypsonians are important messengers and do have a great influence in shaping public opinion. As such they must have a deep sense of social responsibility and factor this into the composition of lyrics.

This sense of social responsibility is also applicable in dealing with masking and double entendre in crafting lyrics especially sexually suggestive lyrics. Sexually suggestive lyrics have been an important part of our song tradition be it chanté mas or calypso. In the era of radio and television, if the writer uses no masking devices, double entendre and is too suggestive in a particular calypso, such a calypso will likely be banned on mainstream media. Masking is also important in relation to political songs, songs which attack the political system and political leaders. Being too direct can result in a radio ban as well. Again the calypso classic Tiwé Yo is a good example of masking in this regard. And in the era of litigation, persons eager to sue someone, songs crafted about individuals as done in the chanté mas tradition have appeared less and less in modern calypso. However writers who opt to write a song on an individual which exposes a scandal he or she was involved in or a song which does not portray him or her in a positive light, the use of masking is vital. Given the many considerations, variables and issues in lyric crafting, it may be useful for the lyrics of calypsoes forming part of the competition to be issued to the judges beforehand so they could make a proper analysis and judgment before the actual competition. Modern technology allows for this. As it stands, judges have just a minute or two in between performances to make decisions on lyrics, melody and presentation. This situation is made worse when judges are hearing the song for the very first time. This is rather stressful and not conducive for judges to make proper analyses and judgements. Sometimes this problem is addressed by having separate judges for melody, lyrics and so on. Even then, things fall through the cracks. Issuing the lyrics to the judges well in advance would certainly lead to better analysis of the calypso text and arriving at a more objective and informed judgment. And even if allowance is made for the calypsonian to make minor changes to the lyrics during the actual performance, at least the judges would have had a good sense of the overall lyric and song structure beforehand.

By way of conclusion, writing lyrics is a craft which follows some basic rules and principles and these can be more or less appropriate or relevant depending on the song genre. In calypso, writers should keep the lyrics tight, avoid long winded lines and verses, and use various poetic and linguistic devices while making allowance for innovation, creativity and pushing of boundaries and bearing in mind the target audience or performing context. Lyric writing with a focus on competition can indeed be a constraint to the development of the calypso genre. While the monetary prizes involved may motivate writers, calypso competitions offer very little incentive for pushing the boundaries in ways describe in this article and in the example of Rise Up Again, the introduction of edgy or innovative approaches to lyrics. And judging decisions over the years have not helped. Many persons are of the view that the beff factor and the need to attract maximum paying audiences or viewership may be the overriding factor in selecting calypsonians in the various rounds and not necessarily, quality lyrics and melody as established by the criteria. But writers and calypsonians alike must press on, keep writing on and as Rise Up Again instructs, ”you must be like the morning sun, rise and shine your light all around, darkness may be long, but the dawn will come and like the sun, you will rise and shine on”.

In Part Two, which will appear in the next issue of Creole Heartbeat, I will discuss the melody aspect of calypso, what constitutes a good calypso melody and musical arrangement.

RISE UP AGAIN

Author/Composer: Gregory Rabess Performed by Jerd Dorsette (GENIUS)

People bawling wi fout Yo di latè la k’ay bout When dey hear man stumble in calypso Whose lyrics gone astray Who get dékalé Back up music foul play Conspiracy theory Obeah and sorcery Lots of different story Well life’s road not easy at all man will stumble and fall you must pick yourself up, don’t bawl you must get up and stand up tall

CHORUS

Rise, rise up Rise up again, rise up Rise, and come back again You must be like the morning sun Rise and shine your light all around Darkness may be long But the dawn will come and like the sun, you will rise and shine on on and on and on

The road of life not easy Man will get bazoudi Sometimes you will get a malkadi Well you see mi good friend tell me Sa sé lavi But what is key Is how you bounce back, you see Despite all de pain Despite all de strain You got to wheel and come back again You got to do what it takes Learn from your mistakes whether is bend or break you got to bounce back for goodness sake

Chorus

Sometimes is curse you think you curse Things getting from bad to worse Like you on a one way train heading for Lyndhurst man dem taking their kicks on you taking you for joujou even djiyon fanm mayé in dat too well never lie down and play dead focus on the road ahead and how you can win instead when you think life is at an end and no hope is around the bend You must pick yourself up my friend and bounce back stronger again

Chorus

*Gregory Rabess Musician, singer, songwriter, composer, music critic, commentator, author and writer.